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SUMMARY:Nick Shoulders: Apocalypse\, Never! Tour — Live at the Bijou — 10/24
DESCRIPTION:Get Tickets Here! \nRefugia Blues\, the fifth album from Nick Shoulders\, is a record of big ideas and small\, intimate moments. \nThese nine songs are rooted in the stylings of Southern traditional music. Sparse\, timeless\, and unamplified\, they’re older than the sounds Shoulders saluted on albums like 2023’s All Bad\, with its loud\, whooping anthems for roadhouses and sweaty dancehalls. Here\, Shoulders isn’t shouting over a band. He isn’t bringing a crowd to its feet with dance-ready tempos. Rather\, he’s exploring another side of his craft by stepping up to a ribbon microphone as a solo performer\, delivering each song with acoustic instruments and a voice that’s equal parts country croon\, Appalachian yodel\, and high-lonesome field holler. As he explains it\, Refugia Blues isn’t just a call to action; it’s a call to rest\, too. \n“This is my Nebraska\,” he says\, nodding to Bruce Springsteen’s lo-fi acoustic record from 1982. “Some people listen to Bruce for the E Street Band and the big radio hits\, but I like the intimacy and rawness of Nebraska instead. I’d like to think of Refugia Blues as a little window into the heart\, as opposed to the drumbeat of a revolution.” \nEven so\, Refugia Blues resolutely pushes for change. Shoulders’ interpretation of American roots music has always been more progressive and punky than the trucks-and-beers conservatism that passes for modern-day country\, and he isn’t checking his activism at the door anytime soon. Refugia Blues does dive into personal territory\, from “Bored Fightin'” (a self-effacing look at Shoulders’ reputation as a left-of-center radical) to the heart-on-sleeve love song “Tatum Spring\,” but it balances the micro with the macro\, too. Topics like climate collapse\, radical anthropology\, generative disruption\, and southern identity run throughout the record\, adding weight to Shoulders’ melodies\, balancing his witty humor with topical weight. The purpose\, he says\, is to utilize his music as “a Trojan Horse that can be accepted by people who don’t hear anything to challenge their sense of comfort and superiority. That’s always been the goal — to say what needs to be said\, but to intersperse it with joy\, humor\, and melody.” \nIt’s a balance that Shoulders has struck in the past\, but never so nakedly alone as he does on the opening track\, “Apocalypse Never.” He wrote the a cappella ballad in the front seat of his band’s shuttle bus\, taking a hard look at each passing town\, noting all the “individualized apocalypses” — houseless encampments\, impoverished communities\, barren cornfields — that unfolded on the other side of the windshield. “Our world has been through countless apocalypses\,” he says. “The refusal to give in to the direness of our circumstances\, while still acknowledging it\, is key to surviving this moment in our history.” \nFor Shoulders\, singing isn’t just a passion; it’s practically a birthright. Born to a musical family with deep roots in Arkansas\, Appalachia\, and Louisiana\, he grew up listening to old-world folk music\, black gospel\, and other sounds that existed long before genres were even invented. “My vocal style is rooted as much in growing up in mountainous Arkansas and having to shout across vast distances to greet my neighbors as it is in my family’s very old way of singing\,” he says. “The way I sing is older than capitalism. Being part of this tradition isn’t meant to be regressive; it’s meant to be liberating. There were time before cash registers and factories\, where people sang like this when they sowed their corn\, and I’m trying to embody that.” \nRefugia Blues was recorded in a home studio outside of Fayetteville\, Arkansas. Tracked to analog tape in two inspired days and laced with light touches of guitar\, banjo\, and fiddle\, the album explores the slower\, softer textures of Shoulders’ music without pulling any punches. On his bare-boned cover of Randy Travis’ “Diggin’ Up Bones\,” he slows down the uptempo classic to a warbling waltz. On “Deux Hurry\,” he taps into his inner Roger Miller\, using wordplay to make light of the darkness that lives within all of us. On “Hill Folk\,” he nods sympathetically to the southerners who’ve witnessed their cultural inheritance become commodified and commercialized over the past half-century. And on the brave\, bold “Dixie Be Damned\,” he sings about “manifest destitution” and the sickness of contemporary American consciousness\, packaging everything into a three-and-a-half minute country gem that’s as tuneful as it is topical. \nBy bridging the gap between past and present\, Shoulders speaks pointedly and poetically about today’s problems\, even as he nods to styles that existed long before the 21st century. “When you listen to the origins of country music in the ’20s and ’30s\, you’re hearing the voice of southern rural dissent against coal companies\, repression\, and depression\,” he says. “The old ballad singers of the Ozarks were conduits for current events\, documenting not only their own lives\, but also dispossession and economic strife on a much bigger scale. Being part of that great stream of rural protest music is something I’m trying to tap into. I want to say things that feel timeless\, deep\, and rooted\, but also touch on topics like endless war and a government collapsing into dictatorship. I want to be part of that tradition of dissent.” \nAt once academic and accessible\, Refugia Blues isn’t just a deep dive into southernness\, but also into Shoulders himself. Released during an era of big-budget country-pop smashes\, it stands tall as something else entirely: a raw\, resolute version of American country music\, punctuated with humor and heavy insights\, stacked high with songs that go down easy but linger in the minds of those willing to invest the time.
