{"slides":[{"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":"Gimme Gimme Disco: A Dance Party Inspired by ABBA (18+)","media_tagline":"","event_body":"This event is 18 & Over Only.  No exceptions.\n\nIf you can’t get enough of ABBA, boy do we have THE dance party for you! We are a DJ based dance party playing all your favorite ABBA tracks, plus plenty of other disco hits from the 70s & 80's like The Bee Gees, Donna Summer, Cher, & so much more. So honey honey, take-a-chance and you’ll be dancing all night long. Grab tickets, put on your best disco attire, bring your friends, and have the best night of your life!\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/660ggd-78bbd4deef.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/gimme-gimme-disco-6","ticket_link":"Buy Tickets<\/a>","event_date":"Jul<\/span> 26<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/ggd180-d5cf404554.png","category":{"name":"Other","id":"0"}},{"media_title":"Hot Water Music","media_tagline":"with Rodeo Boys + SubShop","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-web-banner-9c0ddbb8ed.jpg","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-thumbnail-7375eb0a44.jpg","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":"Buy Tickets<\/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":"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\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), Beyoncé, Usher, Rihanna, Britney Spears, Pitbull, 50 Cent, Shakira, Snoop Dogg, Flo Rida, Fergie, T-Pain, Amy Winehouse, Outkast, Eminem, Pink, Black Eyed Peas, Jay-Z, Sean Paul, Avril Lavigne and so many more. \n\n \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\n \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\/hih66025-48cc2316fa.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/hot-in-herre-2000s-dance-party-11","ticket_link":"Buy Tickets<\/a>","event_date":"Aug<\/span> 22<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/hih18025-f1ac15bcfe.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":"House Party Rave","media_tagline":"","event_body":"Experience this high-energy, nostalgia-fueled dance party - all the chaos and thrill of a house party—louder, sweatier, but without the neighbors shutting it down. Relive early 2010s anthems that defined a generation: LMFAO, Skrillex, A$AP Rocky, Swedish House Mafia, Passion Pit, Rihanna, MGMT, and more\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/660hpr-ea863e15b6.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/house-party-rave","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 6<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/hpr180-e1146cc006.png","category":{"name":"Other","id":"0"}},{"media_title":"The Barons and HASH the Band","media_tagline":"with Chlo\u00eb Ester","event_body":"The Barons is a US alternative band comprised of lead singer and guitarist Peyton Alley, drummer Mathes Glymph, lead guitarist Josiah Ragland, and bassist Kirtland Gray. Forming in 2016, the Virginia natives’ repertoire include various sounds ranging from heavy-hitting indie rock to a lighter fair of introspective love songs. The band’s most recent record “rock! or go to the association.” embodies both the beauty and destruction that coexist in The Barons’ sound. The tunes have allowed The Barons amass a following among colleges on the East Coast as well as supporting alternative acts such as Judah & The Lion, The Aces, Barns Courtney, and Catfish and the Bottlemen.\n\n\nFormed in 2023, Charlottesville’s next-gen rock band HASH the Band caught a buzz. Due to a fast-growing fandom, locals Hasler Yancey (lead vocals\/guitar), Jackson Rosson (bass), Tommy Fruscello (drums), Timothy Langlois (guitar), and Asher Friedman (keys) have been on a performing spree that includes shows with Kendall Street Company, Indecision, and The Barons. The group played The Jefferson Theater in March and Fridays After Five in May then headlined The Southern Café and Music Hall.\n\n\nChloë Ester’s distinctive style is informed by indie, dream pop, bubblegrunge, shoegaze, and alternative rock sounds. Based in Charlottesville, VA, her songs have been described as introspective, cynical, delicate, dark, and sarcastic. She delivers crushingly vulnerable lyrics with a clear, magnetic voice and blistering directness, often obsessing over fear, trauma, love, and its absence. Her favorite song is “Dreams” by The Cranberries. \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/baronsweb660-05c16440e7.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-barons-and-hash-the-band","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 12<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:30pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/baronshash180-ac49592b39.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":"Deafheaven","media_tagline":"with Harm\u2019s Way and I Promised The World","event_body":"The desire for escape is central to Deafheaven. It’s often about attempting to escape cycles: the repetition of the everyday, things you’ve inherited, situations you don’t want to face, your very DNA. Maybe you can find temporary release through self-medication, day dreams, delusion, and maybe even art. Up to this point, though, something also seemingly central to Deafheaven’s music: the fact that no matter the approach you take, you can’t run away from yourself.\n\nDeafheaven formed in the Bay Area in 2010 as the duo of childhood friends vocalist George Clarke and guitarist Kerry McCoy.  Drummer Daniel Tracy joined in 2012, guitarist and keyboardist Shiv Mehra came on board in 2013, with bassist Chris Johnson joining in 2017.  Together they’ve continually pushed what it means to make metal, they’ve also continued to feel just as open, honest, and soul-bearingly human as they did back in 2010.\n\nThe emotions that boil up in their songs are not vague or over-generalized: You see them as people, ones who are often struggling or failing, but people who are getting back up and wanting to keep going. This is especially true of the band’s sixth album, Lonely People With Power, Deafheaven’s first record in four years and their first for a new label. From Roads to Judah to their 2013 breakthrough Sunbather, a defining album for the heavy metal genre, through to 2015’s New Bermuda, 2018’s Ordinary Corrupt Human Love, and 2021’s Infinite Granite, Deafheaven has never shied away from telling you exactly who they are: their humble beginnings, their battles with addiction, alienation, burnout, and depression. Autobiographical details surface and resurface throughout the songs like a breadcrumb trail: Sunbather was, in part, inspired by Clarke growing up in an apartment with his mother and brother without any money and wondering what it’d be like to have it. There’s also his realization that, like some of his family, he’s able to be emotionally cold, and not necessarily able to love.  This returns, in full on, Lonely People With Power.\n\nThey wrap heavy human emotions in some of the most beautiful, dynamic music you’ll ever hear. As lineups have expanded and contracted, they’ve consistently experimented with and expanded their sound. And while there are certainly signatures to what they do—Clarke’s anguished screams, McCoy’s colorful layers of MBV-meets-Emperor guitar heroics, drummer Daniel Tracy’s blastbeats—it’s the heaviness of the emotion that defines the discography.\n\nDeafheaven’s music feels like a project of accrual—on each album they fill new songs with elements of what they’ve learned in their earlier experiments. You hear echoes of past recordings in the howls of the present: the sun-dappled screamo histrionics of Roads to Judah are more fully realized in Sunbather’s pastel star-scapes; New Bermuda doubles down on the heaviest elements of both of those records; Ordinary Corrupt Human Love threads together elements of the soft and the heavy into an especially epic statement. Infinite Granite, often described simply as Deafheaven’s record with mostly clean vocals, compressed it all into something strikingly solid. That was true, but there was much more to it than that; listening to Lonely People, you can hear its echoes everywhere—and if you listen closely, you can find deeper ways back into it when you listen to it again. \n\nLonely People With Power is particularly cumulative. “A lot of making this album felt like doubling down on an identity it took a decade to fully understand,” Clarke explains. “Essentially staking claim to an assortment of ideas we’ve thrown together through the years that now feel cohesive. An identity we spent years crafting.”\n\nWhile this has always been a part of what the band does, with Lonely People With Power there was a conscious decision to make something that felt like a representation of who they are now, both as a band and as people. Clarke goes further: “In the last decade, we made Sunbather and then it was like, ‘We’re not just this, we’re this.’ And we made New Bermuda. And it’s like, ‘We’re not just this, we’re this,’ and so on. There was always an effort to challenge ourselves, whereas with this one, there was actually a real comfort in looking back and feeling established in our own sound. Now that’s a broad sound, which is why there’s so many different things going on. Now that we really know who we are and we don’t feel the strain of self-challenging so much. The music is challenging alone in itself, we don’t need to overexert ourselves to prove a point. Kerry and I were like, ‘Let’s just do us to the most us we can do it.’”\n\nOn Infinite Granite, Deafheaven made a shift from the familiar to achieve a different sound and started working with Justin Meldal-Johnsen. Infinite Granite has a particularly solid, polished sound to it; there is so much depth and darkness to it. It feels like its title suggests: Meldal-Johnsen helped to produce some of the band’s heaviest atmospheres and tones, though it was not meant to be a traditionally heavy album. Meldal-Johnsen is back again on Lonely People With Power; on it, he’s able to let the emotion explode.\n\nClarke explains that the title Lonely People WIth Power came to him when he was reading about industrialists and technologists and considering how people who tend to amass influence, or want to amass influence,  don’t often possess intimate connections. This sort of alienation can then shape their idea of humanity and how then they try to imbue themselves with power. “I think a lot of people who are seekers in this way tend to be morally ambiguous,” Clarke explains. “Some lonely people have mastered the idea of ephemeral relationships, and learned from them to be manipulative. The power in mastery can go both ways depending on the person.” There is very much a solitude and loneliness that comes with mastering your artistic craft, too. There can be loneliness that leads to mastery that leads to achievement that then spreads to a sort of positive influence. There can, as often, be the ugly side, where resentment or isolation takes over. Basically, power can lead people to double down on their worst impulses.\n\nThe “Lonely People” in the title also references other people who have an influence on our personal lives. It’s about parents, recognizing how their perspectives shape us and our worldview. “I sometimes use loneliness as a stand-in for ignorance,” Clarke says. “Sometimes your parents don’t know what they’re doing and they teach you things that they’ve been taught. It can be natural and not malicious. And so I was thinking about that. I was thinking about loneliness as a spiritual vacancy.”