{"slides":[{"media_title":"Start Making Sense","media_tagline":"A Tribute to Talking Heads","event_body":"If David Byrne is one of the geniuses of modern times, then Start Making Sense is a tribute to genius. The musicians in this 7-piece Talking Heads Tribute take pride in faithfully recreating the music of Talking Heads entire career, including songs Talking Heads never performed live! Together they bring much of the Heads unique live show to the stage, with front man Jon Braun as a spot-on David Byrne, some have said this is the closest thing you’ll get to seeing Talking Heads again.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/sms660-692af2db5c.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/start-making-sense-a-tribute-to-talking-heads-1","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 31<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/sms180-a5f0805025.png","category":{"name":"Other","id":"0"}},{"media_title":"Hot In Herre: 2000s Dance Party (18+) ","media_tagline":"","event_body":"This event is 18 & over only! No exceptions.\n\nHot in Herre, the biggest 2000s\/Y2K party in the country!\n\nHot In Herre features dope DJs behind the decks and 00s visuals that will transport you back to the days of blinged-out flip phones and trucker hats!\n\nAt Hot In Herre, you'll hear your favorite hits and guilty pleasures from the first decade of the millennium from artists like Nelly (duh), Usher, Rihanna, Britney Spears, Pitbull, 50 Cent, Shakira, Snoop Dogg, Flo Rida, Fergie, T-Pain, Amy Winehouse, Outkast, Eminem, Pink, Black Eyed Peas, Sean Paul, Avril Lavigne and so many more. \n\n** Wear your best 2000s-era gear at Hot In Herre! We're talkin' fuzzy pink Juicy Couture sweats, bling, Ed Hardy shirts, loooow-rise jeans, UGG boots, crop tops… you name it, just wear it! **\n\nWe’re taking song requests all night, too. Pull out your old iPod playlists and have your favs ready to go! \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/HIH_660x340-8979f74835.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/hot-in-herre-2000s-dance-party-10","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 7<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/HIH_180x180-2ba54e79de.png","category":{"name":"Other","id":"0"}},{"media_title":"The Arcadian Wild","media_tagline":"with Dallas Ugly","event_body":"This is a reserved seated show. \n\nThe Arcadian Wild is a four-piece indie folk\/pop group from Nashville, TN. Led by songwriters Isaac Horn and Lincoln Mick and Bailey Warren on fiddle, The Arcadian Wild confidently inhabits and explores an intersection of genre, blending the traditional with the contemporary.  Combining elements of progressive bluegrass, folk, and formal vocal music, The Arcadian Wild offer up songs of invitation; calls to come and see, to find refuge and rest, to journey and wonder, to laugh and cry, to share joy and community and sing along. \n\n \n\nThe band’s 2023 album Welcome marks the start of a captivating new chapter for the genre-bending trio, who returned to the studio with renewed purpose and insight after devoting the last few years to a series of critically acclaimed singles and EPs. Like much of the band’s catalog, the album blurs the lines between chamber folk and progressive bluegrass, drawing on everything from country and classical to pop and choral music with lush harmonies and dazzling fretwork, but this time around there’s a rawness to the writing, an embrace of candor and simplicity that cuts straight to the heart of things like never before. The result is perhaps the most arresting collection yet from a band known for its ability to stop listeners dead in their tracks, an exquisitely beautiful celebration of community, connection, and the power of belonging that feels tailor-made for these challenging times. \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0615-TAC-WEB-BANNER-65a25693f5.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-arcadian-wild-1","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 15<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/taw180-9080f4537c.png","category":{"name":"Other","id":"0"}},{"media_title":"Aimee Mann, 22 \u00bd Lost In Space Anniversary Tour","media_tagline":"with Jonathan Coulton","event_body":"Aimee Mann is one of the most distinguished singer-songwriters of her generation. Her successful solo career has spanned several decades with several Grammy nominations, two Grammy award and the release of nine critically acclaimed solo albums, including the profoundly popular soundtrack for the film Magnolia, which garnered an Academy Award and Golden Globe nomination for Best Song in 2000. Time magazine has said, “Mann has the same skill that great tunesmiths like McCartney and Neil Young have: the knack for writing simple, beautiful, instantly engaging songs, ” while NPR voted her one of the “TOP 10 Best Living Songwriters” along with Paul McCartney, Bob Dylan, and Bruce Springsteen. Her latest release is called “Mental Illness” which won her a Grammy for Best Folk Album.\n\nEarlier in her musical life, Mann fronted the band “Til Tuesday”, releasing three albums. She has also made numerous memorable cameo appearances in films such as The Big Lebowski and TV shows like Portlandia and The Daily Show.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0619-Aimee-Mann-Web-Banner-47071f8e22.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/aimee-mann-22-lost-in-space-anniversary-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 19<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0619-Aimee-Mann-SQ-f27c92e84e.png","category":{"name":"Other","id":"0"}},{"media_title":"The Broken Hearts and Chrome Horse: A Tom Petty & The Heartbreakers Tribute","media_tagline":"","event_body":"“THE BROKEN HEARTS " were created in 2017 by former Tom Petty and Mudcrutch bandmate and bassist Charlie Souza. Charlie has also worked with other legendary songwriters such as Greg Allman, Vanilla Fudge and The New Rascals. Along with singer\/songwriter Shawn Scheller (Save The Radio!) they have assembled a core group of pro musicians that most accurately captures the "live" concert experience of Tom Petty & The Heartbreakers. \n\n \n\nThe current touring band consists of :\n\n- Shawn Scheller ( Save The Radio \/ The Contenders ) as Tom Petty on lead vocals and guitar.\n\n- Mateo Olivo ( Infamous Unknowns \/ The Contenders ) as Mike Campbell on lead guitar\n\n - Dave Walker ( The Hazies ) as Howie Epstein on bass guitar,\n\n - Aidan Cain ( The Contenders ) as Benmont Tench on Piano, Organ and keyboards\n\n - Chris McDonald ( The Henley's) as Stan Lynch on drums\n\n - Scott Lockhart ( The Contenders ) as Scott Thurston on percussion and electric guitar\n\n\n Drew Gabbert, Texas-based veteran musician (Fate Lions, Sunward, Glymmur), has set the table and is serving up an authentic Dylan experience with a repertoire that spans six decades of material.\n\nGabbert offers up a mysterious ability to embody the many voices of Dylan with accuracy and reverence – as if singing through a hall of mirrors. Close your eyes and you’ll be thoughtfully carried through the young man in old man’s clothes, drifting past the country croon, and held firmly by the elder statesman. These eras with their ancient muses are captured by Gabbert fluently.\n\nIt must be said, by deliberately eschewing present day technology and electronics, the musical presentation remains intact and precise. Visually, the performance is striking – musically, the performance is unmatched.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/ch660-486cd43e48.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-broken-hearts-and-chrome-horse-a-tom-petty-the-heartbreakers-tribute","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 20<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/CH180-d758489d1f.png","category":{"name":"Other","id":"0"}},{"media_title":"The Legwarmers, The Ultimate 80s Tribute","media_tagline":"presented by 102.3 The Hook ","event_body":"Remember the Eighties? Sure, we all do...but the Legwarmers don't just remember the Eighties - they relive them. With more moves than a Rubik's Cube, the Legwarmers take the stage like it's prom night in a John Hughes movie, a very special episode of "Square Pegs" and the Monsters of Rock Tour - all at once. So remember: this ain't no half-assed cover band, this ain't no disco, this ain't no fooling around - it's the Legwarmers, the Ultimate 80s Tribute Band.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0627-LEGWARMERS-WEB-BANNERpng-b37f5ed061.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-legwarmers-the-ultimate-80s-tribute-7","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 27<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/LW180-494e5e782f.png","category":{"name":"Other","id":"0"}},{"media_title":"South of Heaven Presents: Eyes of the Nile (Iron Maiden tribute)","media_tagline":"with Priest Unleashed and Kill the Master","event_body":"Eyes of the Nile formed in late summer of 2015, when Chris answered a Craigslist ad placed by Navid for a Maiden tribute.  A few emails and a voice memo recording of the chorus of "Flight of Icarus" later, the two realized they knew each other and had crossed paths in the Northern Virginia music scene, had a mutual respect for each other's work, and decided to recruit other musicians to play the classic Maiden catalog.  Chris is a conservatory trained professional percussionist with the Navy band in Washington DC, who has also played countless shows with prominent DC area cover band Dr. FU.  Navid is currently the vocalist\/guitarist and main songwriter in Iris Divine, a progressive metal band signed to Sensory Records.  