URL:https://wdvx.com/event/nick-shoulders-apocalypse-never-tour-live-at-the-bijou-10-24/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20261102T193000
DTEND;TZID=America/New_York:20261102T193000
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SUMMARY:Bruce Cockburn w/ Livingston Taylor — Live at the Bijou — 11/2
DESCRIPTION:Get Tickets Here! \nABOUT LIVINGSTON TAYLOR: \nLivingston Taylor’s career as a professional musician spans more than five decades\, encompassing performance\, songwriting\, recording\, and teaching. Often described as equal parts Mark Twain\, college professor\, and musical icon\, Livingston maintains an active touring schedule of over 100 shows a year\, delighting audiences with his wit\, warmth\, and an expansive repertoire drawn from more than 25 albums\, along with beloved classics. \nAs a songwriter\, Livingston has penned Top-40 hits recorded by his brother James Taylor\, and over the years has shared the stage with artists such as Joni Mitchell\, Linda Ronstadt\, Fleetwood Mac\, and Jimmy Buffett. Equally at home across genres—folk\, pop\, classical\, gospel\, and jazz—his performances range from upbeat storytelling and intimate ballads to full orchestral concerts\, all delivered with his trademark ease and connection. \nFor over three decades\, alongside his performing career\, Livingston served as a full professor at Berklee College of Music\, where he created and taught the acclaimed course Stage Performance. His former students include Charlie Puth\, John Mayer\, Susan Tedeschi\, Molly Tuttle\, Liz Longley\, and Gavin DeGraw. Today\, Livingston takes this course “on the road\,” teaching at colleges and institutions nationwide\, including the Frost School of Music at the University of Miami\, NASA’s Goddard Space Center\, and Tulane Law School. His book\, Stage Performance\, drawn from the course and more than 50 years (5\,000+ hours) of real-world stage experience\, has become a go-to resource for performers and presenters seeking to elevate their craft from good to truly professional. \nAn airplane-flying\, motorcycle-riding\, singing storyteller\, Livingston Taylor continues to captivate audiences wherever he performs—whether solo\, with a band\, or in front of an orchestra—bringing heart\, humor\, and humanity to every stage. \nABOUT BRUCE COCKBURN: \nO Sun O Moon \n“Time takes its toll\, but in my soul I’m on a roll\,” Bruce Cockburn sings on his latest studio album\, O Sun O Moon. Smart and catchy\, it’s the kind of memorable line—like “gotta kick at the darkness ’til it bleeds daylight” from his classic song “Lovers in a Dangerous Time”—the world has become used to hearing from Cockburn. \nAn inspired poet and exceptional guitarist\, the award-winning artist has spent his entire career kicking at the darkness with songs that tackle topics from politics and human rights to the environment and spirituality. And he’s not letting up. While other singer-songwriters his age are slowing down\, Cockburn\, on the eve of his 78 th birthday\, has released a dozen new compositions as powerful as any he’s written. You could even say his songwriting is on a roll as well. \nExquisitely recorded in Nashville with his longtime producer\, Colin Linden\, O Sun O Moon exudes a newfound simplicity and clarity\, as Cockburn focuses on more spiritual than topical concerns this time around\, looking back and taking stock. “I think it’s a product of age to a certain extent\,” he explains\, “and seeing the approaching horizon.” Then\, lightening the tone\, he adds with a laugh: “I think these are exactly the kind of songs that an old guy writes.” \nOld or not\, Cockburn exhibits a palpable urgency on the opening “On a Roll\,” playing a driving resonator guitar with all the vigor of his veteran blues heroes. Similarly “To Keep the World We Know\,” one of the album’s few explicitly topical numbers\, bristles with Cockburn’s buzzing dulcimer as he and Inuk music star Susan Aglukark\, with whom he co-wrote the song\, sing about the growing threat of global warming. \nStill\, most of the songs strike gentler tones\, from the jazz sway of “Push Come to Shove” and the folky drone of “Into the Now” to