\n\nThe album largely suggests power can be negative, but gaining power over one’s own worst impulses, and righting the ship, is the bigger part of the record. Clarke notes that while his lyrics include a recognition of suicidal ideation, it’s a realization that there is life beyond the present. “It’s the idea of the panopticon as a cage of mirrors,” he explains. “How reflection can be deceptive. You trick yourself into thinking this is all there is.” So, no, maybe you can’t fully escape your DNA, but you also don’t need to be defined by it.\n\nReturning to the closing lines of Sunbather—“I am my father’s son\/ I am no one\/ I cannot love\/ It’s in my blood”—much of Lonely People With Power deals with masculinity: What men teach you, how men’s lessons affect your view of women and reality. Clarke looks at his father and his sobriety, his uncle’s funeral, and there is an image of Saturn eating his child. “Heathen” is a song about commitment issues. On “Body Behavior,” we see a father figure showing a boy pornography and using that as a misguided way to try to teach a kid something about the world. “I was thinking a lot about relationships between men,” Clarke says. “This is a very common experience and I don’t think really something that’s really often touched on is how actually pretty deeply affecting those kinds of ‘life lessons’ can be.”\n\nThe song “Magnolia” is a reference to the state flower of Mississippi, the place where Clarke’s uncle was buried. “‘Magnolia’s about my uncle’s struggles with depression and alcoholism,” he explains, “And my father’s the same, and they’re brothers, and it’s about how family sometimes can feel like looking into an unchanging reflection like their destiny is your destiny.”\n\nUltimately, Lonely People is a record that is anti-loneliness. It’s about finding less harmful ways to escape: your chosen family, your community, and even magic. “The Marvelous Orange Tree,” which closes Lonely People, is named after a trick by Houdin from the 1830s. Though that song is about suicide, it almost feels like it’s more about the beauty of the San Joaquin valley, the magesty of the trees and ravines. It feels like religious revelation.\n\nNo, you don’t have to feel this way. No, you’re not beholden to your family history. You can live in the present. Clarke explains: “Sometimes reflection can be deceptive when you’re doing it alone and when you’re in the vacuum and you create ideas for yourself that aren’t real.  Lonely People With Power is about freeing yourself from the idea of destiny and reintroducing yourself in a healthier way.”\n\nOne of the compelling things about Deafheaven is that as much as they experiment, expand, shift, and regroup, and as much as they make music that feels 100% capable of melting the stars, they remain at their core the scruffy young punks they were when the band formed 15 years ago. That said, there’s a beautiful emotional growth in Lonely People With Power.\n\nThis is crystalized on “The Garden Route,” a love song that’s not a daydream about love, but an actual song about an actual love—and an actual road trip. Fittingly, it’s not the last song on the record. We don’t get some sappy cinematic finale. Not even close. Instead it shows up as song 4 of 12—after it we get songs about suicidal ideation, questioning life, songs that feature funerals and absences, songs that dig into embarrassing and scarring moments of youth. Life can sometimes feel like a movie, and Deafheaven’s music can soundtrack those moments, but nothing’s ever completely cut and dry.  The band’s been examining, expanding, and distilling this territory for a long time, and they get that. In fact, it’s a particularly dark image (“With my endless illness\/ walking into blackness”)  that ends Lonely People With Power. So was everything that came before it meaningless? No, it’s a reminder that nothing’s perfect: As much work as we put in, as much as we try, we’re still human, which is ok, and life does continue to echo—even in the smallest of ways—until it stops.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/091725-Deafheaven-660x340-5e7d2e353f.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/deafheaven","ticket_link":"On Sale Soon<\/a>","event_date":"Sep<\/span> 17<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/091725-Deafheaven-180x180-0e91ea8c00.png","category":{"name":"Other","id":"0"}},{"media_title":"MICO ","media_tagline":"","event_body":"This event was originally scheduled at the Southern Cafe and Music Hall but has been moved to the Jefferson Theater due to popular demand.  All tickets originally purchased for the Southern event will be honored for this performance.\n\nIn a digital era where everyone wants overnight success, alt-pop rising artist MICO showcases that great music and consistency can win the race. Starting as a 16-year-old singing in Discord servers and Twitch streams, MICO (now 22) continues to connect with new listeners one-by-one, paying off in a cult fanbase of 1.6 million digitally (known as the “amicos”), generating over 100 million global streams and selling out North American and European tours – all independently without major label help.\n\nThe last two years have catapulted MICO to new heights – earning a top 20 radio hit (“cut my hair”), selling out three headline tours throughout the US and Canada, and sparking viral hits that have become staples in his discography (“HOMESICK”, “TV” and “Senses”.\n\nFor MICO, the Internet isn’t something to be overthought – it’s like his second home. In 2024, he released his highly anticipated fifth EP, “Internet hometown hero” accompanied by his Cancel your plans tour – selling out dates in the US and Toronto and breaking his own streaming records. \n\nAnd 2025 is all gas, no brakes for the rising phenom as he fresh off his first-ever EU\/UK tour (100% sold out), supported Nightly on a few US dates, coinciding with additional US headline shows in May (100% sold out) and will perform on his first festival ever at Lollapolooza in Berlin this July – all while releasing the deluxe version of his 2024 EP – “Internet hometown hero (+DLC)” on May 2, featuring “I’d hate to be my friend” and “Don’t you cry (w\/ vaultboy). \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/091825-660x340-265daaad42.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/mico","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 18<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/091825-180x180-29190b5c9d.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":"SOS: The Recession Pop Party (18+)","media_tagline":"","event_body":"This event is 18 & over only.  No exceptions.\n\nLimited early bird tickets available while supplies last!\n\n \n\n"SOS: Please report to the dancefloor immediately. The Recession Pop party is here for you to party like there's no tomorrow. Here’s a taste!\n\n \n\nCome live in the moment, throw your hands in the air, and let it all out with a room full of your friends here to do the same thing. Our top tier DJs will help you put the world on pause with all the bangers, anthems and singalongs to keep your body moving and the vibes high all night long. \n\n \n\nExpect to hear music from artists like Kesha, Charli XCX, Katy Perry, Chappell Roan, Pitbull, Lady Gaga, Sabrina Carpenter, LMFAO, Rihanna, Black Eyed Peas and so many more. Tonight is the night, so come get your healing on the dancefloor."\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/recession-pop-party-660-12e8f3b2b2.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/sos-the-recession-pop-party-920","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 20<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/recession180-1b512e3b16.png","category":{"name":"Other","id":"0"}},{"media_title":"Sharon Van Etten & The Attachment Theory","media_tagline":"with TORRES","event_body":"For every ticket sold, Sharon Van Etten & The Attachment Theory will donate $1 to A New Way of Life Reentry Project for their work to advance multi-dimensional solutions to the effects of incarceration.\n\n \n\nFrom the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction. - Lol Tolhurst\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0925-SVE-WEB-BANNER-aece6b8b9d.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/sharon-van-etten-the-attachment-theory","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 25<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0925-SVE-WEB-TN-2b2c3b0503.png","category":{"name":"Other","id":"0"}},{"media_title":"Bruce Hornsby & The Noisemakers","media_tagline":"with very special guest Eggy ","event_body":"Bruce Hornsby has built one of the most diverse, collaborative, and adventurous careers in contemporary music. Drawing from a vast wellspring of American musical traditions, the singer\/pianist\/composer\/bandleader has created a large and accomplished body of work and employed a vast array of stylistic approaches. Throughout this period, Hornsby has maintained the integrity, virtuosity and artistic curiosity that have been hallmarks of his work from the start.\n \n\nHornsby and his band The Range's first album The Way It Is (1986) was steadily and slowly building in popularity in the U.S. when in August the title track exploded on BBC Radio One in England, then Europe, the rest of the world and finally in the United States. The record went on to sell three million records, the band played Saturday Night Live and opened for Steve Winwood, John Fogerty, Huey Lewis, the Grateful Dead and the Eurythmics before becoming headliners on their own tour supported by Crowded House.\n \n\nSoon Hornsby was being approached regularly to collaborate with a broad range of musicians and writers, a demand that continues to this day. He has played on records for Bob Dylan, Robbie Robertson, Bonnie Raitt (piano on her iconic "I Can't Make You Love Me"), Willie Nelson, Don Henley, Bob Seger, Squeeze, Stevie Nicks, Chaka Khan, Charlie Haden, Jack DeJohnette, Crosby, Stills and Nash, Bon Iver, Leon Russell, Chris Whitley, Warren Zevon, Bernie Taupin, Brandon Flowers (of the Killers), Cowboy Junkies, Shawn Colvin, Bela Fleck, Randy Scruggs, Hillary Scott, the Wild Magnolias, Clint Black, Sara Evans, Clannad and many more. He has worked on his own records with Ornette Coleman, Jerry Garcia, Eric Clapton, Sting, Elton John, Mavis Staples, Phil Collins, Pat Metheny, Branford Marsalis, Wayne Shorter, Justin Vernon, and James Mercer (of The Shins) among others. Along with his early co-writer Jonathan Hornsby and latter-day partner Chip deMatteo, Bruce has co-written songs with Robert Hunter (the great Grateful Dead lyricist), Justin Vernon, Robbie Robertson, Don Henley, Leon Russell, Charlie Haden, Chaka Khan, and Jack DeJohnette. His songs have been recorded by another broad array of artists including Tupac Shakur (his iconic "Changes"), Akon, Bon Iver, Snoop Dogg, Chaka Khan, E-40, Don Henley, Leon Russell, Willie Nelson, Mase, Randy Scruggs, and Robbie Robertson.\n \n\nOver the years Hornsby has successfully ventured into bluegrass, jazz, classical, and even electronica, reflected on acclaimed releases like two projects with Ricky Skaggs- Ricky Skaggs and Bruce Hornsby (2007) and the live Cluck Ol' Hen (2013), the jazz trio album Camp Meeting (2007) with Jack DeJohnette and Christian McBride, and Solo Concerts (2014), a stylistic merging of traditional American roots music and the dissonance and adventure of modern classical music. This latter-day interest led to an orchestral project spearheaded by Michael Tilson Thomas featuring this new music; the first performance occurred in January 2015 with Thomas' New World Symphony, and the latest concert with more new material came in June 2018 at his Funhouse Fest with the Virginia Symphony Orchestra.\n \n\nHis three Grammy wins ( along with his ten Grammy losses!) typify the diversity of his career: Best New Artist (1986) as leader of Bruce Hornsby and the Range, Best Bluegrass Recording (1989) for a version of his old Range hit "The Valley Road" that appeared on the Nitty Gritty Dirt Band's Will The Circle Be Unbroken Volume Two, and a shared award with Branford Marsalis in 1993 for Best Pop Instrumental for "Barcelona Mona", a song written and performed for the 1992 Olympic Games.