Several auditions later, the strings came together with Daniel Tidwell (vocalist\/ guitarist\/ songwriter of Terracide) and Jason Hurley on guitar, and finally, Fern on bass. \n\nWith a shared love for the music of Iron Maiden, Eyes of the Nile is committed to delivering the songs with intensity and emotion; while you may hear a vibrato reminiscent of Bruce Dickinson, Harris' signature Fender bass tone, or Clive and Nicko's rhythm nuances, the band has chosen to forego stage props and costumes (although an Eddie the 'Ead might pop up at any time), and keeps the focus where it belongs - on the music of Iron Maiden, some of the greatest in the history of heavy metal.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/website-banner-3ff633680f.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/eyes-of-the-nile-iron-maiden-tribute","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 28<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/website-thumbnail-067296dd46.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Can't Feel My Face 2010s Dance Party (18+)","media_tagline":"","event_body":"This event is 18 & Over only. No exceptions.\n\nLimited Early Bird tickets available while supplies last. \n\nCan't Feel My Face, the biggest 2010s dance party in the country! \n\n \n\nCan’t Feel My Face features fire DJs and 2010s visuals that will transport you back to the decade defined by memes and selfies… a time only 4 to 14 years gone but feels like 40 years ago.\n\n \n\nAt Can't Feel My Face you can expect to dance all night to the biggest bangers from artists like The Weeknd (duh), Beyoncé, Kesha, Taylor Swift, Justin Bieber, Ariana Grande, Katy Perry, Cardi B, Harry Styles, Bruno Mars, Lady Gaga, Dua Lipa, Kendrick Lamar, Rihanna, Avicii, Nicki Minaj, Calvin Harris, and more. \n\n \n\n** Wear your best 2010s ‘fit! Dig through your closet and find those skinny jeans, athleisure sets, chunky necklaces, and deeeep V-necks **\n\n \n\nWe’re taking song requests all night, too. Come prepared with your banger playlist!\n\nYOLO\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/cfmf660ws-bf6464aa9d.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/cant-feel-my-face-2010s-dance-party-4","ticket_link":"Buy Tickets<\/a>","event_date":"Jul<\/span> 11<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/cfmf180ws-2bf100dc24.png","category":{"name":"Other","id":"0"}},{"media_title":"Nick Smith \u201cNew South Tour\u201d","media_tagline":"","event_body":"The hype around Nashville's most modern country artist Nick Smith is nothing short of bold. Respectfully earned, this innovative singer\/songwriting leads with adrenaline-pumping, custom phrased, mainstream creativity. Nick Smith's big energy brings technique that stands out on the edge where genres collide. A true country boy bringing the world together with love and positivity through music.\n\n\u200bBorn Anthony Nicholas Smith, the Kent's Store, Virginia native was born the son of a tree cutting man. Early on knowledge of hard work, sales, and integrity were disciplined as a way of life. A successful entrepreneur, Nick’s now on deck presenting his purpose in life with the slated New South music he's worked so hard to achieve.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0712-Nick-Smith-WEB-BANNER-e89d5a01f7.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/nick-smith-new-south-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Jul<\/span> 12<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0712-Nick-Smith-SQ180-76f7b90aa0.png","category":{"name":"Other","id":"0"}},{"media_title":"Lukas Nelson","media_tagline":"with Payton Howie","event_body":"Since he was old enough to walk, Lukas Nelson has been on the move. He was raised in a beloved musical family and then, as a young adult, released a series of thrilling projects over 15 years of leading his own band Promise of the Real. Along the way, he came of age in the dives and diners of this country and his itinerant life showed him America as few others get to see it.\n\nNelson ponders his relationship this country with all its joy and heartbreak on American Romance, his first solo album and first under Sony Music Nashville. Recorded by Grammy Award-winning producer Shooter Jennings, it shows the singer-songwriter expanding his sound while doubling down on the fundamentals of his artistry. “It’s been a long and inspiring journey in the band,” he says.\n\n“This is an opportunity to experiment with some new colors in the palette, but we know we are always going to be there for each other.”\n\nAmerican Romance brings out those new colors in dazzling fashion, demonstrating Nelson to be a singer-songwriter of uncommon dexterity. He’s just as likely to wrestle with heady existential matters as he is to lament his losses, and he’s steeped in tradition without being strictly bound to it. Much like the land that provided its name, American Romance is a novelistic album teeming with great complexity and beauty, and it makes a grand statement for Nelson’s first solo outing.\n\nOn the album’s wistful-yet-hopeful title track, Nelson draws on imagery from across the land, a place that raises more questions than answers. “The feeling that I get that I was raised by this country is really palpable,” he says. “It’s a song about the macro love affair that the country and I have with each other. It’s about the heartland, the East Coast turnpikes, the lakes, the rivers, and the mountains—the whole width and breadth of this land.”\n\nIt's a place and state of mind that require some tenacity, though. Accompanied by plaintive fiddle, Nelson sings of perseverance and waiting for the light to return in “Ain’t Done,” offering a gentle reminder that so much is impermanent. “I went through this dark period of self-reflection and George Harrison's song ‘All Things Must Pass’ was part of what got me through that moment,” he says. “It gave me that understanding that it’s not for us to know what comes next. Everything changes and nothing stays the same.”\n\nChange also means an ongoing cycle of birth and death, a process to which Nelson feels an almost-mystical connection on American Romance. His song “Pretty Much” swells from its acoustic start to a soaring chorus, describing journeys both physical and metaphorical. “It's about the exact moment of death and the hope that we’ll have a loved one we’ll see,” Nelson says. “I'm always wrestling with these concepts of birth and death and the beginning and the end, trying to soak up as much meaning as I can from that.”\n\nNelson shows a vulnerable side on “Disappearing Light,” a duet with co-writer Stephen Wilson, Jr. Featuring a melodic acoustic guitar figure, it builds in intensity toward a powerful final refrain: “I fear the disappearing light is mine.” It’s a startling confession, and yet there’s a sliver of hope present as well. “It really fits the theme of American Romance as it touches on the darkest parts of being on the road, seeing loss, and dealing with pain,” Nelson explains. Nelson and Wilson recorded the track Overnite Studio with Anderson East co-producing.\n\nIn a similarly existential vein, “Friend in the End” extolls the beauty of a lifelong friendship and features vocals from breakout star and Grammy winner Sierra Ferrell. “She's an incredible singer,” Nelson says. “The ease in which she just flows into the music—it's a beautiful thing to watch.”\n\nNelson’s longtime mate Jennings was a natural choice for overseeing the project, but surprisingly, it’s the first time the two have collaborated. “It's finally time for us to work together because both of us have gotten to a place in our careers where there's a lot of respect for what we've accomplished,” Nelson says. “I knew he was going to get great sounds and a great album out of me because I know his ear.” \n\nTogether, they touch on a wide variety of sonic textures, from the delicate orchestral backing and steel of “Montana,” to the airy, Motown-esque rhythms of “Make You Happy.” Elsewhere, Nelson nods to the folkier side of Led Zeppelin in the hypnotic “All God Did” and takes a loose, back porch-jam approach to “Outsmarted.” \n\n \n\n\nLike anyone who grows up in the entertainment industry, Nelson has had a close-up view of fame and its pitfalls. On American Romance, he details his skepticism and reckons with his desire to achieve more. “Born Running Out of Time,” which evokes Tom Petty’s melodic jangle, describes the exhaustion of that never-ending quest. “I've always wrestled with that impulse—the ambition versus the ability to appreciate what I have,” he says. “Nothing you ever get will be good enough and nothing you ever achieve will fill that hole, so you must be able find peace now. Whatever comes is just icing on the cake.”\n\nLikewise, in “The Lie,” Nelson looks at the way those flawed lessons about constant striving get handed down to younger generations. “Without a spiritual center, ambition can be dangerous,” he says. “You can hustle, as long as you understand that it's a game. What's more important is coming home to your family and treating the people around you with kindness.”\n\nAmerican Romance undoubtedly shows Nelson as he is now, but in grand storytelling fashion worthy of a Steinbeck novel, it circles back to the beginning in the final track. The classic country ballad “You Were It,” which closes the album, was the first song he ever wrote when he was 11 years old. It caught the ear of the late Kris Kristofferson, who said, “You’re going to be a songwriter. You don’t have a choice.” It set Nelson on the road to a career in music. \n\n“When I get asked the question, what's it like being Willie Nelson's son? Well, I was in on the school bus and this song came to me,” he recalls. “My dad saw it and loved it so much that he put it on his own album. That inspiration and validation came really early for me. I was able to find my purpose in life at a young age.”