the string-laden “Us All” and the hymn-like “Colin Went Down to the Water.” The latter\, one of several songs Cockburn wrote while on a month-long holiday with family on the Hawaiian island of Maui\, describes the drowning of a friend. “It’s not about Colin Linden\,” Cockburn is quick to point out\, “but someone I knew from San Francisco who’d \nmoved to Maui. It was tragic and quite surreal because I got a voicemail message from him when I was in Maui\, saying ‘Welcome to paradise\,’ and then found out afterward that he’d died.” \nSpeaking of surreal\, another song written while in Maui\, the whimsical “King of the Bolero\,” is unlike anything else on the album. Over a woozy clarinet and drunken\, New Orleans-style horns\, Cockburn paints a cartoon portrait of an oversized barroom musician “with a double chin all the way round his neck and a pot belly in the back.” Is it a dream or a figment of his imagination? In a gravelly voice\, Cockburn leaves us guessing as he sings “it’s moon high noon—I’m not in my Bed.” \n“The people I was with in Maui were quite perplexed when they heard that song\,” muses Cockburn. “After hearing the other things I’d written there\, they wondered ‘where did that come from?’ It really came from out of the blue. I remembered when I was in high school one of my friends made a crack about an old blues singer who used to come through who he said had a double chin in the back. It was a funny thing to hear at the time and it stayed with me. I didn’t want to make it specifically about a black blues guy\, so I mention Minnesota Fats and Fatty Arbuckle as well as Fats Domino and Fats Waller.” \nAs with so many Cockburn albums\, the musicianship on O Sun O Moon is superb. Along with usual suspects Linden on guitar\, Janice Powers on keyboards and Gary Craig on drums\, the album features bassist Viktor Krauss\, drummer Chris Brown\, accordionist Jeff Taylor\, violinist Jenny Scheinman and multi-instrumentalist Jim Hoke. And Cockburn’s guest vocalists include Shawn Colvin\, Buddy Miller as well as mellifluous singers Allison Russell\, Sarah Jarosz and Ann and Regina McCrary\, daughters of gospel great Rev. Samuel McCrary\, one of the founders of the Fairfield Four. The McCrary sisters shine brightest on the title track\, whose full name is “O Sun By Day O Moon By Night.” They sing the euphoric chorus of the song which relates\, during spoken verses\, a dream Cockburn had in which he makes the journey to heaven. “In the dream\, which was really powerful\,” says Cockburn\, “I see myself silhouetted on a ridge with this jar of blood pouring it on the soil. It wasn’t scary or disturbing at all.” Cockburn adds that he wrote the line “and if that sun and moon don’t shine” in the spirit of songs from the folk ballad “Mockingbird” to the blues number “Bo Diddley.” \nThe album’s jazzy closer\, “When You Arrive\,” finds Cockburn confessing to feeling his age when he sings “You’re limping like a three-legged canine\, backbone creaking like a cheap shoe.” But it’s clearly a song of acceptance\, about eventually slipping one’s mortal coil\, as he’s joined on the chorus by all of his guest vocalists\, singing “bells will ring when you arrive.” \nO Sun O Moon includes just one song without vocals\, “Haiku\,” a four-minute showcase of Cockburn’s fleet-fingered guitar work\, where his previous studio recording\, 2019’s Crowing Ignites\, was a collection of all instrumental numbers. In between those albums\, Cockburn\, the Order of Canada recipient\, 13-time Juno Award winner and Canadian Music Hall of Fame inductee released a 50th anniversary box set\, greatest hits package and rarities collection. \nNever one to rest on his laurels—even when\, as he notes\, “time takes its toll\,” Cockburn keeps finding and conquering new challenges\, never repeating himself in the process. “I just don’t want to ever keep doing the same thing\,” he says. “I’m grateful that I can keep on doing anything at this point\,” he adds. “My body doesn’t hold up and perform the way it once did.” \nThat may be so. But the legendary musician has just made his 38th studio album. And it may stand as one of his best of his long and storied career.