\n \n\nThe sales stats and breadth of his collaborations (including being sampled many times by rap\/hip-hop artists) speak volumes about Hornsby's unique fusion of mainstream appeal and wild musical diversity. His albums have sold over eleven million copies worldwide. Harbor Lights (1993) won the Downbeat Reader's Poll Album of the Year in 1994. Tupac Shakur co-wrote a new song over "The Way It Is" music called "Changes"; it was a major worldwide hit in 1998, selling 15 million copies. In 2006 his 4 CD set Intersections was selected as one of the best boxed sets of the year by the New York Times. His song "Levitate" was selected in 2011 by Sports Illustrated as one of the top 40 sports songs of all time. Bruce and his current band The Noisemakers' latest record (a collection featuring Bruce on the Appalachian dulcimer) Rehab Reunion (2016) entered the Billboard album chart at 101, marking his tenth album appearance on the venerable chart over a thirty-year period. In 2016 the annual Rolling Stone "Hot List" selected Bruce as "Hot Surprise Influence", citing his influence and inspiration on such modern artists as Justin Vernon (Bon Iver) and Ryan Adams.\n \n\nThroughout the years Hornsby has participated in several memorable events: the Rock and Roll Hall of Fame opening concert in September 1995 (with the performance included on the concert album), Farm Aid IV and VI, the Telluride Bluegrass Festival (many times), the Newport Jazz Festival (2007), New Orleans Heritage and Jazz Festival (1997 and 2011), Woodstock II (1994), Woodstock III (1999, with the band's performance included on the concert album), and the Bonnaroo Festival (2011). Hornsby, solo and with Branford Marsalis, has performed the National Anthem for many major events including the NBA All-Star game, four NBA Finals, the 1997 World Series Game 5, the night Cal Ripken broke Lou Gehrig's all-time consecutive game streak, and the soundtrack to Baseball: A Film by Ken Burns. Most recently he was a special guest of Bon Iver for their set at the Coachella festival in April 2017, and sat in with Justin Vernon (Bon Iver) twice in December 2017 and once in Eau Claire, WI in 2018.\n \n\nBruce's long involvement with the Grateful Dead began when the group asked him to open two shows in Monterey, CA in the spring of 1987. Bruce and the Range continued to open shows for the Dead in 1988, 1989 and 1990, and after the tragic death of Dead keyboardist Brent Mydland the band asked him to play with them. He started winging it with them with no rehearsal for five nights at Madison Square Garden in September 1990, and played more than 100 shows with them until March 1992. He continued to sit in with the band every year until Jerry Garcia passed away in 1995. He played in the first post-Dead band "The Other Ones" in 1998 (the album The Strange Remain chronicles that tour) and 2000. Bruce reunited with the band for the 50th Anniversary Fare Thee Well concerts in June and July 2015 at Levi's Stadium (Santa Clara, CA) and Soldier Field (Chicago). He appears on seven Grateful Dead records including Infrared Roses, So Many Roads and View From The Vault II.\n \n\nBruce has been part of many tribute records including two Grateful Dead collections, the original Deadicated (1991) and the recent massive compilation curated by the band The National entitled Day of the Dead. He recorded "Black Muddy River" with Justin Vernon of Bon Iver and Justin's high school band DeYarmond Edison. Other tribute record appearances include Two Rooms- A Tribute To The Songs of Elton John and Bernie Taupin, a Keith Jarrett tribute, a tribute to The Band, a Fats Domino collection, Ricky Skaggs’ Big Mon - the music of Bill Monroe, and the Jackson Browne tribute record Looking Into You. \n\n \n\nA University of Miami alum, Hornsby has partnered with The Frost School of Music to establish the Creative American Music Program, a curriculum designed to develop the creative skills of talented young artist\/songwriters by immersing them in diverse American folk, blues, and gospel traditions that form the foundations of modern American songwriting.\n \n\nIndeed, Bruce Hornsby's restless musical spirit continues to spontaneously push him forward into exciting new musical pursuits. He's composed and performed for many projects with long-time collaborator, filmmaker Spike Lee including end-title songs for two films, Clockers (1995, with Chaka Khan) and Bamboozled (2001). He contributed music for If God is Willin' And the Creek Don't Rise (2010), Old Boy (2013) and Chiraq (2015), and composed full film scores for Kobe Doin' Work, Lee's 2009 ESPN Kobe Bryant documentary, 2012's Red Hook Summer, Da Sweet Blood of Jesus (2015), and Lee's film for the NBA2K16 video game (2015). Bruce wrote and performed the end title song "Set Me In Motion" for Ron Howard's Backdraft (1991) and a featured song "Big Stick” for Ron Shelton's Tin Cup (1996). He's currently working with DeMatteo on a musical entitled SCKBSTD, and contributed music for Disney\/Pixar's Planes: Fire And Rescue (2014). Hornsby is also featured onscreen in and contributed music to the Robin Williams\/ Bobcat Goldthwaite film World's Greatest Dad (2009), the first (and last!) time he has been asked to "act." He scored both seasons of Spike Lee's Netflix series She’s Gotta Have It, in 2017 and 2019, wrote and performed new music for Lee’s 2018 film Blackkklansman, and contributed a new solo performance of “The Way It Is” for the 2019 documentary NYC Epicenters 9\/11-2021½. \n \n\nThree decades after Bruce Hornsby established his global name as the creator of pop hits that defined "the sound of grace on the radio," as a Rolling Stone reviewer once wrote, such projects continue and are consistent with his lifelong pursuit of musical transcendence. "It's always been about staying inspired, broadening my reach and range of abilities and influences, and exploring new areas", Hornsby says. "I'm very fortunate to be able to do that, to be a lifelong student, and to continue to pursue a wide-ranging musical life."\n \n\nHis adventurous 21st album, Absolute Zero, was released in April 2019, and received some of the most rapturous reviews of Hornsby’s career, from such venues as the New York Times, Spin, Pitchfork, Times of London, Mojo, Guardian U.K., and the Washington Post. “Voyager One” was picked as one of the Best Songs Of 2019 by the New York Times. It featured guests yMusic, Justin Vernon, Blake Mills, Robert Hunter, The Staves, and Jack DeJohnette. \n \n\nVernon and Hornsby co-wrote and sang a duet together on the main single from the record, “Cast-Off”. They continued their collaborative efforts in writing the song “Yu Man Like” for the new 2019 Bon Iver album i,i. Hornsby played piano and sang one lead line.\n \n\nIn 2020 Hornsby released the follow-up to Absolute Zero entitled Non-Secure Connection, which was again met with an extremely positive critical reception from The NY Times, Pitchfork, Spin, Esquire, The Times of London, Uncut, UK Evening Standard and The London Sunday Times. “My Resolve”, a duet with James Mercer from The Shins, was picked as one of the Best Songs of 2020 by the New York Times. It featured guests Mercer, Jamila Woods, Leon Russell, Vernon Reid, Justin Vernon, and Rob Moose. Bruce and James appeared in virtual duets on Stephen Colbert and the Virtual Bonnaroo Festival.\n \n\nAlso appearing with Bruce on the Bonnaroo set was Chicago hip-hop artist Polo G who released “Wishing For A Hero” in 2020, a song inspired by Tupac’s “Changes” that again used the music and some words from “The Way It Is” to great effect. “Wishing For A Hero” was a highly acclaimed and well-received hit from Polo’s 2020 album The GOAT.\n \n\nBruce’s 23rd record, Flicted, was released in May 2022 completing the trilogy of albums begun with Absolute Zero. Featuring an array of special guests including Ezra Koenig (Vampire Weekend), Danielle Haim (Haim), Blake Mills, and yMusic, the album was again met with critical acclaim from The New York Times, Sunday Times (UK), Uncut, and Pitchfork, amongst others.\n\n\nEggy reaches out a hand, inviting you along as a great story unfolds. Their music traces the full spectrum of emotions, evoked by a life well-lived alongside friends well-loved. What began as a high school dream has grown into a full-fledged reality. Since forming in 2016, the lineup of Alex Bailey (drums, vocals), Jake Brownstein (guitar, vocals), Mike Goodman (bass, vocals), and Dani Battat (keys, vocals) has captured the ears of listeners across the United States and beyond. Following their 2019 debut album Watercolor Days, Eggy hit the road, performing in over 40 states and building a devoted grassroots following. Along the way, they released Nashville Tapes in 2022-two tracks recorded in the heart of Music City-and curated live releases like Eggy Selects: Spring Tour 2023, Vol. 1 to showcase the magic of their eclectic performances. Their latest studio album, Waiting Game, released on September 6, 2024, marks a new chapter for the band. Co-produced by James Petralli of White Denim, the record brings a refined, focused approach to Eggy's signature sound. Featuring standout singles like "A Moment's Notice," "Laurel," and "Gentle Clown," Waiting Game captures the band's growing maturity while preserving the spirit of exploration that defines their live shows. With each step forward, Eggy continues to carve out a space that feels timeless-inviting audiences to pause, listen, and join the journey.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/B.Hornsby_092725_660x340_banner-0300caf78f.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/bruce-hornsby","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 27<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/bhornsby180-200033647e.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":"Samantha Fish","media_tagline":"","event_body":"One of the most formidable guitarists of her generation, Samantha Fish deals in her own unmatched brand of bravado, bringing both mind-blowing power and extraordinary emotionality to everything she creates. Since first introducing the world to her larger-than-life talent, the multi-award-winning festival headliner has built a triumphant career whose latest milestones include earning a Grammy nomination for Death Wish Blues (her 2023 collaboration with rocker Jesse Dayton) and opening for The Rolling Stones on their final 2024 U.S. tour date. On her new album Paper Doll, Fish offers up nine powerhouse songs that hit with an unstoppable force, each delivered with an exquisite dose of illuminating insight, soul-soothing empathy, and—above all—newly heightened clarity of vision. “It’s taken me years to finally find my voice in a studio setting,” Fish admits. “But with this record I took everything I had, and slammed it right on the table.”   \n\n \n\nFish’s first-ever album recorded with her touring band, Paper Doll takes its title from the first song the Kansas City-bred musician penned for the LP: a raw yet reflective battle cry that perfectly encapsulates the album’s spirit of unapologetic defiance. “That song’s a feminist anthem in a way—but then again, every song’s a feminist anthem when you’re a woman writing from your own experience,” says Fish. “It’s about rebelling against other people’s expectations of who you’re supposed to be, which feels pretty relevant for the times we’re living in right now.”