\n\nAs such, the prolific Nelson always tries to keep his senses open for the muse and let her speak through him, lest she up and leave him. “If I were more closed off or if I ignored her, she'd probably move on to another guy,” he says. “At the same time, I never want to keep her to myself and I never try to ask her for more than she's willing to give.”\n\nIt goes back to Nelson’s conception of feeling like he has enough and of his unique experiences supplying him with abundant inspiration. American Romance is a stirring story about the place that made it possible, playing out like a series of chapters from his life. “The heartache that America has brought me and the joy that it has brought me,” he muses, “It's all led to where I am right now.”\n\n\n\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/lukas660-0f1d979c43.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/lukas-nelson","ticket_link":"Buy Tickets<\/a>","event_date":"Jul<\/span> 17<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/lukas180-4c04447c44.png","category":{"name":"Other","id":"0"}},{"media_title":"Bring Out Yer Dead","media_tagline":"","event_body":""Bring Out Yer Dead: A Tribute to the Timeless Magic of the Grateful Dead. Formed in Raleigh, NC in 2019, "Bring Out Yer Dead" emerges as a beacon of nostalgia, a tribute band dedicated to resurrecting the Grateful Dead's legendary live performances with an authenticity that's nothing short of remarkable. Comprising a collective of some of Raleigh's most gifted musicians, this ensemble is on a mission to channel the unparalleled spirit and communal celebration that defined the Grateful Dead's concerts."\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/boyd660-5d027da316.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/bring-out-yer-dead","ticket_link":"Buy Tickets<\/a>","event_date":"Jul<\/span> 19<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/BOYD180-c48f74dfb5.png","category":{"name":"Other","id":"0"}},{"media_title":"Hot Water Music","media_tagline":"","event_body":" \n\n\n\nHot Water Music, the legendary punk rock band hailing from Gainesville, Florida, is thrilled to announce their momentous 30-year anniversary and an electrifying anniversary tour to mark this incredible milestone. \n\nThis three-decade celebration promises to be a landmark event for both the band and their devoted fanbase. With sets showcasing songs from all eras of their 30-year history, along with songs from their yet to be released 10th album, these shows will be unforgettable. \n\n From the band-- “We are humbled and thrilled to have reached this incredible milestone of 30 years together. Our fans have been with us through thick and thin, and this tour is our way of saying thank you for all the love and support over the years. We can’t wait to celebrate with you all!”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/HWM_660x340-937824398a.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/hot-water-music","ticket_link":"Buy Tickets<\/a>","event_date":"Jul<\/span> 28<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:30pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/HWM_180x180-80fe8a4693.png","category":{"name":"Other","id":"0"}},{"media_title":"Randall King","media_tagline":"","event_body":"“You grow wiser with age, you grow wiser while you’re working and experiencing life,and I feel like I have a deeper understanding of what my music really is.\n\nWe're moving into the neon era of country music. The pendulum is swinging, and you’re watching it happen…\n\n \n\nNow I just hope people get their mind blown.” -- Randall King\n\n \n\nIn the few short years since he arrived in Nashville, Randall King has made no bones about his honky-tonk allegiance. In fact, he’s worn it like a badge of honor, growing with pride into a leading voice for today’s traditional country. But if anyone thought he was stuck in the past, his new album proves otherwise.\n\n \n\nA West Texas native and self-described “old soul,” the Warner Music Nashville star has never wavered in his country-to-the-core style. Amassing over 270 Million streams on a series of singles like “You In A Honky Tonk,” “Hey Cowgirl” and “Mirror, Mirror,” he’s kept the twang alive in country’s mainstream while also earning acclaim through deeply personal EPs like Leanna, and flexing his creative muscle with the 2022 concept album, Shot Glass – all while playing nearly 150 shows a year, honing his craft where it matters most.\n\n \n\nBut with his sophomore major-label album, Into the Neon, his musical mix of timeless-and-trendsetting reaches fresh heights. With this one, he’s taking honky tonk somewhere new – a place where “steel guitar and smoke” meet a modern buzz.\n\n \n\n“There’s a side of me that has not been captured yet,” King says, flashing a playful      grin and his matter-of-fact confidence. “One that’s still honky tonk and country, but it’s got an edge to it. That’s where we got to on this one.”\n\n \n\nFor a guy known for sticking close to stylistic ground, that’s an intriguing statement, but one that’s not actually so tough to believe. Raised in Hereford, West Texas, not far from the New Mexico line, King grew up on a steady diet of country greats, from Keith Whitley and George Strait to Alan Jackson and John Anderson. Singing in the back of a ‘93 Chevy as it criss-crossed county roads and tractor paths alike, it was there that his love of the classics took shape – and where he would begin to develop his signature baritone, a rumbling vocal capable of both booming like thunder across the plains, or whispering with the midnight wind.\n\n \n\nOver time, he used that timeless vocal to build a rep all across Texas and beyond, embracing a road-warrior lifestyle and never waiting on permission to explore his creative vision. Working independently, King produced and released the defiant 2016 EP, Another Bullet, boldly going against the mainstream grain to proclaim honky tonk would not go down … at least, not without a fight. With fans flocking to his electrifying live shows – each one a harrowing mix of rowdy roughnecking, romantic tenderness and breathtaking emotion – he then followed up with a 2018 self-titled album, and hit Music Row with an all-or-nothing honky-tonk mandate.\n\n \n\nShot Glass – his full length major label debut – landed on both Whiskey Riff’s Top 40 Country Albums of 2022 and Billboard’s All Genre 50 Best Albums of 2022 (So Far), and along with his never-ending tours of the U.S., King even took the pure-country gospel overseas, headlining and selling out venues in Europe and the U.K. in 2023 while being named a Country Artist to Watch by everyone from Pandora and Country Now to Music Mayhem Magazine.\n\n \n\nBut despite his hand-crafted status as an old-school troubadour (with a new-school fire), it was actually a pair of modern masters who inspired King’s early path, becoming the soundtrack to his coming of age.\n\n \n\nAt 16, he “wore out Dierks Bentley’s first three records,” captivated by the unbridled energy and rootsy flair. King likewise calls Gary Allan’s Smoke Rings In the Dark pivotal to the dusky emotion of his own sound, and with Into the Neon, 18 fresh songs build on those era-spanning touchstones like never before.\n\n \n\nCo-produced by King alongside Jared Conrad, King’s neo-traditional ethos meets the blood-pumping rhythms and sharp, arena-sized grooves of Y2K-era country – plus a vocal that burns like a shot of straight tequila. Doubled electric guitars and heavy steel drive irresistible melodies forward, while an all-organic cast of add-ons like banjo, bouzouki and cello add depth to tender two-steppers and steel-toed boot stompers alike. All told, King grabs hold of something he’s been chasing all along.\n\n \n\n“It’s that smoky, edgy side of me that hasn’t gotten to be shown off yet,” he says. “That’s what I’ve been looking for, and it’s honestly the best singing I’ve done. I’m incredibly proud of the whole thing.”\n\n \n\nCo-written by King with Ben Stennis and Matt Rogers, the title track “Into the Neon” buzzes like a sonic welcome sign. Vibey and slow burning, the song exudes desolate atmosphere, with a deep, musky vocal and lonesome, low-down twang welcoming a drifter “Into the Neon” of a modern-timeless ballad. With one foot in the a hazy ether of the past, and another firmly in the here and now, King says it hits close to home.\n\n \n\n“In the line of work I do, that’s us 100 percent,” King says. “Don’t stick around too long. Don’t stay on the same trail. Always thinking about riding off to the next town or next bar. Into the neon.”\n\n \n\nAll throughout, punchy sounds exist side-by-side with timeless swagger. Tracks like “Burns Like Her,” for example, would feel at home on country radio – either today or in the early 2000s. With a smoldering foundation of classic passion, and King’s voice set to an aching rumble, it also features a fuzzed out steel guitar, blurring the line between yesteryear and today.\n\n \n\n“Why would you not?” King says. “It’s still me, it’s still country as shit. It’s just a little more rocking.”\n\n \n\nTunes like “When My Baby’s In Boots” (Trannie Anderson, Michael Carter and Jordan Walker) feel like a long-lost jukebox anthem, pairing warm twang and a danceable rhythm with King’s vocal at its flirtatious peak. “Hard to Humble” (Ben Hayslip, Corey Crowder and Chris LaCorte) matches a rolling banjo and rolling beat to a heart filled with smitten pride, as King plays a lucky guy who’s out of his romantic league “by a country mile.”