URL:https://wdvx.com/event/bruce-cockburn-w-livingston-taylor-live-at-the-bijou-11-2/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20261105T193000
DTEND;TZID=America/New_York:20261105T193000
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SUMMARY:Hayes Carll — Live at the Bijou — 11/5
DESCRIPTION:Get Tickets Here! \nHayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of use what to do or think. But he is charting out a personal guide for his life\, quieting the noise\, and sitting with his real voice – the one that’s candid\, consistent\, and often inconvenient. \nWe’re Only Human is Carll’s tenth album. Like his best lyrics\, it is also an understated masterpiece\, an honest snapshot of one man’s confrontation and delight with humanity’s biggest and most intimate questions. Where do we find forgiveness for ourselves and grace for others? How do we hold on to peace of mind and stay present? What can we—and should we––trust? And how can we moor ourselves to\, well\, ourselves\, in the midst of confusing\, trying times? We’re Only Human offers audiences the chance to listen to Carll as he listens to himself. \n“I’ve lived outside of myself for so long\,” Carll admits. “Distractions\, fear\, anxiety\, insecurity\, and the complexity of being human in this world have so often pulled me away from being present or at peace.” \n“I feel like there’s been a voice riding shotgun all my life\, pushing me to do better\, but I’ve struggled to listen to it\,” Carll says. “The idea behind this record was to do the personal work I needed to do\, then codify those lessons in song to serve as sort of breadcrumbs to get me back on the trail if\, and inevitably when\, I get lost again.” \nCarll is more than two decades into a celebrated career. Praise from places such as Pitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle tough issues with wry humor to Bob Dylan––punctuate a resume that includes Americana Music Awards and a Grammy nomination. His songs aren’t safe\, but many of Nashville’s stars have recorded them\, including Kenny Chesney\, Lee Ann Womack\, and Brothers Osborne. As a solo recording artist\, Carll has long-since established himself as one of Americana’s most-played––and most loved––voices. His warm but crackling vocals\, wit\, and heart dance through wordplay that’s always clever\, and never too precious. Through it all\, whenever Carll points a finger\, it’s most often at himself. \nAs We’re Only Human collects moments of Carll figuring out how to be with himself\, the songs feel forthright\, hopeful\, and timely. In today’s onslaught of instant gratification\, rage-baiting headlines\, glorified intolerance\, and falling empathy\, the record is a startling outlier: an artist’s raw\, real-life effort to live well—both with himself and others. Carll embraces private epiphanies\, and shares them with the world\, allowing them to unfold for all to see and share. \nOf course\, We’re Only Human is also art. So while appreciating the motivation and compelling themes driving it will underpin the listener’s experience\, Carll’s album also matters because of the sheer brilliance of its execution. These are songs composed by a writer’s writer\, wielding his considerable skill with precision and beauty. \nThe album’s title track unfolds with plaintive piano and a mantle of grace. Carll sings\, with a calming sincerity\, “We’ll do most anything to avoid the pain / Hiding our hearts and casting the blame / 6\,000 tongues\, but we’re all the same / Ain’t no need to carry that shame / ‘Cause we’re only human.” \nHard-won minutes of quiet clarity inspired some of the record’s most beautiful moments. Accented by bright mandolin and soft\, simple percussion\, “Stay Here a While” captures a peaceful reprieve from a racing mind. “I remember sitting on the couch\, looking out the window\, watching the birds do their thing\,” Carll says with a laugh. “I got lost in their lives for a moment\, and it was such a wonderful feeling because my mind is always going in circles\, seeking excitement\, and frankly\, just thinking about myself. I enjoyed the peace I felt in that moment and I thought\, this is lovely and I’d like to stay in this place.” Carll shared that takeaway with MC Taylor\, aka Hiss Golden Messenger\, who not only could relate\, but helped finish the song. \n“High” offers another invitation to stop and breathe. Opening with a solo horn\, flute\, and stripped down piano\, the track is lovely and sincere\, with Carll’s signature humor hovering comfortably nearby. There are also times when Carll’s sharp wit comes roaring to the foreground. “Progress of Man (Bitcoin and Cattle)” sends up society’s disorienting––and conflicting––forces\, while “Good People (Thank Me)” is a masterclass in comedic timing\, stubborn humanism\, and the untapped potential of gratitude. \nA dogged insistence on acceptance\, both of one’s self and others\, courses through the album— as does Carll’s determination to