\n\n \n\nRecorded at The Orb in Austin and Savannah Studios in L.A., Paper Doll marks the latest entry in an uncompromising and endlessly adventurous catalog that’s found her working with luminaries like Jon Spencer of Jon Spencer Blues Explosion as well as Luther Dickinson (co-founder of North Mississippi Allstars and former member of the Black Crowes). This time around, Fish reunited with Detroit garage-rock icon Bobby Harlow, who also produced her 2017 LP Chills & Fever. “When I look back on Chills & Fever I realize that Bobby was pushing me into some cool and dangerous places, but at that phase in my life I was holding back a bit,” she says. “Now I’m at a point where I’m ready to give people something totally unexpected, something that breaks the pop formula and really takes its time to tell a story with the guitar playing.”\n\n \n\nFor help in shaping Paper Doll’s magnificently rowdy but nuanced sound, Fish joined forces with bandmates Ron Johnson (bass), Jamie Douglass (drums), and Mickey Finn (keys), cutting most of the album in the midst of a grueling touring schedule that included a run of dates with Slash on the legendary guitarist’s S.E.R.P.E.N.T. festival in summer 2024. “I’d never made a record on the road like that,” Fish reveals. “Even though it was so intense, it felt good to keep up the momentum from the live show. It helped us make an album that’s got a real living, breathing pulse to it.”\n\n \n\nA potent balance of catharsis and introspection, boldness and vulnerability, Paper Doll opens on the sublimely moody riffs of “I’m Done Runnin’”—an exhilarating statement of self-reliance, expressed with unshakable self-possession (from the bridge: “When I look in the mirror, staring at the unknown\/The world’s not getting clearer, but I like where I’m goin’”). “It’s about pushing forward even when life knocks you down, because you know what you want,” Fish explains. One of several songs partly composed with her longtime co-writer Jim McCormick (a multi-platinum hitmaker whose credits also include Luke Bryan and Tim McGraw), “I’m Done Runnin’” draws much of its impact from Fish’s deepened confidence in her vocal prowess. “Singing live onstage is one thing, but learning how to bring that energy into the studio is a whole different beast,” she points out. \n\n \n\nAnother track steeped in fiery attitude and hard-won self-assurance, “Lose You” kicks into a breakneck pace as Fish confronts a noncommittal paramour, adorning her takedown with a blazing guitar solo and the beguiling harmonies of backup singers D. Scaife, Keo, and Gabbi Beauvais. “It’s a song about taking control and calling the shots in a relationship,” says Fish. “It’s my way of saying, ‘I’m on fire and you’re not, so what are you gonna do about it?’” Later, on the wildly fun “Rusty Razor,” Paper Doll goes scorched earth with a brutally catchy tirade against life’s infinite injustices, amping up the track’s pure punk exuberance with the help of guest vocalist Mick Collins (co-founder of seminal Detroit bands The Gories and The Dirtbombs). “The older you get, the more you can become numb to all the bad shit that happens in life—whether it’s friends passing away before their time, or working so hard and never getting to where you want to be,” says Fish. “But the truth is, we should never get used to our hearts being broken like that.” \n\n \n\nAlthough a feverish intensity fuels much of Paper Doll, the album drifts into a dreamlike languor on songs like “Fortune Teller” (a psych-blues slow-burner driven by a particularly spellbinding vocal turn from Fish). Meanwhile, “Sweet Southern Sounds” unfolds in smoldering riffs and lush organ melodies, ultimately taking the form of a soul-searching epic that turns gloriously frenetic in its final moments. Co-written with fellow New Orleans-based singer\/songwriter Anders Osborne, the result is a gripping meditation on a tension all too familiar to those fiercely devoted to their passion. “It’s an anthem about being on the road and feeling guilty about not prioritizing the people in your life,” says Fish. “It’s hard to find that balance between taking care of your relationships and dedicating yourself to your music, and there’s definitely a tinge of heartache to that song.”\n\n \n\nA consummate music obsessive who lists such eclectic artists as Prince, Leonard Cohen, and Black Sabbath among her influences, Fish found herself especially fascinated with Delta blues heroes like Junior Kimbrough and R.L. Burnside in the writing of Paper Doll. “I love how in a lot of Mississippi Hill Country blues there’s a drone that happens on the low notes and keeps you hypnotized throughout the song,” she says. “A lot of the guitar work on this record is inspired by that style of playing—and then from there it explodes in all different directions, from rock & roll to soul to pop.” In sculpting such an expansive body of work, Fish found an ideal creative partner in Harlow, who also co-wrote a number of songs on Paper Doll. “I can be a perfectionist when it comes to recording, and it was cool to have Bobby around to stop from me trying to robotically hit the exact note over and over,” she says. And as a born performer who got her start by thumbing through the phone book and cold-calling local bars for gigs in her mid-teens, Fish crafted every song on Paper Doll with an eye toward her incendiary live show. “The main goal is to make great songs that tap into whatever I’m feeling at the moment, but at the same time I’m asking, ‘How is this going to feel live?’” she says. “I’m always thinking about how to add to our arsenal of songs and put together an amazing show for when we’re back out on the road.” \n\n \n\nArguably her most accomplished work to date, Paper Doll emerged from Fish’s deliberate embracing of the ineffable musical gifts she’s cultivated almost her entire life. “When we started working on this record I asked myself, ‘What are my superpowers?’ I wanted to lean into my strengths in a way I never completely had before, to make a big guitar album with some epic performances and really sing my ass off,” she says. “I ended up pouring so much emotion into all the songs, and I hope they help people feel fired up and ready to take on anything that comes their way. I’d love for this record to be somebody’s jet fuel.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/sf660330please-17477d9cc5.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/samantha-fish-1","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 1<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/sf180180please-f902c97352.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":"The Castellows","media_tagline":"","event_body":"Neo-Traditional Country music trio, The Castellows, bring a literal meaning to the phrase, “family tradition.” The band, comprised of sisters Ellie (lead guitar), Powell (banjo) and Lily (vocals), hail from small rural Georgetown, Georgia, but now call Nashville home. The Castellows’ sound is traditional, yet modern. Authentic, yet harnessed. The common thread among the trio, other than their DNA, is their masterful three-part harmonies which blend together to create one singular, almost angelic, voice. The Castellows’ craft as songwriters is as robust as their voices, which is evident across the trio’s debut EP, A Little Goes A Long Way , (February 9, 2024) and the follow-up three-song EP, Alabama Stone (December 6, 2024) featuring song “Girl That Boy” which Billboard describes as an “exquisitely melancholy song” adding that “It’s jarring, refreshing – and practically demands a second listen.…” The Castellows’ next project, the seven-song Homecoming EP, arrived May 30th followed by a headline tour of the same name (The Homecoming Tour) kicking off in Fall 2025. Prior to the onslaught of new music by The Castellows, the band began turning heads of music industry insiders in January 2023. When spring arrived, The Castellows had signed a record deal with Warner Music Nashville & Warner Records, collectively. Wasting no time on pleasantries, The Castellows immediately got to work writing, recording, and performing live. One year later, the three sisters from a cattle farm in Georgia are still turning heads, landing on multiple 2024 ‘Watch Lists’ including CMT Next Women of Country, CMT ‘Listen Up,’ and Nashville Lifestyles, touting their first major award-nomination for CMT Digital-First Performance of the Year at the 2024 CMT Music Awards, hitting the road in the fall of 2024 with Little Big Town and Sugarland on the Take Me Home Tour, and being named a SiriusXM “Highway Find” artist for The Highway (Ch. 56). The Castellows have been featured on the COVER of Modern Luxury Magazine Nashville  (January 2025), JEZEBEL Magazine, and Magnolia & Moonshine Magazine (Summer 2024), named as an Amazon Music One To Watch in 2025, and will join Thomas Rhett on his Better In Boots Tour (2025) including a stop at Boston’s iconic Fenway Park on July 19, 2025.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1004-Castellows-Web-Banner-b2c66b97f3.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-castellows","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 4<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1004-Castellows-thumbnail-401339c69e.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Leftover Salmon","media_tagline":"with Sicard Hollow","event_body":"Few bands stick around for thirty years. Even fewer bands leave a legacy during that time that marks them as a truly special, once-in-lifetime type band. And no band has done all that and had as much fun as Leftover Salmon.\n\nSince their earliest days as a forward thinking, progressive bluegrass band who had the guts to add drums to the mix and who was unafraid to stir in any number of highly combustible styles into their ever evolving sound, to their role as a pioneer of the modern jamband scene, to their current status as elder-statesmen of the scene who cast a huge influential shadow over every festival they play, Leftover Salmon has been a crucial link in keeping alive the traditional music of the past while at the same time pushing that sound forward with their own weirdly, unique style.\n\nThe band now features a lineup that has been together longer than any other in Salmon history and is one of the strongest the legendary band has ever assembled. Built around the core of founding members Drew Emmitt and Vince Herman, the band is now powered by banjo-wiz Andy Thorn and driven by the steady rhythm section of bassist Greg Garrison, drummer Alwyn Robinson, and dobro player & keyboardist Jay Starling.\n\nThe current lineup is continuing the long, storied history of Salmon which found them first emerging from the progressive bluegrass world and coming of age as one the original jam bands, before rising to become architects of what has become known as Jamgrass and helping to create a landscape where bands schooled in the traditional rules of bluegrass can break free of those bonds through nontraditional instrumentation and an innate ability to push songs in new psychedelic directions live.\n\nSalmon is a band who for more than thirty years has never stood still; they are constantly changing, evolving, and inspiring. If someone wanted to understand what Americana music is they could do no better than to go to a Leftover Salmon show, where they effortlessly glide from a bluegrass number born on the front porch, to the down-and-dirty Cajun swamps with a stop on Bourbon Street in New Orleans, to the hallowed halls of the Ryman in Nashville, before firing one up in the mountains of Colorado.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/LS660-a6b6614603.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/leftover-salmon","ticket_link":"On Sale Soon<\/a>","event_date":"Oct<\/span> 5<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:30pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/LS180-06d4105f07.png","category":{"name":"Other","id":"0"}},{"media_title":"The Tallest Man On Earth","media_tagline":"","event_body":"Kristian Matsson: The Tallest Man on Earth\n\n"Music is my primary way of asking really loud questions. Most of my songs are big life questions, how to live and function in this world".