\n\n \n\nOthers like “Hang Of Hanging On” (Lee Brice, Brett Sheroky) offer up a Texas-style dancehall slow jam – complete with tender romantic strains and a swell of “seal-the-deal” sweetness – while “Coulda Been Love” (Jake Worthington, Roger Springer, Kim Penz) picks up the pace for a neo-honky-tonk anthem of missed opportunities – and with the fan favorite “I Don’t Whiskey Anymore,” King and co-writer Gordie Sampson serve up a reflective, caramel-voiced ballad of personal growth, as relevant now as ever.\n\n \n\nMeanwhile, standouts like “What Doesn’t Kill You” double down on twang-rocking tailgate energy, and with the heartwarming “Right Things Right,” King turns some simple advice into a swaying, windows-down mantra for a life well-lived. “One Night Dance” starts the project off with a lost-in-love collision of two hearts (and decades of country style), and while “But It Ain’t” wraps a broken heart that refuses to heal in dark, dusky twang, “Tonk Til I Die” finds King renewing his forever-country vows – a barroom blaster which has never heard of “last call.”\n\n \n\nBut it’s “I Could Be That Rain” that best displays King’s new “edge” – and kicks off his neon chapter.\n\n \n\nAn emotional flood pairing devotion and desperation with an easy groove, whisper-soft twang and drums meant to mimic the sound of rain on a tin roof, the track captures King’s creative spirit in its full blaze of glory. Penned by Brian Fuller and Mason Thornley, it’s a story of timeless heartache with all the elements of a country classic, plus the adventurous spirit of a modern hit – but it’s not about living in the past. It’s about keeping the good stuff alive in the present tense.\n\n \n\nTo King’s mind, that’s where he was always headed. Bringing country music Into the Neon.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0815-Randall-King-WEB-BANNER-f2bde6c4b0.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/randall-king","ticket_link":"On Sale Soon<\/a>","event_date":"Aug<\/span> 15<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0815-Randall-King-WEB-TN-476cff4648.png","category":{"name":"Other","id":"0"}},{"media_title":"Gasolina Reggaet\u00f3n Party (18+)","media_tagline":"","event_body":"This event is 18 & Over Only. No Exceptions.\n\nGasolina is dedicated to creating a community within the reggaetón and latin-music scene across the United States through exciting and innovative events. From throwing shows at small clubs in Los Angeles to large-scale events in New York & beyond, Gasolina is bringing together the reggaetón community from coast-to-coast. Serving as both a legendary perreo and a platform to showcase up-and-coming talent in the reggaetón and Latinx scenes, the collective is determined to break the boundaries of latin music and push the culture forward.\n\nGasolina has held events with artists such as Nina Sky, DannyLux, Tornillo, Vice Menta, Izzy La Reina, BRRAY, Tomasa Del Real, Ir-Sais, ECKO, Jen Morell, Fuego and beyond in venues such as Avalon Hollywood, House of Blues, and more.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0830-Gasolina-WEB-BANNER-b8c40834e8.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/gasolina-reggaeton-dance-party-18-up-2","ticket_link":"Buy Tickets<\/a>","event_date":"Aug<\/span> 30<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0830-Gasolina-WEB-TN-898c5c0967.png","category":{"name":"Other","id":"0"}},{"media_title":"Mannequin Pussy","media_tagline":"with Gouge Away","event_body":"Mannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. “There's just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ,” says Dabice. “The ethos of this band has always been to bring people together.” Their latest I Got Heaven, which is out March 1 via Epitaph Records, is the band’s most fully realized LP yet. Over 10 ambitious tracks which abruptly turn from searing punk to inviting pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. \n\n \n\nFollowing the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band’s official lineup. Where the band members’ personal lives were in transition with breakups, changing living situations, and periods of self-reevaluation, their time together on the road was a grounding and clarifying force. “There was so much going on in our lives that it was the perfect opportunity to recalibrate who we were as people and musicians,” says Regisford. The band changed their entire formula, choosing to write together in Los Angeles with producer John Congleton over slowly crafting tracks at home. “When I've written songs, it's usually a very solitary process,” says Dabice. “So this was shedding a lot of those hermit-like qualities to do something intensively collaborative. Your best work comes when you allow other people into it.” \n\n \n\nBy December 2022, the band had 17 new songs written with Congleton in Los Angeles. “Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be,” says Regisford. New member Maxine Steen, who has made music with Dabice for years including their side project Rosie Thorne, was especially essential to the writing sessions. The album opener “I Got Heaven” initially started as one of Steen’s demos. “When she showed it to me I knew it was going to be fun because the verses have this hard-hitting and aggressive approach but the chorus allows for a really soaring melody,” says Dabice. The result is electric. Over walloping guitar riffs, Dabice defiantly yells, “And what if I’m an angel? Oh what if I’m a bore? And what if I was confident would you just hate me more?\n\n \n\nThe song with its righteous lyrical blending of the sacred and profane is an unapologetic look at Christian hypocrisy. “I don't think there's ever been anything in need of a spiritual revolution more than modern-day Christianity,” says Dabice. “It sickens me the way that people use it as a way to do the worst things imaginable, say the worst things imaginable, and pass the worst imaginable legislation that directly harms people.” Instead of judgment, greed, and avarice, the songs on I Got Heaven ask what it really means to genuinely care about the people around you and help your communities in ways you can. “The world that we live in is heaven,” says Dabice. “We live on the most beautiful planet in the solar system, just by a chance and we are continuingly destroying it.” \n\n \n\nThis sentiment is mirrored by the album’s cover art: a figure and a pig in nature. There’s an intentional ambiguity there that makes you wonder if this person is leading the animal to slaughter or its protector. “We should really be the shepherds and the protectors of everything that we have and the world we live in,” says Dabice. I Got Heaven is an album that understands the stakes of its message: there are countless references to fire, hunger, and holiness. Here, teeth gnash and bodies are temples that ache with desire. On the yearning single “Nothing Like,” which is anchored by a dancey, shuffling drum beat from Reading, Dabice’s voice eventually morphs from a coo to a roar as she sings, “Oh what’s wrong with dreaming of burning this all down?” \n\n \n\nEven when the songs on I Got Heaven don’t deal with fundamental human questions about how to live, Mannequin Pussy still finds ways to add urgency and resonance. Just take the buoyant and playful single “I Don’t Know You,” which slowly builds to a hair-raising peak with Reading’s brushed percussion, Steen’s enveloping synths, and a thoughtful groove from Regisford. “On that song, I changed the tuning last minute which transformed the song but everyone instinctively knew what to do,” says Dabice. “It was really cool to watch a song come alive in real-time. It's such a gift to meet other people who are creatively on the same wavelength as you, where there's no judgment in sharing ideas.”\n\n \n\nThe lightness of this track pairs perfectly with the rest of the tracklist, even when it’s snarling rock like “Loud Bark” or punishing hardcore punk with Regisford sharing lead vocal duties on “OK? OK! OK? OK!”  “If you're a Mannequin Pussy fan, you know that we're going to have some rippers,” says Regisford. “We're gonna have something that's going to be in your face. But we're also going to give you something that's going to be light to the touch with its own version of aggression.” The loud and uncompromising single “Of Her,” finds Dabice screaming, “I was born \/ Of her fire \/ Of sacrifices That were made \/  So I could make it.” It’s a song about living life without regrets and understanding the sacrifices that you and your parents, especially your mother, made to allow you to live the life you want. \n\n \n\nI Got Heaven is a visceral and stunning album for people who aren’t content with the status quo, made by people who challenged themselves and got out of their comfort zone. ”We're supposed to be living in the freest era ever so what it means to be a young person in this society is the freedom to challenge these systems that have been put on to us,” says Dabice. “It makes sense to ask, what ultimately am I living for? What is it that makes me want to live?” \n\n\nForming in South Florida with the intention to record a short EP and play one show, Gouge Away were driven by the need to write music and take a stab at topics they weren’t hearing in their local scene. They were influenced by bands like Fugazi, Unwound, The Jesus Lizard, Nirvana, Sonic Youth, and Paint it Black.