hold himself accountable. “If I’m judging others\, then I’m not having to look at myself\,” Carll says. “I’m flawed as hell\, judgmental\, and critical of myself and those around me. That’s a loop that feeds itself. But I figure If I can look at myself clear-eyed and acknowledge my own shortcomings\, it might help me have some grace and acceptance for myself and others.” \nIt’s that sort of harmonious duality––embracing one’s self and confessing one’s own mistakes––that solidifies the record’s big-hearted honesty. “The creative process was in large part a self-therapy session. I don’t think that would work if I was only looking at everyone else’s issues\,” Carll says. \nA moving series of grounding vignettes\, realizations\, and self-love roll through “What I Will Be\,” as Carll promises to not compromise himself to fit in. A slow-burning\, blues-tinged standout\, “I Got Away with It” is painful and gorgeous. Brimming with hope\, “One Day” balances the work Carll sees as necessary with the certainty that satisfaction\, contentment\, and peace are reachable by trusting in yourself and the universe. \nFeaturing a parade of Carll’s longtime friends\, album closer “May I Never” is a plea to himself. As Ray Wylie Hubbard\, Shovels & Rope\, Darrell Scott\, Nicole Atkins\, and The Band of Heathens’ Gordy Quist and Ed Jurdi each take verses\, listeners are swept up in a resolute promise to keep after good. “It brings up a lot for me when I hear them singing those lines\,” Carll says. Each of those people – whether they know it or not – have played a part in my story\, and it’s gratifying and humbling to me to have them lend their voices to this song.” \nIn the end\, Carll’s latest album is a lovingly and purposefully written collection of reminders. “I hope other people find something in it\, too” Carll says. “Through it all\, I am trying to stay appreciative\, knowing that I did what I set out to do: write something that can help me navigate this journey with a little more grace and peace.”
URL:https://wdvx.com/event/hayes-carll-live-at-the-bijou-11-5/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTEND;TZID=America/New_York:20261111T193000
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LAST-MODIFIED:20260721T132419Z
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SUMMARY:Eddie 9V — Live at the Bijou — 11/11
DESCRIPTION:Get Tickets Here! \nEddie 9V has an endless stockpile of cool stories – and you’ll find twelve of them on his most recent studio album Saratoga\, released in November 2024 on the fabled Ruf Records label. A thrilling mix of Southern soul\, blues\, rock\, and funk\, Saratoga proved to be a gamechanger: a road trip-ready record filled with razor-sharp observations\, vintage textures\, and raw humanity. It also marked a major career milestone: Eddie 9V’s soulful sound began reaching hundreds of thousands of new fans across the globe. Now signed to Easy Eye Sound — the Nashville-based label founded by Dan Auerbach of The Black Keys — Eddie 9V is preparing to release a brand-new album in 2026. And the momentum keeps growing. \nSince Saratoga dropped\, Eddie’s monthly listeners on Spotify have exploded from 8\,000 to peaking at over 800\,000.. Songs like “Halo\,” “Saratoga” and “Love Moves Slow” have become SiriusXM Spectrum-certified tracks\, gaining steady spins and major audience love. \nBut this rise is years in the making. From the day he first slung a guitar on a local Georgia stage\, Eddie 9V (born Brooks Mason) has been an artist to watch. First cutting his teeth in cover bands and regional blues circuits\, he made the leap to full-time frontman with a name that couldn’t be ignored. “I wanted to start from scratch – and I ain’t never heard of no bluesman named Eddie 9V.” \nThat leap paid off. His early albums Left My Soul In Memphis (2019) and Little Black Flies (2021) turned heads for their wild energy and vintage flair. 2022's Capricorn was a breakout moment\, earning rave reviews from Classic Rock\, The Guardian\, and more. It debuted at #1 on the blues charts before being dethroned by Bonnie Raitt — “a cool story to be able to say\,”  Eddie laughs. \nBy the time Saratoga arrived\, Eddie 9V had evolved into a full-spectrum songwriter\, tapping into deep wells of soul and storytelling alongside his brother and longtime collaborator Lane Kelly. Much of the album was recorded at their Echo Deco Studio in Atlanta\, with some sessions at Denver’s Crown Lanes Studio. From the disco-tinged horns of the title track to the fuzzed-out dreamscape of “Delta\,” it’s a record that widened the lens without losing the grit. \nNow with a major label partner\, national tours\, SiriusXM airplay\, and streaming growth that shows no signs of slowing\, Eddie 9V is poised for the next chapter. A new album is on the horizon. The band is sharper than ever. And if Saratoga was the ignition\, what's coming next is the open highway. “I’m already writing new songs\,” he says. “You never stop.”