\n\nThe Swedish singer-songwriter troubadour Kristian Matsson, better known as The Tallest Man on Earth has a rare talent for captivating an audience with just his raw, grainy voice and a guitar. He plays various string instruments, ranging from acoustic guitar, banjo and he recently picked up and started exploring the realm of the violin as well. The coming year will see him on the road again through Europe and North-America.\n\n\nThe project of Kristian Matsson - who has spent much of the last 19 years touring around the world as The Tallest Man On Earth - has captivated audiences using “every inch of his long guitar cord to roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…” (The New York Times). In 2020, Matsson left New York City and returned to his farm in Sweden where he drowned out his thoughts by manically growing vegetables in his garden. It was only near the end of 2021, as he began to tour again, that the inspiration returned. “When I’m in motion, I can focus on my instinct, have my daydreams again. When I was finally able to tour again, I started writing like a madman.” He eventually had a collection of songs, revealing what would become Henry St, an album that sees Matsson exploring his own stubborn optimism and “how to be a person in this world”.\n\nAfter 2015's Dark Bird Is Home, described by Pitchfork as his "most personal record... surreal and dreamlike," and his self-released I Love You, It’s a Fever Dream in 2019, Kristian Matsson returned in 2022 with the intricate cover album Too Late for Edelweiss. In 2023, he unveiled his sixth album, Henry St., marking the first time he recorded with a full band. “For most of my career, I’ve been a DIY artist, driven by the feeling that I didn’t know what I was doing, so I just handled everything myself,” Matsson explained. But with Henry St., he craved the creative spark that comes from collaboration and invited his friends to join him in the studio.\n\nHenry St. was produced by Nick Sanborn of Sylvan Esso and features contributions from an impressive roster, including Ryan Gustafson (guitar, lap steel, ukulele), TJ Maiani (drums), CJ Camerieri of Bon Iver (trumpet, French horn), Phil Cook (piano, organ), Rob Moose of Bon Iver and yMusic (strings), and Adam Schatz (saxophone). Together, they brought Matsson’s songs to life. “They understood exactly what my songs needed—sounds I could never have imagined or created on my own. Many tracks were recorded live in the studio, with everyone playing together, having fun, and staying open to the moment”.\n\nCritics often draw comparisons between The Tallest Man on Earth and Bob Dylan, citing similarities in both songwriting and vocal style. Matsson himself has acknowledged Dylan's influence, revealing that he started listening to him at the age of fifteen. Fascinated by Dylan's covers, he delved into their origins, which gradually introduced him to early American folk artists like Pete Seeger and Woody Guthrie. However, Matsson is quick to distance himself from being part of any specific tradition, stating, “I don’t want to be part of a tradition. I just want to do what feels natural to me. This is how I play, and this is how I write songs".\n\nIn 2024 Matteson performed together with the string orchestra Amsterdam Sinfonietta. He presented a program featuring Swedish folk music, works by classical Scandinavian composers, a selection of the singer’s own growing repertoire of beautiful songs, and covers of artists such as Bob Dylan and Adele. Special guests included the New York-based string quartet Brooklyn Rider, led by Colin Jacobsen. He also performed three sold out shows with the Swedish Gävle Symphony Orchestra, led by conductor Karl-Johan Ankarblom. Because of the success and warm reception of those performances 2025 will see more of a The Tallest Man on Earth collaboration with Gävle Symphony Orchestra in Sweden and with a chamber ensemble across North-America. But first he’s lining up for this spring’s solo tour in America and a festival run during the summer.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/TMOE-Web-Banner-ec56978783.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-tallest-man-on-earth-1","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 6<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/TMOA-thumbnail-e08422af51.jpg","category":{"name":"Other","id":"0"}},{"media_title":"American Aquarium","media_tagline":"","event_body":"\n\n\nFor nearly two decades, American Aquarium have pushed toward that rare form of rock-and-roll that’s revelatory in every sense. “For us the sweet spot is when you’ve got a rock band that makes you scream along to every word, and it’s not until you’re coming down at three a.m. that you realize those words are saying something real about your life,” says frontman BJ Barham. “That’s what made us fall in love with music in the first place, and that’s the goal in everything we do.” On their new album The Fear of Standing Still, the North Carolina-bred band embody that dynamic with more intensity than ever before, endlessly matching their gritty breed of country-rock with Barham’s bravest and most incisive songwriting to date. As he reflects on matters both personal and sociocultural—e.g., the complexity of Southern identity, the intersection of generational trauma and the dismantling of reproductive rights—American Aquarium instill every moment of The Fear of Standing Still with equal parts unbridled spirit and illuminating empathy.\n\n \n\nRecorded live at the legendary Sunset Sound in Los Angeles, The Fear of Standing Still marks American Aquarium’s second outing with producer Shooter Jennings—a three-time Grammy winner who also helmed production on 2020’s critically lauded Lamentations, as well as albums from the likes of Brandi Carlile and Tanya Tucker. In a departure from the stripped-down subtlety of 2022’s Chicamacomico (a largely acoustic rumination on grief), the band’s tenth studio LP piles on plenty of explosive riffs and hard-charging rhythms, bringing a visceral energy to the most nuanced and poetic of lyrics. “In our live show the band’s like a freight train that never lets up, and for this record I really wanted to showcase how big and anthemic we can be,” notes Barham, whose bandmates include guitarist Shane Boeker, pedal-steel guitarist Neil Jones, keyboardist Rhett Huffman, drummer Ryan Van Fleet, and bassist Alden Hedges. \n\n \n\nMixed by four-time Grammy winner Trina Shoemaker (Queens of the Stone Age, Emmylou Harris), The Fear of Standing Still shares its title with one of the first songs Barham wrote for the album—a soul-baring look at how raising a family has radically altered his priorities and perspective. In the process of creating what he refers to as “a record about growing up and growing older,” Barham also found his songwriting closely informed by his ten years of sobriety, as well as his ever-deepening connection with American Aquarium’s community of fans. “Whenever someone tells me that one of our songs helped them in some way, it encourages me to be more and more open—almost like peeling a layer off an onion,” he says. “This album is a writer 18 years into his career, peeling away the next layer and seeing just how human we can make this thing.” \n\n \n\nExpanding on the raw vitality of previous albums like 2012’s Jason Isbell-produced Burn.Flicker.Die, The Fear of Standing Still kicks offs with “Crier”: a gloriously ferocious track that swiftly obliterates worn-out ideals of masculine behavior. “It’s a song about breaking down what many of us learned from our fathers growing up—this idea that boys don’t cry, or that crying is a form of weakness,” says Barham, who co-wrote “Crier” with singer\/songwriter Stephen Wilson Jr. “I wanted to send the message that it’s not natural to bottle everything up inside, because all of us are meant to feel.” Fueled by a savage and soaring vocal performance from Barham, the result is a perfect encapsulation of American Aquarium’s multilayered artistry. “I don’t think anyone’s going to get through that first listen of ‘Crier’ and think, ‘Wow, what a great song about disrupting the cycle of toxic masculinity!’” Barham points out. “It seems more likely that it’ll make them want to dance and jump around, and then when they put the headphones on and listen a little closer to the lyrics, that’s when they’ll start to understand what we’re talking about.” \n\n \n\nA resolutely outspoken artist who’s emerged as one of the most progressive voices in country music, Barham infuses an element of trenchant social commentary into a number of tracks on The Fear of Standing Still. On “Southern Roots,” for instance, Georgia-born singer\/songwriter Katie Pruitt joins American Aquarium for a spellbinding meditation on pushing against the boundaries of traditional Southern identity. “People can complain all they want about how backwards the South is, but the only way we’ll see any change is to take it upon ourselves,” says Barham. “For me, that means raising my daughter so that she’ll never witness the closed-mindedness and blatant disrespect for certain people that I often saw at her age. Because if you really love something the way I love the South, then you want to see it grow.” Co-written by Barham and Pruitt, “Southern Roots” starts off as a beautifully understated folk song graced with heavenly harmonies, then builds to a reverb-drenched frenzy at the bridge—a shift that sharply intensifies the track’s galvanizing power.\n\n \n\nAnother song anchored in Barham’s ardent belief in breaking generational patterns, “Babies Having Babies” arrives as a finespun piece of storytelling that doubles as an emphatic pro-choice anthem. “It’s a mix of fiction and personal experience, and felt like an important story to tell at a time when a woman’s right to choose is being taken away,” says Barham. After opening on a nostalgic tale of a whirlwind summer romance, “Babies Having Babies” slowly takes on a powerful urgency as the narrative turns to questions of consequence and self-preservation (from the second verse: “We packed up a bag and drove to the city\/Shouldered through the pickets and the hand-painted signs\/They called her names while they called themselves Christians\/That sort of hate’s got no place in any faith of mine”). “I grew up in a small and very conservative town where abortion was not an option, so I saw a lot of people trapped in that generational cycle of getting pregnant at a young age and ending up stuck in the same town forever instead of following whatever dreams they might have had,” says Barham. “I wanted to write about what could have happened if one of those girls had refused to give up her aspirations, and made that choice to live another way.”  \n\n \n\nWhile American Aquarium bring a lived-in intimacy to all of The Fear of Standing Still, songs like “Cherokee Purples” encompass a particularly tender emotionality. A wistful reminiscence of all the charmed and wild summers of Barham’s youth, the track unfolds in so many gorgeously detailed images (kudzu vines and fireflies, menthol cigarettes and Big League Chew), each rendered with a loving specificity that lingers in the listener’s heart. “‘Cherokee Purples’ came from me making a tomato sandwich in my kitchen, and immediately getting taken back to all the summer days when we’d get dropped off at my grandmother’s so my parents could go to work,” says Barham. “It’s crazy how something as simple as a tomato sandwich with Duke’s Mayonnaise can take me to a whole other world, but to me it’s almost like a talisman of where I’m from and how I was raised.” Meanwhile, on “The Curse of Growing Old,” American Aquarium look to the other end of the life spectrum, conjuring a life-affirming mood despite the song’s excruciating honesty. “I wrote that after talking with my grandmother at her 92nd birthday party and learning what it was like for her to grow older and watch so many people in her life pass away,” says Barham. “It’s true that getting older is a gift, but it’s a gift we pay for with an incredible amount of loss.”  \n\n \n\nFor Barham, the sharing of hard truths is indelibly tied to his sense of devotion to American Aquarium’s audience—and to his belief in rock-and-roll as a singularly unifying force. “All I really want to do is put words to the emotions that most people have a difficult time expressing on their own,” he reveals. “No matter what that emotion is, when you put it into a song and then get to those moments when a whole bunch of people are singing that song all together, it makes you see that you’re part of something bigger than you ever realized. That’s when you can really affect people’s lives, and to me this record is another stepping stone to making that a reality.”\n\n\n\n\n\n\n\n \n\n \n\n \n\n \n\n\n\n\n \n\n\n\n\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1009-AA-WEB-BANNER-647fcf7bf2.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/american-aquarium","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 9<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1009-American-Aquarium-WEB-TN-e3983fa799.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\/SB-Web-Banner-7bc8938ba1.jpg","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\/SB-Thumbnail-9443e918e5.png","category":{"name":"Other","id":"0"}},{"media_title":"Willis","media_tagline":"with Winyah","event_body":"WILLIS didn’t blow up overnight — they built something lasting. Formed in Florence, Alabama and now based in Nashville, the band began in 2016 as five childhood friends making music in a bedroom. Nearly a decade later, they’ve grown into one of the most loyal followings in modern indie rock — with over 350 million streams, an RIAA Platinum-certified record, and a fully sold-out national headline tour in 2024.\n\nTheir breakout track “I Think I Like When It Rains” became a viral anthem, reaching #1 on TikTok’s U.S. chart in 2023 and remaining in the Viral 50 from 2022–2025. WILLIS made their name where it matters most — the stage. Night after night, fans show up in Locals Only tees, singing every word like they’ve been there since day one. What started as a quiet DIY movement has become a full-on live experience.\n\nAcross their beloved Locals EP series (Locals, Locals 2, Locals 3, Locals 4) and 2024’s debut album I Can’t Thank You Enough, WILLIS has developed a sound that’s warm, rhythmic, and emotionally direct — nostalgic but never stuck in the past. It’s indie rock that leaves a mark.\n\nThe band continues to evolve while keeping the same heartbeat that’s been there since the beginning: real connection, real fans, and music built to outlast trends.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/Willis-1023-Web-Banner-fea549e72b.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/willis","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 23<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/Willis-thumbnail-9df1391047.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Fleshwater","media_tagline":"with Chat Pile","event_body":"Hailing from Georgetown, Massachusetts, Fleshwater is a side project originating from metalcore band Vein.fm. Unlike the menacing and experimental metalcore of Vein.fm, Fleshwater delivers a far more accessible sound, reminiscent of the late ’90s and early ’00s era. Taking inspiration from alternative rock bands like Deftones, Far, Failure, Hole, The Smashing Pumpkins, and Hum, it shows a contrast between heavily distorted guitars and clean but intense female vocals, while also combining other shoegaze elements in a few songs — particularly the introspective male vocals heard in the second half of We’re Not Here To Be Loved (2022).\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/fleshwater660-020db26bd9.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/fleshwater","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 24<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/180flesh-9111b93e9c.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":"Indigo De Souza","media_tagline":"","event_body":"Indigo De Souza has partnered with PLUS1 so that $1 per ticket goes to support The Trevor Project, and their work providing crisis intervention and suicide prevention services for LGBTQ+ youth. TheTrevorProject.org\n\n \n\nThere are moments standing on a high ledge where wild space beckons. In that moment, instinct stirs: “What if I just jumped?” It’s been described as “the call of the void,” an experience somehow more primal than even feeling or urge. On her new album, Precipice (due July 25th via Loma Vista), Indigo De Souza looks over the creative and spiritual cliff and just leaps. The North Carolina native is a prolific, poetic singer-songwriter who already has three albums and four EPs in just seven years, with her most recent full-length (2023's All of This Wild End) earning rave reviews for her daring vocals and thrilling songwriting. But on her latest, De Souza hears the void calling and calls back, taking control of difficult memories and charged emotions via pop bombast and diaristic clarity, and finding a stronger self. “Life feels like always being on the edge of something without knowing what that something is,” the singer-songwriter says. "Music gives me ways to harness that feeling. Ways to push forward in new directions."\n\n \n\nOn the album’s title track, De Souza faces down the potential darkness of change, and finds hope in surrendering: "Coming to a precipice\/ Holding on for dear life\/ Looking out into the world\/ Everything has gone dark." That sort of emotional daredevilry is definitively not new for De Souza. Her catalog brims with unwavering honesty and unflinchingly personal songwriting, including most recently the familial excavation on the pained and mighty All of This Will End. “I feel constantly on the precipice, of something horrible, or something beautiful–something that will change my life for better or for worse,” De Souza muses. To that end, Precipice cracks De Souza’s world open. As a new challenge, the songwriter took on blind studio sessions in Los Angeles, reveling in the expanded pool of collaborators and ability to focus on music. “I’d been wanting to work on more pop-leaning music for a while, so when I came out to LA I made sure to meet with people that could help bring that to life,” she says. “I wanted to make music that could fill your heart with euphoria while you dance along.”\n\n \n\nIn those sessions, she made a quick and deep connection with producer Elliott Kozel—a musician who has produced and collaborated with the likes of SZA and Yves Tumor, not to mention scoring TV with FINNEAS. The two quickly got to work on album highlight “Not Afraid”, the track setting the tone for the album's bold defiance of the unknown. “What, what does it look like, when you are free?\/  When you are being true?\/ When you let go, the people you love are free when they’re with you too,” she sings. The track also signaled the start of a long and important collaboration. “Elliott is really good at allowing space for songs to reveal themselves, and I felt very seen and respected both musically and personally,” De Souza adds. “That song became a compass for what I wanted the album to be: pop songs with meaning and feeling, pop songs with lyrics that tap into raw humanity.”\n\n \n\nLead single “Heartthrob” exemplifies the ecstatic duality the pair found, a way to both bring immediate energy and thoughtful depth. The track is a fanged rebuke of those who exploit and prey on young people, delivered in panoramic indie rock glow. Multi-instrumentalist Jesse Schuster’s chugging guitar riff pushes De Souza’s delivery into a headrush, her voice wavering somewhere between pain and fury. "God, when I’m a grown up\/I wanna have a full cup\/A true heartthrob," she shakes, a satirical jab at the false safety that some adults can exude and an honest cry to inspire light and freedom in the people she loves. "I’ve lived through harmful experiences in my past that are helpful to process through music.” De Souza says. “A way to remind myself that I am still a full human being"\n\n \n\nAs with so much great pop, Precipice transcends the giddy highs of new attraction and the haunted lows of a broken heart. But true to her idiosyncratic approach, De Souza somehow manages to invert and subvert both, finding their points of connection rather than their differences. The thrumming synthpop of “Crying Over Nothing” exemplifies those new, glistening heights musically, even as the lyrics digest unimaginable heartbreak. De Souza skips over the coyly shuffling rhythm, her voice cracking into the upper register with a warm glow akin to the ‘80s synths. “There’s some pain that follows no matter where you go or how much you try to lose it, pain that comes from memories you can’t erase and love you can’t unfeel,” she says. "This song is about the one that got away. That feeling of being haunted by loss."\n\n \n\nThe Robyn-esque “Crush” follows, a sugar burst that subtly weaves its way across the dance floor. “Come up to get some air\/ It’s like you're playing solitaire\/ So good to see your face\/ I was missing you when you were down there,” she sways, the knowing grin practically beaming through the track. The embodiment of catching feelings, “Crush” rides a gritty snap-pop drum loop from percussionist Jonathan Smith and tingly synth prickles. “I remember thinking about how, in the same way that I sometimes have to talk new lovers through eating me out, I also have to help them understand how to care for me in ways that make me feel good and seen,” De Souza blushes. \n\n \n\nBut of course even the most hypercharged crushes can crumble—and the sighing “Heartbreaker” was written when the person she was falling for on “Crush” eventually broke her heart. While De Souza’s voice acrobatically flickers across the rest of the album, here she delivers this pained memory more simply, with her full throat: “When I wake up, still thinking that you’re there\/ And it all comes flooding back to me, I’m living in a nightmare,” she cries, churning piano and ghostly guitar floating in the edges. “I was broken up with, and I flew out to LA as quickly as possible so I could get to the studio to make a song instead of being at home, sad and lashing out,” De Souza recalls. “My heart was fully soaked in poisonous pain, and I am deeply grateful for the creative space to process what I was feeling.”\n\n \n\nOn album highlight “Be Like the Water”, there are times where you can practically feel the tears dripping on the microphone. But rather than mourning, these are tears of awe, a song of amazement at the possibility of living truly and on your own path. “It’s about being brave and protecting your energy, following your gut,” De Souza says. “It’s a reminder that you can always follow your heart and your spirit, but you can also make boundaries and choose your own direction.” To achieve that spiritual depth, Kozel’s production bends between mantric ethereality and golden Americana. Spectral synth tones and finger chimes play like a yogic drone, while gleaming organ puts a direct frame on De Souza’s verses. “I won't be sorry\/ And I won't be silent\/ I'm temporary\/ I am an island," she sings, her ownership of herself overcoming the pains that pervade the album.