\n\nA couple years later, they put out “, Dies” on local label, Eighty-Sixed Records, which they didn’t expect to reach beyond their hometown. After some touring, they released “Burnt Sugar” on Deathwish Inc. in 2018 which naturally took a more personal approach when Christina Michelle was dealing with her mom’s heart complications and misdiagnoses. Following the release of the album, they toured extensively throughout the US and beyond. While on tour and in their small pockets of downtime, they eagerly wrote and demoed songs for a third album, pulling influence not only from the nostalgia of the bands they grew up listening to, but developing and pushing the sense of urgency, noise, and introspective lyrics they felt most represented them.\n\nTouring came to a halt in 2020, canceling a full year of plans in an instant. Gouge Away took time for themselves to move to different parts of the country and focus on their personal lives. On New Years Eve just beginning 2022, they decided it was time to revisit their demoed material, and to do it justice by allowing it to see the light of day.\n\nThey recorded with Jack Shirley at Atomic Garden East in March 2023, completely analog to tape and almost entirely live, without the use of a computer. The goal was to sound like five friends playing music in a room together, unpolished and far from being over-produced, which is what the heart of Gouge Away has always been.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/Mannequin-Pussy-660-4c3e4427d3.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/mannequin-pussy","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 16<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/mp180-0d63679029.png","category":{"name":"Other","id":"0"}},{"media_title":"John Craigie","media_tagline":"with Cristina Vane","event_body":"\n\nThis is a fully reserved seated show.\n\nMuch like community, music nourishes us mentally, emotionally, and spiritually. It also invites us to come together under the same roof and in a shared moment. In similar fashion, John Craigie rallies a closeness around music anchored by his expressive and stirring songcraft, emotionally charged vocals, lively soundscapes, and uncontainable spirit. The Portland, OR-based singer, songwriter, and producer invites everyone into this space on his 2024 full-length album, Pagan Church. Following tens of millions of streams, sold out shows everywhere, and praise from Rolling Stone and more, he continues to captivate.\n\n \n\n“The music is always evolving and devolving with each new record,” he observes. “With my last album Mermaid Salt, I really wanted to explore the sound of isolation and solitude as everyone was heading inside. With this record, I wanted to record the sound of everyone coming back out.”\n\n \n\nIn order to capture that, he didn’t go about it alone… \n\n \n\nInstead, he joined forces with some local friends. At the time, TK & The Holy Know-Nothings booked a slew of outdoor gigs in Portland and they invited Craigie to sit in for a handful of shows. The musicians instinctively identified an unspoken, yet seamless chemistry with each other. Joined by three of the five members, Craigie cut “Laurie Rolled Me a J” and kickstarted the process. With the full band in tow, they hunkered down in an old schoolhouse TK & The Holy Know-Nothings had converted into a de facto headquarters and studio, and recorded the eleven tracks on Pagan Church.\n\n \n\n“At first, I knew ‘Laurie Rolled Me a J’ would sound great with a band, but we realized there was this chemistry between us,” Craigie recalls.\n\n \n\nDuring this season, Craigie listened to everyone from JJ Cale, Michael Hurley, and The Band to Donny Hathaway and Nina Simone. He also consumed music biographies and documentaries on the likes of Ani DiFranco, John Coltrane, The Velvet Underground, and Neil Young. Now, he introduces the album with “Where It’s From.” Dusty acoustic guitar underlines his warm delivery as he warns, “Be careful with this feeling. You don’t know where it’s from.” Meanwhile, he plugs in the electric guitar on the Southern-style boogie of “While I’m Down.” Bright organ wails over a palm-muted distorted riff as he urges, “Come on and love me up while I’m down.” \n\n \n\nThen, there’s “Good To Ya.” Setting the scene, glowing keys give way to a head-nodding beat. He laments, “Oh babe, I was good to you,” before a bluesy guitar solo practically leaves the fretboard in flames. The album concludes with the pensive and poetic title track “Pagan Church.”  In between echoes of slide guitar, he repeats, “I sing a pagan song out in a pagan church.”\n\n \n\n“Taylor Kingman suggested the title Pagan Church to me,” he reveals. “I liked the multiple meanings. The album cover shows all of us in front of Laurelthirst Public House in Portland, which is an important gathering place for musicians in the area. It’s almost a church in a way. However, the song has an entirely different meaning.”\n\n \n\nAn incredible journey has brought Craigie to this point. He has consistently packed venues across the country, gracing bigger stages each time he rolls through town. His annual #KeepItWarm Tour has become a holiday tradition as it supports regional non-profits focused on fighting food insecurity with a donation of $1 from each ticket purchased. Showcasing another side of his voice, he has recorded “Beatles Lonely” versions of Sgt. Pepper's Lonely Hearts Club Band and Abbey Road,  recording these seminal albums live to sold out audiences, and releasing them on vinyl for Record Store Day 2022 & 2023. Beyond touring with Langhorne Slim, Brett Dennen, and Bella White, he has also sold out his annual river trip on the Tuolumne River, just outside of Yosemite in California and graced the bills of Newport Folk Festival, Pickathon, Mariposa Folk Festival, High Sierra Music Festival, and many more.\n\n \n\nIn the end, Craigie channels the power of community in Pagan Church.\n\n\nHe leaves off, “I just hope you can hear the collaboration with this amazing band of musicians and hear the energy in the songs of people who are allowed to get out and do their art again in this chaotic world.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0919-JC-WEB-BANNER-a1c0ef06ca.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/john-craigie-2","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 19<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/JC180wild-109e55e692.png","category":{"name":"Other","id":"0"}},{"media_title":"Drew Holcomb & The Neighbors - Medicine Anniversary Tour","media_tagline":"","event_body":"There are no strangers at a Drew Holcomb show. For the better part of two decades, the award-winning songwriter has brought his audience together night after night, turning his shows into celebrations of community, collaboration, and contemporary American roots music. Strangers No More, the ninth album from Drew Holcomb & The Neighbors, celebrates that sense of togetherness. Produced by Cason Cooley, it expands the band's mix of timeless songwriting, modern-day Laurel Canyon folk, amplified Americana, and heartland rock & roll. "All The Money in the World," with its deep-pocketed groove that showcases The Neighbors’ musicality, is punctuated by blasts of brass, marking the band’s first song to feature horns. "That's On You, That's On Me" makes room for barrelhouse piano, slide guitar, and the greasy grit of a juke joint rock band. "On a Roll" and "Possibility" are Springsteen-sized rock & roll melodramas that wail and exalt, their cinematic arrangements built for the large rooms that Holcomb regularly plays these days. "Fly" is a reflective, finger-plucked folksong. Finally, there's "Dance With Everybody,” a lively tribute to the live show that brims with a joyful optimism — a feeling that was often missing during the band’s earlier years, when their shows weren’t nearly as packed. Song by song, Strangers No More offers an all-encompassing view not only of the places Drew Holcomb & The Neighbors have been, but where they're headed next, too. It's an invitation into the band's world. Strangers no more, indeed.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0928-DH-WEB-BANNER-a0ff8fadba.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/drew-holcomb-the-neighbors-3","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 28<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/100825-WEB-SQ-cd94c343fc.png","category":{"name":"Other","id":"0"}},{"media_title":"Mipso","media_tagline":"","event_body":"Since making their acclaimed debut with 2013’s Dark Holler Pop, North Carolina-bred four-piece Mipso have captivated audiences with their finely layered vocal harmonies, graceful fluency in the timeless musical traditions of their home state, and a near-telepathic musical connection that makes their live show especially kinetic. On their self-titled sixth album and Rounder Records debut, fiddle player Libby Rodenbough, mandolinist Jacob Sharp, guitarist Joseph Terrell, and bassist Wood Robinson share their most sonically adventurous and lyrically rich work to date, each moment charged with the tension between textural effervescence and an underlying despair about the modern world. Mainly recorded at Echo Mountain in Asheville, North Carolina, Mipso finds the band joining forces with Sandro Perri (a musician\/producer known for his work with acts like Great Lake Swimmers, as well as his own post-rock\/experimental-electronic material). In overseeing the production process, Perri guided Mipso toward their goal of shaping a sonic landscape that was expansive and atmospheric yet surprisingly personal, even playful. To that end, the band dreamed up Mipso’s resplendent textures by stretching the limits of their acoustic instruments, rather than employing outside musicians to create new sounds. The result is a body of work with spacious arrangements that gently illuminate the idiosyncratic details and refined musicianship at the heart of every song.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/mipd660-35f539b698.