URL:https://wdvx.com/event/eddie-9v-live-at-the-bijou-11-11/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20261113T200000
DTEND;TZID=America/New_York:20261113T213000
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SUMMARY:We Love Dolly! — Live at the Bijou — 11/13
DESCRIPTION:The Knoxville Jazz Orchestra and special guests perform the music of Dolly Parton! All net proceeds benefit the Imagination Library of Knox County. Featuring vocalists Robinella Bailey\, Jeannine Fuller\, Evelyn Jack\, Kelle Jolly\, Jonathan and Wendy Maness\, Stina Nesbit\, and other special guests! \nThe evening’s program will include Jolene\, 9 to 5\, I Will Always Love You\, Here You Come Again\, Two Doors Down\, Coat of Many Colors\, Islands in the Stream\, and other classic hits. \nPURCHASE YOUR “WE LOVE DOLLY!” TICKETS HERE! \nSUPPORT THIS EVENT: Want to go a step further and help us make a bigger impact? Consider a donation to offset our production costs for the event. Learn more! \n 
URL:https://wdvx.com/event/we-love-dolly-live-at-the-bijou-11-13/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20261205T190000
DTEND;TZID=America/New_York:20261205T190000
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SUMMARY:Dailey & Vincent: Candy Canes & Coal — Live at the Bijou — 12/5
DESCRIPTION:Get Tickets Here! \n“Two voices\, one vision — preserving the heart of American music.” \nGrand Ole Opry members\, Grammy nominees\, and multi-award winners Dailey & Vincent are among the most respected and celebrated duos in American roots music. With unmistakable harmonies\, masterful musicianship\, and a signature blend of bluegrass\, country\, and gospel\, Jamie Dailey and Darrin Vincent have built a career defined by excellence\, authenticity\, and heart. \nSince launching their duo in 2007\, Dailey & Vincent have earned more than 30 industry awards\, performed on iconic stages including Carnegie Hall\, the Hollywood Bowl\, and the Grand Ole Opry\, and connected with audiences across the country through The Dailey & Vincent Show on RFD-TV\, reaching more than 200\,000 viewers each week. Their latest album\, A Beautiful Life\, released June 12\, 2026\, debuted in the Top 10 on Billboard’s Bluegrass Albums chart and has already produced two No. 1 singles at bluegrass radio: “Ruby” and “Moon Shines on the Still.” The success marks another chapter in a career that has consistently honored the traditions of bluegrass while expanding the music’s reach to audiences far beyond the genre. \nDailey & Vincent’s impact extends well beyond the concert stage. Their recording of “I’ll Leave My Heart in Tennessee” was adopted as an official Tennessee State Song\, while their annual Dailey & Vincent Music Fest in Hiawassee\, Georgia continues to bring fans from across the country together for a multi-day celebration of music and community. \nLooking ahead to 2027\, Dailey & Vincent will celebrate two significant milestones: 20 years as a duo and 10 years as members of the Grand Ole Opry. Rooted in faith\, friendship\, and a shared love of American music\, they continue to evolve while remaining committed to the harmony\, musicianship\, and timeless songs that have defined Dailey & Vincent from the beginning.
URL:https://wdvx.com/event/dailey-vincent-candy-canes-coal-live-at-the-bijou-12-5/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20261217T193000
DTEND;TZID=America/New_York:20261217T193000
DTSTAMP:20261024T120535
CREATED:20260928T143040Z
LAST-MODIFIED:20260928T143044Z
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SUMMARY:Samantha Fish\, Cedric Burnside\, Daddy Long Legs: Shake Em On Down Tour — Live at the Bijou — 12/17
DESCRIPTION:Tickets Here! \nGet ready to rock n roll as Samantha Fish brings her annual multi-bill Shake ’Em on Down Tour 2026! Feat: Samantha Fish\, Cedric Burnside\, & Daddy Long Legs \nCurated by Samantha Fish herself\, this high-powered\, multi-artist caravan showcases the past\, present\,and future of the blues. It brings together three powerful blues fueled acts for one unforgettable\, night of music that pushes boundaries and honors deep-rooted traditions. \nSamantha Fish continues to redefine what modern blues looks and sounds like. \nCedric Burnside brings pure blues royalty to the bill\, this Grammy Award-winning guitarist\, drummer\, and singer is the ultimate torchbearer of the hypnotic North Mississippi Hill Country blues style. The grandson of the legendary R.L. Burnside\, Cedric carves his own path\, introducing his distinct\, inherited family legacy to fans all over the world. \nDaddy Long Legs is a raw\, super charged high energy blues band from Brooklyn\, New York. Formed in 2010\, the sharp-dressed group describes themselves as NYC’s “diabolical rhythm and blues street gang”; Celebrated by No Depression as “The Coolest\, Most Authentically Groovy Band You’ve Never Heard Of\,” Daddy Long Legs deliver a lo-fi blend of garage rock\, punk\, and vintage country-blues driven by feral vocals and explosive harmonica. \nJoin us for this special night of music. \n 
URL:https://wdvx.com/event/samantha-fish-cedric-burnside-daddy-long-legs-shake-em-on-down-tour-live-at-the-bijou-12-17/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20261220T190000
DTEND;TZID=America/New_York:20261220T190000
DTSTAMP:20261024T120535
CREATED:20261023T144905Z
LAST-MODIFIED:20261023T145049Z
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SUMMARY:Mike McGill’s 14th Annual Christmas Spectacular — Live at the Bijou — 12/20
DESCRIPTION:Get Tickets Here! \nCelebrate the season with Mike McGill’s 14th Annual Christmas Spectacular! A Knoxville holiday tradition\, Mike’s Yuletide show continues to raise funds for Second Harvest Food Bank of East Tennessee’s Food for Kids program. A lineup of local musicians and holiday cheer await! Treat yourself to a fun evening out: Not only will you enjoy great music and entertainment\, but you’ll be taking care of your holiday good deed at the same time (all proceeds from the event go to feed hungry kids in East Tennessee). See you there!