\n\n \n\nThere are points in life where the precipice feels furthest from our control—something De Souza faced in late 2024, as Hurricane Helene ravaged the East Coast of the United States. Though her recently finished album showed the buoyant joy of change, De Souza’s flooded home and destroyed belongings represent its potential tragic side. When not in the thick of clearing the mess and helping her community recover, she continued to return to music as a comfort, already having written another album worth of breathtaking songs. Even when the void seems darkest, De Souza leaps boldly—and on Precipice she soars through wild, uncharted territory with open eyes, a full heart, and gritted teeth, finding new beauty even further beyond.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1030-IDS-WEB-BANNER-bff6f9fe40.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/indigo-de-souza","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 30<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/id180-1cabeedbda.png","category":{"name":"Other","id":"0"}},{"media_title":"Penelope Road","media_tagline":"","event_body":"Emerging from Atlanta’s thriving music scene, Penelope Road crafts a sound that’s as bold as it is soulful. With lush, layered vocals at the core of their music, this five-piece powerhouse seamlessly weaves ‘70s rock, funk, soul, and pop into a rich, rhythmic fusion that’s unmistakably their own.\n\nRooted in the timeless influence of legends like Stevie Wonder and Hall & Oates while channeling the modern energy of artists like Mk.gee, their music bridges eras with effortless groove and vibrant originality.  Their tight harmonies, masterful instrumentation, and infectious grooves come together in electrifying, feel-good performances—creating an experience that stays with you long after the final note.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/4CHARLO-PORT660-c9a64ec021.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/penelope-road","ticket_link":"On Sale Soon<\/a>","event_date":"Oct<\/span> 31<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/4CHARLO-PORT2180-f818b563de.png","category":{"name":"Other","id":"0"}},{"media_title":"PURITY RING - PLACE OF MY OWN TOUR","media_tagline":"","event_body":"Purity Ring has partnered with PLUS1 so that $1 per ticket goes to support The Black Trans Prayer Book, and their work to celebrate and uplift Black Trans & Non-Binary people\n\nPurity Ring kindly requests that you wear a respirator (N95 or KN95) for the duration of the show. There will be free high-filtration masks at the door for those who don’t have them.\n\nWe want our shows to be a place where we take care of each other. wearing a high-filtration mask is an act of material care and a show of solidarity with disabled and immunocompromised people. It's a small thing we can do to keep each other safe.\n\nPurity Ring are a Canadian electronic music duo formed in 2010 and originally from Edmonton, Alberta. The band consists of Megan James (vocals) and Corin Roddick (instrumentals). Both grew up in Edmonton, Alberta. James played piano and Roddick played drums prior to the band’s inception, however neither currently play them as their primary instrument for Purity Ring.\n\n \n\nDuring live shows, Roddick uses a custom-built, tree-shaped instrument to drive both live sound and lighting. Additionally, during live appearances both wear clothes custom designed and sewn by James. James uses written work which she originally did not intend to release to the public for many of the band’s lyrics.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/whereforeartthou660-3c073921d3.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/purity-ring","ticket_link":"On Sale Soon<\/a>","event_date":"Nov<\/span> 1<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/whereforethourarttho180-2398b1e8a4.png","category":{"name":"Other","id":"0"}},{"media_title":"Matt Maeson - A Quiet & Harmless Living Tour","media_tagline":"","event_body":"Think about some of the realest and most revealing conversations you've had. They might've taken place over a cup of coffee, a few cigarettes, or a couple of drinks. For Matt Maeson, these exchanges tend to begin behind a microphone. Standing alone under a solitary spotlight with a guitar in hand, he lays thoughts bare, discloses secrets, shares truths, and leaves every last emotion on the stage — as if he's speaking directly to each member of the audience.\n\nNow, the multiplatinum singer, songwriter, and multi-instrumentalist connects with unparalleled intimacy and stark honesty on his first-ever live record, That's My Cue: A Solo Experience.\n\n"When you strip back all of the production, you're listening to just the guitar and the lyrics," he says. "You can home in on what the songs are about more without any distractions. I love the full production, but I wanted to do this record so you could really hear my words."\n\nHis words have consistently resonated with audiences since his emergence out of Norfolk, VA in 2015. Following a quiet grind, he shined on 2019's history-making Bank on the Funeral. The album housed his platinum-certified singles "Cringe" and "Hallucinogenics" [feat. Lana Del Rey], which both reached #1 at Alternative and enshrined him as "the first ever male solo artist to log two #1 Alternative hits from a full-length debut LP." 2022 saw him maintain this momentum with Never Had To Leave. Garnering widespread acclaim, American Songwriter applauded the latter as "an eclectically powerful 12-track account of life as Maeson sees it." Meanwhile, he also asserted himself as a versatile presence, collaborating with everyone from Gryffin and Illenium to Chelsea Cutler and receiving an invite to open up Zach Bryan's massive arena tour.\n\nMatt always harbored a natural inclination for performing acoustic though. In high school, he took the stage for the first time during an open mic at Chic-Fil-A in Richmond, VA. "I won free Chic-Fil-A for a year, so big stakes," he laughs. Shortly after, he found himself playing for prison audiences as part of his parents' ministry Life On The Verge. He adds, "It's really how I cut my teeth. They're the hungriest crowds, because some of the inmates haven't seen live music in decades. Those gigs were always fun."\n\nIn this spirit, he opted to embark on a solo acoustic tour across Europe during 2022 under the moniker of That's My Cue. Galvanized by the response, he brought the tour to North America, selling out gigs coast-to-coast throughout 2023 and 2024.\n\nAlong the way, he decided to record thirty shows and assemble what would become That's My Cue: A Solo Experience.\n\n"The whole goal was to make a live record that really feels live," he goes on. "There's crowd noise, and there are little flaws. It feels like something you'd experience at a show. We wanted it to be real, and I think we accomplished that."\n\nYou can hear it in the simultaneously chilling and comforting live renditions of staples such as "Hallucinogenics," "Cringe," "Grave Digger," and "Cut Deep." Among many standouts, he opened the shows with the previously unreleased "That's My Cue." Matt's vulnerable delivery weights heavy on lightly strummed chords as he exhales, "At least I still got my wife, my dog, and my full head of hair." Reaching an inflection point met with cheers, feeling overflows on the proclamation, "I'm not the problem. No, the problem's you, and I look for your approval in every Goddamn thing I do… and that's my cue."\n\n"When I wrote it, I was having a lot of internal arguments about what I wanted my career to look like," he admits. "The song was born out of looking at how I had begun to base my self-worth on the impact of my music. I was so obsessed with success that it became a measurement of how I was living my life. On tour, I'd get this constant rush of validation. It stopped with the Pandemic, so I had to sit with myself and reevaluate things. I started every night with 'That's My Cue.' I'm basically saying, 'My career has changed me and how I view myself. However, I've still got to get up on stage and do my job, regardless. That's my cue.'"\n\nTracing an emotional arc through 20 live tracks, the record concludes with an upbeat and undeniable performance of "Legacy." He hollers, stomps, screams, and strums his guitar with gleeful abandon, going on to assure, "It's not too late to pick up the pieces."\n\n"I love finishing on a big note," he grins. "It follows on the heels of some very deep songs and stories. 'Legacy' gets the whole crowd singing, 'Whoop whoop!' It sends people out the door feeling victorious and hopeful."\n\nIn his music, Matt's carrying on the kind of conversation that inspires when you need it the most.\n\n"This record is definitely for the fans," he leaves off. "So many listeners have gravitated to the stripped-down versions of the songs, because they relate to the context and lyrics. I wanted to share this music in the most real and authentic way. I'm excited to see what happens next."\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1103-Matt-Maeson-WEB-BANNER-72e2100f09.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/matt-maeson-a-quiet-harmless-living-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 3<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1103-Matt-Maeson-WEB-TN-628be854e1.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":"Trampled By Turtles ","media_tagline":"with Wild Horses","event_body":"Trampled by Turtles are from Duluth, Minnesota, where frontman Dave Simonett initially formed the group as a side project in 2003. At the time, Simonett had lost most of his music gear, thanks to a group of enterprising car thieves who'd ransacked his vehicle while he played a show with his previous band. Left with nothing more than an acoustic guitar, he began piecing together a new band, this time taking inspiration from bluegrass, folk, and other genres that didn't rely on amplification. Simonett hadn't played any bluegrass music before, and he filled his lineup with other newcomers to the genre, including fiddler Ryan Young (who'd previously played drums in a speed metal act) and bassist Tim Saxhaug. Along with mandolinist Erik Berry and banjo player Dave Carroll, the group began carving out a fast, frenetic sound that owed as much to rock & roll as bluegrass.\n\nTrampled by Turtles released their first record, Songs from a Ghost Town, in 2004. In a genre steeped in tradition, the album stood out for its contemporary sound, essentially bridging the gap between the bandmates' background in rock music and their new acoustic leanings. Blue Sky and the Devil (2005) and Trouble (2007) explored a similar sound, but it wasn't until 2008 and the band's fourth release, Duluth, that Trampled by Turtles received recognition by the bluegrass community. Duluth peaked at number eight on the Billboard bluegrass chart and paved the way for a number of festival appearances. When Palomino arrived in 2010, it was met with an even greater response, debuting at the top of the bluegrass chart and remaining in the Top Ten for more than a year. Two years later, their crossover appeal landed them at number 32 on the Billboard 200 pop charts upon the release of their sixth album, Stars and Satellites. In addition to major bluegrass and folk festivals, they began showing up at Coachella, ACL Fest, and Lollapalooza. The official concert album, Live at First Avenue, followed in 2013, recorded at Minnesota's most famous venue. A year later, the band returned with the darker-toned Wild Animals, which bettered its studio predecessor on the album charts, reaching number 29 on Billboard. Countless tours with bands like Lord Huron, Wilco, Caamp, Mt Joy and Deer Tick to name a few have followed. 2022 will see the release of the band's latest body of work called Alpenglow which was produced by Jeff Tweedy of Wilco.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/tbt660-4cf6165599.