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/mipso-4","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 3<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/mipd280-bdc5236217.png","category":{"name":"Other","id":"0"}},{"media_title":"Sam Burchfield *RESCHEDULED*","media_tagline":"","event_body":"Sam Burchfield was raised in the foothills of the Blue Ridge Mountains of South Carolina, where he learned to play and learned to write. His youth was steeped in the mossy creeks and deep ravines of those ancient woods, and they imbued him with the gift of song. Now in his thirties, Burchfield raises a small family in the North Georgia mountains and continues to find inspiration in the rivers and ridges of Southern Appalachia. His latest album ‘Me & My Religion’ was produced with his touring band, The Scoundrels. It is the first collaboration for the group after years of paying dues to the highway. Colin Agnew (drums), Trygve Myers (bass), and Ryan Plumley (guitar) accompanied Burchfield to Muscle Shoals, Alabama along with Nashville producer, Rachael Moore, to record the album of 7 days. “It’s certainly the most upbeat record I’ve ever released,” reflects Burchfield. “We crafted many of the songs together on countless stages, and most were then tracked live in the studio, which just felt right.” This 10 track album is almost equal parts Americana, psychedelia, indie folk, and Southern rock. All these flavors combine to support the album’s main theme. As seasoned listeners will expect, Burchfield’s lyrics are far from on the nose, as the declarative title would suggest. 'Me & My Religion' is an exploration of mankind’s toil for meaning in a world of vapid consumerism and commercialism - one in which we have become deaf to our own harmony with nature. Despite the weight of these ideas, the album feels like a lighthearted sojourn through the backwoods of our imagination.\n\n\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/101725-Sam-Burchfield-660x340-4c3f2c8c83.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/sam-burchfield","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 17<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/101725-Sam-Burchfield-180x180-128ff76ab7.png","category":{"name":"Other","id":"0"}},{"media_title":"Richy Mitch & The Coal Miners - Colorado\u2019s on Fire Again","media_tagline":"with Field Medic","event_body":"Balancing folk songwriting, rock 'n' roll energy, raw instrumentation, and sonic wanderlust, the Seattlebased musicians comprising Richy Mitch & The Coal Miners — Mitch Cutts, Nic Haughn, and Jakob Ervin — draw inspiration from the friendship between them. What began as a high school passion project in Colorado Springs has quietly translated to billions of streams and packed crowds.\n\n"We were always friends who hung out and joked around with each other, but music allowed us to connect emotionally and share an outlet," observes Mitch. "This is a safe place where we can all meet, bring ideas to one another, and create something out of nothing."\n\nGrowing up in Colorado Springs, their friendship preceded the band. Throughout high school, Mitch and Nic participated in as many projects together as possible. They signed up for random sports teams, launched YouTube channels, went on hiking trips, shot home movies, and eventually decided to record an album of their own. Their collective tastes spanned diverse influences, ranging from Vampire Weekend, Fleet Foxes, Gregory Alan Isakov, Peach Pit, and Bon Iver to DIIV, Rainbow Kitten Surprise, Cage The Elephant, and Portugal the Man. In 2017, the guys cut their self-titled debut, RMCM, recorded in a closet under a staircase at Nic's house. Even though the members attended separate colleges (with Nic at the Air Force Academy, Mitch studying engineering in Denver, and Jakob going to school in New York and England), they continued to write and record remotely and on breaks.\n\n"Music was going to be a way for us to stay in touch throughout college," Mitch notes.\n\nMoving the studio to Jakob's house, Richy Mitch & The Coal Miners unveiled Solstice in 2018 followed by Subliming a year later. In between, Nic, Mitch, and Jakob relocated to Montana where they split their time between day jobs, music, and the ski slopes. Unexpectedly, the one-minute and 27-second intro to "Evergreen" caught fire on TikTok. The outdoor community embraced the track first, while a slew of major co-signs followed. This enthusiasm about the song carried over to DSPs as "Evergreen" has generated over half a billion Spotify streams and the group has averaged north of 20 million monthly listeners on the platform. It notably has cracked the Billboard Hot 100, Hot Rock Songs Chart, and Hot Rock & Alternative Songs Chart.\n\nFrom its inception, "Evergreen" always meant a lot to Mitch. "I had done this 300-mile backpack through Colorado when I was 16-years-old, and that's when I wrote most of the first album," Mitch recalls. "At that point, the song was about hiking. You're battling against yourself to keep walking and stepping. It was a cool way to start the album, because you're looking forward and you have to move your feet. Now, it means stepping into music, making a record with friends, and taking a chance to release it into the world. There's a lot of power in getting a collective of people together to create something."\n\nJakob agrees, "I look at it as a stepping stone to get our feet in the door of the industry, drop everything else, and work on this full-time."\n\n"Evergreen" knocked down that door once and for all. Among many highlights, "Lake Missoula" also piled up 100 million Spotify streams and counting, while "Wet Socks" and "Subliming" generated tens of millions of streams. They launched their first proper headline tour in 2023, graced the bills of festivals such as Lollapalooza, Under The Big Sky and Hinterland, collaborated with Mt. Joy and Caamp on new versions of Lake Missoula and Evergreen respectively , and remained prolific with "Signal Sender," "Careful," "Northstar,' and "Sierra Vista." Maintaining this momentum, they cap off 2024 with their biggest tour yet, playing to sold out crowds coast to coast.\n\nNo matter what happens next, the friendship and the music go hand-in-hand for Richy Mitch & The Coal Miners.\n\n"We've been able to overcome a lot, and the band is a testament to that," Mitch leaves off. "We started this as kids. Keeping it going through college, jobs, and moving around was a huge accomplishment for us. It's kind of mind-blowing that we've turned this into a career in the last year. For me, it's symbolic of being able to work together and write honest music with a lot of vulnerability."\n\n\nFor ten years, singer-songwriter Kevin Patrick Sullivan has been releasing music as Field Medic that meshes the magical and the ordinary. His dreamy lo-fi bedroom folk discography is vast, with 5 full length albums, multiple EPs and singles, and has no plans on stopping. Newly sober, Sullivan plans on continuing to build his world through his poetic lyricism and imagery through his experiences that has amassed him a fanbase that can relate to the feelings his music evokes.\n\nField Medic’s latest record, dope girl chronicles, is something of a spiritual sequel to his 2015 debut full length, but it also marks a sonic shift, deconstructing his as we know it in order to start an exciting new chapter.\n\nHighlights \n\n-Featured on Green Day’s Tribute Album\n\n-Supported tours for Beach Bunny, Backseat Lovers, Indigo DeSouza, The Neighbourhood\n\n-Featured on New Music Friday and covers on all of the top Indie playlists\n\n \n\n\n\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1025-RMCM-WEB-BANNER-8a505f1250.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/richy-mitch-the-coal-miners-colorados-on-fire-again","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 25<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/RMCM-WEB-TN-3b1bf1ee53.png","category":{"name":"Other","id":"0"}},{"media_title":"Nick Shoulders - Universe of Battle Tour","media_tagline":"","event_body":"All Bad, the latest album from Nick Shoulders, released via Gar Hole Records (a label founded and co-owned by Shoulders), ultimately encapsulates everything that makes Shoulders’ inimitable form of country music so vital: a heady balance of dazzling musicianship and punk defiance, coupled with gritty eccentricity and a generational connection to the roots of the genre. The album emerged from the chaos of the post-pandemic world, and manages to be a plea for patience as much as a call to action. With a singing style deeply rooted in his family’s musical lineage and a heartfelt reverence for his lifelong home of mountainous Arkansas, the incisive yet wildly jubilant All Bad vocally objects to the reckless destruction of the natural landscape and ever-eroding line between church and state, while still offering plenty of joy and dance-ready rhythms. Having recently experienced their first years of rapid growth and relentless touring, Nick and his longtime band, the Okay Crawdad, wrote and recorded All Bad while confronting a nation profoundly changed by development and industrialization run rampant. Spanning a variety of early country styles, the album’s infectious rallying cry “Won’t Fence Us In” shines alongside everything from jangling cajun waltzes to surf-rock infused bluesy ballads–all tied together by a voice seemingly out of place in this century, yet ever ready to speak up about its problems.