URL:https://wdvx.com/event/mike-mcgills-14th-annual-christmas-spectacular-live-at-the-bijou-12-20/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20270129T190000
DTEND;TZID=America/New_York:20270129T190000
DTSTAMP:20261024T120535
CREATED:20261013T155515Z
LAST-MODIFIED:20261013T155515Z
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SUMMARY:WDVX Presents James McMurtry and the Martial Law Review w/ BettySoo — Live at the Bijou — 1/29
DESCRIPTION:Tickets Here! \nA Lone Star sheriff hunts quail on horseback and keeps a secret second family. A mechanic lies among the spare parts on the floor of his garage and wonders if he can afford to keep his girlfriend. A troubled man sees hallucinations of a black dog and a wandering boy and hums “Weird Al” songs in his head. These are some of the strange and richly drawn characters who inhabit James McMurtry’s eleventh album\, The Black Dog & the Wandering Boy. A supremely insightful and inventive storyteller\, he teases vivid worlds out of small details\, setting them to arrangements that have the elements of Americana—rolling guitars\, barroom harmonies\, traces of banjo and harmonica—but sound too sly and smart for such a general category. Funny and sad often in the same breath\, the album adds a new chapter to a long career that has enjoyed a resurgence as young songwriters like Sarah Jarosz and Jason Isbell cite him as a formative influence. \nAs varied as they are\, these new story-songs find inspiration in scraps from his family’s past: a stray sketch\, an old poem by a family friend\, the hallucinations experienced by his father\, the writer Larry McMurtry. “It’s something I do all the time\,” he says\, “but usually I draw from my own scraps.” As any good writer will do\, McMurtry collects little\nideas and hangs on to them for years\, sometimes even decades. “South Texas Lawman” grew out of a line from a poem by a friend of the McMurtry clan\, T.D. Hobart. Driven by gravelly guitars and a loose rhythm section\, it’s a careful study of a man whose feelings of obsolescence motivate him to take drastic action in the final verse. “Dwight’d stay at\nour house way back in the ‘70s\, when we lived in Virginia. During one visit he wrote this poem about his father’s attitude toward South Texas. He wrote it down on cardboard\, and I came across it recently. There was a line about hunting quail on horseback\, and that was the seed of the song. I’ve lost the poem since then.” \nThe rumbling title track\, a kind of squirrelly blues\, features two mysterious figures who appear only to those slipping from reality\, yet it’s never grim nor especially despairing. Instead\, McMurtry namechecks a “Weird Al” deep cut and depicts a tortured soul who doesn’t have to work a nine-to-five. He finds a defiant humor in the situation at odds\nwith the gravity of the source material. “The title of the album and that song comes from my stepmother\, Faye. After my dad passed\, she asked me if he ever talked to me about his hallucinations. He’d gone into dementia for a while before he died\, but hadn’t mentioned to me anything about seeing things. She told me his favorite hallucinations were the black dog and the wandering boy. I took them and applied them to a fictional character.” \nSoon McMurtry had enough of these songs for a new record. “It happened like all my records happened. It’d been too long since I’d had a record that the press could write about and get people to come out to my shows. It was time.” What was different this time was the presence of his old friend Don Dixon\, who produced McMurtry’s third\nalbum\, Where You’d Hide the Body?\, back in 1995. “A couple of years ago I quit producing myself. I felt like I was repeating myself methodologically and stylistically. I needed to go back to producer school\, so I brought in CC Adcock for Complicated Game\, and then Ross Hogarth did The Horses & the Hounds. It seemed natural to revisit Mr.