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/trampled-by-turtles-2","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 9<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:30pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/tbt180-79ce536564.png","category":{"name":"Other","id":"0"}},{"media_title":"East Nash Grass + AJ Lee & Blue Summit","media_tagline":"","event_body":"AJ LEE & BLUE SUMMIT\n\nAJ Lee & Blue Summit are an award-winning, energetic, charming, and technically jaw-dropping band — and one of the most exciting and fast-rising Bluegrass \/ Americana bands on the scene today. Based in the California Bay Area, the group met as teenagers, picking and jamming together as kids at local bluegrass festivals. Currently made up of AJ Lee on mandolin, fiddler Jan Purat, guitarists Scott Gates and Sullivan Tuttle (younger brother of Molly Tuttle), and bassist Sean Newman, the band still carries that youthful, festival-parking-lot energy with them, yet there’s a genuine ease and confidence to their music making. A breakout year for the band, 2024 saw them release their critically acclaimed album, "City of Glass," their first label release on Signature Sounds recordings, combined with becoming one of the most in-demand bands in the Bluegrass scene. In 2025, the band continues to pack major venues around the country, along with major festival plays, and the release of "Cover to Cover V1," an EP of cover songs being released throughout the year.\n\n \n\nEAST NASH GRASS \n\nEast Nash Grass exemplifies the best of what bluegrass has to offer — as being named the 2024 IBMA (International Bluegrass Music Association) New Artist of the Year would suggest. But their talent as singers, instrumentalists, and composers is just the beginning. The secret to East Nash Grass lies in their unflinching ability to be themselves. It certainly helps that they are a veritable supergroup of award-winners who have been performing longer than some might guess they’ve been alive, with experience working with Dan Tyminski, Tim O’Brien, Sierra Hull, and Rhonda Vincent, as just a start. After hundreds of sets (and countless late-night jams) in Nashville, East Nash Grass has coalesced into the hair-raising ensemble of Harry Clark (mandolin), Cory Walker (banjo), James Kee (guitar), Maddie Denton (fiddle), and Jeff Partin (bass\/dobro). Their love of both bluegrass and the absurd can be felt in both their live shows and on their new album "All God’s Children" (Mountain Fever, 2025), which keep listeners on the edge of their seats, marveling at irrefutable mastery and wondering just what might come next.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/111325-660x340-7ddd03177f.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/east-nash-grass-aj-lee-blue-summit","ticket_link":"On Sale Soon<\/a>","event_date":"Nov<\/span> 13<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/111325-180x180-1d8ca327de.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":"Atlanta Rhythm Section","media_tagline":"","event_body":"The story of the Atlanta Rhythm Section began in Doraville, GA, a small town northeast of Atlanta, in 1970. Local Atlanta engineer Rodney Mills built a new studio in Doraville with the support of music publisher Bill Lowery,  producer\/songwriter\/manager Buddy Buie, and songwriter\/guitarist J.R. Cobb. The studio was dubbed Studio One and would become one of the preeminent studios in the Atlanta area. Over the years, artists who recorded there included Al Kooper, Lynyrd Skynyrd, Joe South, Bonnie Bramlett, Dickey Betts, B.J. Thomas and Billy Joe Royal.\n\nThe Atlanta Rhythm Section originally came together as the house band at Studio One. Buie and Cobb had been part of the group the Classics IV - remembered for hits including "Spooky," "Stormy" and "Traces." Buie recruited three musicians he had worked with previously in the Candymen, a group that backed Roy Orbison-singer Rodney Justo, keyboardist Dean Daughtry and drummer Robert Nix. Two talented local session players also joined in-guitarist Barry Bailey and bassist Paul Goddard. These musicians played on a number of other artist's records and the decision was made to make an album on their own.\n\nBuie wanted the best players doing his songs as a guitar based band, and he wrote, produced and managed ARS from the start. Buie, Daughtry and Nix did a lot of the songwriting together. The Rhythm Section would play on other's albums 3-4 days a week and then work on their own material. They recorded a demo featuring instrumentals and over a couple of years pulled together material for an album. The demo got them a two record deal with MCA\/Decca, and so ARS officially began.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/ARS-Web-Banner-426b814b46.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/atlanta-rhythm-section","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 5<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/ARS-Thumbnail-6afc5898ac.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Tab Benoit","media_tagline":"with Jesse Dayton","event_body":"I Hear Thunder marks the long-awaited return of four-time Grammy-nominated artist Tab Benoit. Renowned for his distinctive guitar tone and Otis-Redding-esque voice, Benoit has been a captivating figure in the roots music world for over thirty years.\n\n \n\nTab's personal growth and advancement as a songwriter and musician have culminated in a benchmark recording. His new self-produced album, I Hear Thunder, for his imprint, Whiskey Bayou Records, is a testament to his fiery exuberance that first marked his career in 1992. The record not only showcases his artistic brilliance but also his profound commitment to environmental advocacy, a legacy that extends beyond the stage into the heart of the land that inspires his bluesy soul. \n\n \n\nOn Benoit's forthcoming national tour, fans will be delighted to hear the new songs and selected tracks from his vast catalog. Benoit does more than play the blues; he defines its future while paying homage to its rich past.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/120625-Tab-Benoit-660x340-46518b9f8d.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/tab-benoit","ticket_link":"On Sale Soon<\/a>","event_date":"Dec<\/span> 6<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/120625-Tab-Benoit-180x180-a2c150542e.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"}},{"media_title":"Lettuce","media_tagline":"","event_body":"LETTUCE\n\nAdam Deitch: drums, percussion\nAdam “Shmeeans” Smirnoff: guitar\nErick “Jesus” Coomes: bass\nRyan “Zoid” Zoidis: alto, baritone and tenor sax, synths\nEric “Benny” Bloom: trumpet, horns\nNigel Hall: vocals, Hammond B-3, Rhodes, clavinet, keyboards\n\nThe album, Cook, isn’t just a nod to Lettuce’s musical heat; it’s an invitation to join the band at the table, where funk, soul, jazz, rock, and hip-hop come together in one rich, flavorful dish.\n\nReleased on their own Lettuce Records label, the band’s next studio album offers a menu of delights that marks a band exploring new sonic territory. For these six life-long partners, the new songs feel like a nourishing meal that entices all of your senses.\n\nLike 2019’s Elevate, 2020’s Resonate and 2022’s Unify, before it, Cook was recorded at Colorado Sound just outside East Coast transplants Deitch, Smirnoff, and Bloom’s adopted home of Denver, where they gathered in one room to work on the new material.  Ryan Zoidis did a masterful job mixing the final results with longtime Grammy-nominated engineer Jesse O’Brien. \n\nOn the new album, Lettuce has expanded its ever-widening musical palette again. Coming off  tours with both rap icon GZA of Wu-Tang Clan and and reggae legend Ziggy Marley while earlier in this year releasing the live album and concert film 'Lettuce with the Colorado Symphony' capturing over 90 minutes of collaborative symphonic arrangements with the Colorado Symphony\n\n“This record is a little more three-dimensional than our past albums,” added Deitch. “It shows a lot more sides to the band, exploring further depths of production and arrangements.”\n\nOne can hear the Wu-Tang Clan vibe on “Storm’s Coming,” which could well be a lost track from (36 Chambers), while working with an orchestra can be traced in the epic cinematic score of the closing “Ghost of Yest,” which Deitch terms, “a cool tune that has symphonic influences.” \n\nListening to hard-to-categorize, multi-genre bands from around the world also impacted the sessions for Cook, which reflects the global outreach that led Lettuce to put out the recently re-released Live in Tokyo back in 2004. Touring plans for Cook include a return trip to Japan as well as dates in Europe and Australia. “Hearing music from different countries has broadened our creative outlook,” admitted Deitch.\n\nStill, there’s a generous dose of Lettuce’s patented funk, paying tribute to the great James Brown and his JB’s on the slow-heater groove, “Clav It Your Way,” marked by composer Ryan “Zoid” Zoidis’ cool, laid-back but funky saxophone, the classic Lettuce tune of “Gold Tooth” and a pair of spirited homages to mentors like Tower of Power (“Keep On,” with a co-writing credit for the band leader and original member of TOP, Emilio Castillo). On “The Mac,” the band pays tribute to the great JB sax player Maceo Parker, with whom the band had the honor of collaborating with several years back.\n\nAce bassist Erick “Jesus” Coomes describes the theme of his opening, “fresh, super-vibey” “Grewt Up” as “Now is the time to be good to each other without the need to be recognized for it.” New York Knicks fan Adam “Shmeeans” Smirnoff’s dramatic,  “The Matador” combines the drama of the bullring with legendary announcer Walt Frazier’s patented call of “Matador defense” – letting someone attack the hoop with no resistance – boasting an urban feel harking back to Creed Taylor’s CTI and the ‘70s New York-based salsa label Fania. \n\n“It’s like something that should be the soundtrack to a ‘70s cop show,” says Nigel Hall, who takes center stage with vocals and organ on the band’s cover of one-time Five Stairsteps member Keni Burke’s 1982 R&B hit, “Risin’ to the Top.” \n\n“I first heard that song as a kid,” explained Hall. “I learned about the original through hip-hop.  I always wanted to sing it, and now I get the chance.”\n\n“Breathe” is described by Deitch as “a chill, hip-hop-flavored joint,” which begins with the sound of crickets, while horn player Eric “Benny” Bloom credited the song for allowing him “to think of all the possibilities my future holds if I just listen to myself and... BREATHE.” The title track is “a wild and crazy funk tune written at a party in Denver,” according to Deitch, while Bloom called it, “a hip little banger of a song to put a stank face on.”\n\nThe band also recently announced the launch of Lettuce Red Crush and Orange Crush wine brands with Aquila Cellars, as well as a recipe book of pairings to be included with the vinyl album and in digital form. The wine was brought to life by Bloom and Zoidis’ wine distribution company, Benny & Zoid Selections who made it accessible to purchase nationwide online.\n\n“Music and food are very related,” said Deitch. “Use the wrong ingredients in either and you can ruin the sound and the meal.”\n\nWith Cook, it appears Lettuce has the right recipe for success... both musically and organizationally.\n\n“This is the best team we’ve ever had,” said Deitch of his current management. “We feel like the world is our oyster. Our concepts and ideas can really come to fruition now with our infrastructure. It’s beautiful to be in a headspace of feeling this fresh. It’s the start of a brand-new era for us.” \n\n                                                                        # # # #\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/LETTUCE-020326-Web-Banner-c3f4d9e8b7.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/lettuce-1","ticket_link":"On Sale Soon<\/a>","event_date":"Feb<\/span> 3<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/LETTUCE-020326-thumbnail-332efec716.jpg","category":{"name":"Other","id":"0"}}]}