\n\n \n\n“The idea of country music as our sacred inheritance as opposed to a marketing scheme has been central to my work for a while now,” says Shoulders. “It’s about finding collective liberation in our connection to the landscape, to ancient singing traditions, to a way of producing music that predates the industry built around it. This album came from tapping into what my band and I did as street performers and moldy little honky-tonkers: it’s continuing that dedication to making music that’s honest about the lives we’re actually living, rather than trying to create a more marketable reality.”\n\n \n\n“We wanted to make the record the only way we know how: straight to tape in a shotgun house with just a couple of microphones,” he says. “There were times when we had to pause because a barge went by and blew its air horn, or there were kids out on the levee playing music.” All Bad embodies an infectiously rhythmic sound partially informed by Shoulders’ pre-pandemic years living in New Orleans. “As someone who resided in their van and played banjo on the sidewalk for a while, I eventually found my way toward the magically vibrant South Louisiana dance culture that gave birth to what you’re hearing on this record,” he says. The band’s sound, a fusion of rural singing with the sweat soaked rhythms of New Orleans dancefloors, is influenced by the kinetic nature of the region’s rich musical history, as much as it is Shoulders’ own vocal pedigree.\n\n \n\nTaking a cue from some of his most formative influences (the likes of Hazel Dickens and Jimmy Driftwood), Shoulders created All Bad in an effort to “honestly interpret the grim political and social reality we exist in,” as he puts it. “Every one of these songs is carved from some of the hardest experiences we’ve ever had,” he says. “The hope is that people will recognize something of their own lives in those stories and feel understood and seen.” But even at its most sorrowful moments, All Bad sustains an unbridled exuberance, thanks largely to Shoulders’ riveting vocal work—an element indelibly shaped by the landscape that raised him. “My musical upbringing at home was mostly learning owl calls, whistling along with cardinals, whooping and hollering with all my little friends out in the woods,” he says. “All that primitive yodeling I did as a kid ended up turning into a physical skill set that became so important to my singing without me even realizing.”\n\n \n\nA prime example of All Bad’s multilayered emotionality, the album’s title track unfolds as both a painfully real piece of autobiography and an emphatic statement against despair (“We bury friends and try to share our pain\/November hurricanes and acid rain\/They built to burn but we will live to maintain\/Because it ain’t all bad”). One of All Bad’s most lighthearted offerings, “Appreciate’cha” arrives as a piano-laced and sweetly buoyant ode to the “subtle activism that exists in the very nature of Southernness,” in Shoulders’ words. “We in the South live in a stiff-upper-lip culture where so much is repressed, but the term ‘Appreciate you’ allows for a shockingly vulnerable moment of gratitude in the day-to-day,” he says. “I wanted to write a folk song showing gratitude for all the smaller moments of humanity that deserve recognition, whether it’s the miners who keep the lights on or the people sweeping the floors after our shows.”\n\n \n\nOver the course of All Bad’s 14 tracks, Shoulders imbues his songs with an elegantly offbeat musicality that echoes his complex relationship with country music. “My dad is a great whistler, and his folks apparently were too; essentially every person in my family belonged to some regional musical lineage: my grandparents on both sides had ways of singing to pass down to me, with incredible vibrato and richness to their voices,” he says. “Despite all that, I spent years reacting against the American traditional canon—partly due to overexposure, but also because of recognizing what people associated with that cultural construct. Instead I just wanted to make the loudest, scariest music possible.” At age 13, Shoulders got a Walmart drum set and spray-painted it pink, then spent much of his adolescence playing drums in metal and punk bands. But after discovering the original blues, folk and country recordings of the 1920’s and 30’s, he found his perception radically altered. “In those records I was hearing about a world with endless wars, bank failures, crops drying out in the fields—and that was the same world I lived in,” he recalls. “I felt something click, and it led me toward reclaiming these rural singing traditions from a space of commercial propaganda that’s intent on selling a lifestyle we don’t actually live.”\n\n \n\nWith his live experience including touring with the likes of Sierra Ferrell and performing at major festivals like Stagecoach, Shoulders makes a point of bringing an educational component to his exultant and deeply communal show. “As much as we’re throwing a party, it’s also a priority to be the teacher I never had, and share this vital information that’s done wonders to improve my understanding of history, and the present we’re left with,” he says. Both live and on record, Shoulders’ music achieves the rare feat of imparting difficult truths while inciting a certain joyful abandon. To that end, the dance-ready rhythms and heavenly melodies of All Bad stir up a potent contrast to the album’s thorny lyrical themes. The result: a body of work at turns sublimely freewheeling and profoundly illuminating, primed to permanently warp the listener’s perspective to glorious effect.\n\n \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1104-Nick-Shoulders-WEB-BANNER-1416815ba3.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/nick-shoulders","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 4<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/ns180-0903c1b142.png","category":{"name":"Other","id":"0"}},{"media_title":"Carbon Leaf: I Want To Be Leaf Tour 2025","media_tagline":"","event_body":"Carbon Leaf’s fifteenth studio album, Time is the Playground is both a call to action and an embrace of the moment. Marrying nostalgic storytelling to nuanced, folk-infused indie rock, the Richmond, Virginia band embroiders heartfelt melody and harmony with acoustic and electric instrumentation to create a 12-song rumination on time, love and personal growth that’s equal parts urgent epiphany and contented exhalation. \n\n“Everybody says people don’t listen to albums anymore,” mulled Carbon Leaf frontman Barry Privett, holed up in a coastal cottage. “So, the challenge for us was to make something that felt good to get through from beginning to end … to listen to like a story.”\n\nOriginally formed as a college cover band in 1992 and with over 3,500 famously enthused live shows together, Carbon Leaf helped to define the aughts indie rock that they ultimately outgrew and outlasted. They first earned national recognition with “The Boxer,” a song that won the American Music Awards 2002 New Music Award and made Carbon Leaf the first unsigned band to perform before millions on the AMAs. \n\n“The Boxer” entered regular radio rotation, Carbon Leaf’s tours grew bigger and better, and within a couple of years they quit their day jobs and inked a record deal. The band’s fanbase snowballed, drawn to their infectious spirit of commitment, empathy, communion, and self-reliance – not to mention supremely crafted songs with ultra-relatable, thought-provoking lyrics.\n\nAfter a trio of charting albums for Vanguard Records, multiple songwriting awards and headlining shows, Carbon Leaf opted to return to the complete creative control of their indie roots. Guitarist Terry Clark, who co-founded the band with Privett and multi-instrumentalist Carter Gravatt, converted his garage into the band’s Two-Car Studio, where they’ve recorded releases for their own Constant Ivy imprint ever since. Carbon Leaf’s DIY spirit even extended to re-recording their three Vanguard albums in order to regain the rights.\n\nDue in September, Time is the Playground is Carbon Leaf’s first full-length album in a decade, during which they released two EPS and a 27-song live performance album and Blu-ray. Time is the Playground gathers the best of songs written, in fits and starts, over 15 years, alongside brand new ideas. Privett dusted off old demos and shut himself away for months to finish their stories, while also honing recent compositions. With Clark engineering, Carbon Leaf – completed by longtime bassist Jon Markel and drummer Jesse Humphrey – spent a year and a half recording and mixing the resulting songs.\n\n“Thinking about these disparate pieces of music, I began ruminating on time itself,” Privett recalled. “The band’s been together a long time. You mature a bit and see yourself in place on the timeline … rolling around the scenes of love and growth.”\n\nMasterfully melding saturated AC\/DC guitar and squelchy Cars synth, “Backmask 1983” is a fun flipbook of evocative era emblems – Farah Fawcett, “Satanic Panic,” Time Life Books, Bigfoot and more – that traverses the simultaneous nexus of Privett’s childhood\/adolescence and the world’s analog\/digital ages. It’s about morphing into a new person and a new planet with wide-eyed wonder and a longing to believe. “Without a whole lot of information, the mystery of things felt so heightened,” recalled Privett of growing up pre-Internet. “I wanted to capture some of that but also have fun with it.”\n\n“I want what we create to resonate with ourselves, to the level that we want to play it for a long time to come, and where we want others to hear it and experience it,” Privett concluded. “Hopefully, listeners can glean the pieces from it that they identify with.”\n\nTime is the Playground will be accompanied by the tireless touring almost synonymous with Carbon Leaf, who’ve become a model for self-managing bands in the digital landscape.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1122-CL-WEB-BANNER-a9d0137d6c.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/carbon-leaf-i-want-to-be-leaf-tour-2025","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 22<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/leaf180-8d1e7640c4.png","category":{"name":"Other","id":"0"}},{"media_title":"Thievery Corporation","media_tagline":"","event_body":"Exclusive 2 Night GA Tickets available here.\n\nTwenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation's music and message is more relevant and important now than ever.\n\nThat lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. "We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out — it's far easier to stay in one lane than to genre hop!" laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second hand record stores for LP's from Brazil, India, Iran, Jamaica, jazz records…..we wanted to make music where you didn't know whether it was recorded today or a decade ago." Thievery Corporation's music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996's "Sounds From The Thievery Hi-Fi," which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.\n\nThe band's legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz," says Garza. "We'd run into people from all over the world and invite them to play with us — so Thievery became an extension of that, both on our records and in our live performances." Indeed, Hilton and Garza's "Outernational" approach created a world reflected by the artist's ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up," Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity…it's so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we've tried to do." People don't refer to Thievery Corporation as "World Music," but it's safe to say that their music and ethos is global in its scope and ahead of its time at every turn.\n\nIn a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you'll dance, sweat and put your hands in the air….but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the com-bination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages — it's a multicultural experience, people connect to the band and to each other, it's beautiful." With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We're all craving that."\n\nEric Hilton's presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures," he says. "For me, touring was tourism. The creative process of making music is more my thing." And Thievery Corporation have brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014's Saudade is my favorite record that we've done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible." Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity."\n\nLooking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does," the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most." By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.\n\n"Over 25 years, we've left nothing undone. We far exceeded what we thought we would do," Hilton and Garza agree. And Thievery Corporation's music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1215-TC-WEB-BANNER-17b86b3cd6.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/thievery-corp-night1","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 15<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/180n1-bdf40f241b.png","category":{"name":"Other","id":"0"}},{"media_title":"Thievery Corporation - 2 Night Ticket (12\/15 & 12\/16)","media_tagline":"","event_body":"This exclusive 2 Night  General Admission Ticket is good for admission to both nights of Thievery Corporation at The Jefferson!\n\nTwenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation's music and message is more relevant and important now than ever.\n\nThat lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. "We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out — it's far easier to stay in one lane than to genre hop!" laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second hand record stores for LP's from Brazil, India, Iran, Jamaica, jazz records…..we wanted to make music where you didn't know whether it was recorded today or a decade ago." Thievery Corporation's music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996's "Sounds From The Thievery Hi-Fi," which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.\n\nThe band's legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz," says Garza. "We'd run into people from all over the world and invite them to play with us — so Thievery became an extension of that, both on our records and in our live performances." Indeed, Hilton and Garza's "Outernational" approach created a world reflected by the artist's ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up," Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity…it's so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we've tried to do." People don't refer to Thievery Corporation as "World Music," but it's safe to say that their music and ethos is global in its scope and ahead of its time at every turn.\n\nIn a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you'll dance, sweat and put your hands in the air….but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the com-bination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages — it's a multicultural experience, people connect to the band and to each other, it's beautiful." With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We're all craving that."\n\nEric Hilton's presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures," he says. "For me, touring was tourism. The creative process of making music is more my thing." And Thievery Corporation have brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014's Saudade is my favorite record that we've done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible." Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity."\n\nLooking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does," the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most." By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.\n\n"Over 25 years, we've left nothing undone. We far exceeded what we thought we would do," Hilton and Garza agree. And Thievery Corporation's music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1215-TC-WEB-BANNER-17b86b3cd6.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/thievery-corp-2night","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 15 - 16<\/span>, 2025<\/span>","promos":"home featured just-announced","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1215-TC-WEB-TN-451b817010.png","category":{"name":"Other","id":"0"}},{"media_title":"Thievery Corporation","media_tagline":"","event_body":"Exclusive 2 Night GA Tickets available here.\n\nTwenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation's music and message is more relevant and important now than ever.\n\nThat lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. "We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out — it's far easier to stay in one lane than to genre hop!" laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second hand record stores for LP's from Brazil, India, Iran, Jamaica, jazz records…..we wanted to make music where you didn't know whether it was recorded today or a decade ago." Thievery Corporation's music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996's "Sounds From The Thievery Hi-Fi," which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.\n\nThe band's legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz," says Garza. "We'd run into people from all over the world and invite them to play with us — so Thievery became an extension of that, both on our records and in our live performances." Indeed, Hilton and Garza's "Outernational" approach created a world reflected by the artist's ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up," Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity…it's so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we've tried to do." People don't refer to Thievery Corporation as "World Music," but it's safe to say that their music and ethos is global in its scope and ahead of its time at every turn.\n\nIn a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you'll dance, sweat and put your hands in the air….but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the com-bination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages — it's a multicultural experience, people connect to the band and to each other, it's beautiful." With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We're all craving that."\n\nEric Hilton's presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures," he says. "For me, touring was tourism. The creative process of making music is more my thing." And Thievery Corporation have brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014's Saudade is my favorite record that we've done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible." Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity."\n\nLooking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does," the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most." By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.\n\n"Over 25 years, we've left nothing undone. We far exceeded what we thought we would do," Hilton and Garza agree. And Thievery Corporation's music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1215-TC-WEB-BANNER-17b86b3cd6.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/thievery-corp-night2","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 16<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/180n2-7a14c90d2b.png","category":{"name":"Other","id":"0"}}]}