\nDixon’s homeroom. I wanted to learn some of what he’s learned over the last thirty years.” During sessions at Wire Recording in Austin\, McMurtry observed firsthand Dixon’s grasp of digital recording technology as well as his instinctual approach to tracking. “What Don’s really good at is being able to sense when it’s happening. He can\nhear when it’s going down. If I’m producing myself and I don’t have him\, I have to do three takes and then go in and listen to them. Listening to those three takes can take about 15 minutes. So Dixon’s ability to know when it’s happening is crucial\, because it can cut 15 minutes out of the day. That can really save a session\, because you only have so many hours in the day and only so much energy. \nWorking with McMurtry’s trusted backing band—Cornbread on bass\, Tim Holt on guitar\, Daren Hess on drums\, BettySoo on backing vocals—they worked to create something that sounds spontaneous\, as though he’s writing the songs as you hear them. They were open to odd experiments\, weird whims\, and happy accidents\, such as the\ncover of Jon Dee Graham’s “Laredo” that opens the album. It’s an opioid blues: testimony from a part-time junkie losing a weekend to dope. “We were playing a benefit for Jon Dee at the Hole in the Wall there in Austin\, and we thought it’d be good if we played one of his songs. We rehearsed the song in the studio\, and it sounded good. The\ndrums were ready. We’d already got the sounds up. Might as well record it.” \n“Laredo” is one of a pair of covers that bookend The Black Dog & the Wandering Boy\, the other being Kris Kristofferson’s “Broken Freedom Song.” “I did that one a few weeks after our initial sessions. It was just me and BettySoo\, then we added drums and bass later on. Kris had just passed not too long before we recorded it. I guess that’s why I was thinking about him.” Like Hobart’s poem\, it’s a bit of inspiration excavated from deep\nwithin his own life. “Kris was one of my major influences as a child. He was the first person that I recognized as a songwriter. I hadn’t really thought about where songs came from\, but I started listening to Kristofferson as a songwriter and thinking\, How do you do this? He was actually the second concert I saw. I was nine. He and the band were having such a good time\, and that really solidified for me that this was what I wanted to do with my life.” \nOnce the album was mixed\, mastered\, and sequenced\, McMurtry recalled a rough pencil sketch he had found a few years earlier in his father’s effects. It seemed like it might make a good cover. “I knew it was of me\, but I didn’t realize who drew it. I asked my mom and my stepdad\, and finally I asked my stepmom\, Faye\, who said it looked like\nKen Kesey’s work back in the ‘60s. She was married to Ken for forty years.” The Merry Prankster’s—Kesey’s roving band of hippie activists and creators—stopped by often to visit Larry McMurtry and his family. “I don’t remember their first visit\, the one documented in Tom Wolfe’s Electric Kool-Aid Acid Test. I was too young\, but I do\nremember a couple of Ken’s visits. I guess he drew it on one of those later stops. I remembered it and thought it would be the perfect art\, but I had to go back through the storage locker. It’s a miracle that I found it again.” \nIt’s a fitting image for an album that scavenges personal history for inspiration. Even the songwriter himself doesn’t always know what will happen or where the songs will take him. “You follow the words where they lead. If you can get a character\, maybe you can get a story. If you can set it to a verse-chorus structure\, maybe you can get a song. A\nsong can come from anywhere\, but the main inspiration is fear. Specifically\, fear of irrelevance. If you don’t have songs\, you don’t have a record. If you don’t have a record\, you don’t have a tour. You gotta keep putting out work.” \n 
URL:https://wdvx.com/event/wdvx-presents-james-mcmurtry-and-the-martial-law-review-w-bettysoo-live-at-the-bijou-1-29/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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DTSTART;TZID=America/New_York:20270211T200000
DTEND;TZID=America/New_York:20270211T200000
DTSTAMP:20261024T120535
CREATED:20260928T144041Z
LAST-MODIFIED:20260928T144101Z
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SUMMARY:Shovels & Rope: Bare Bones — Live at the Bijou — 2/11
DESCRIPTION:Tickets Here! \nSOMETHING IS WORKING UP ABOVE MY HEAD \nOne night in the middle of the night there were a series of noises coming from\nabove which lead to a series of thoughts. It sounded like something was\nworking. Building something.. A nest for its family? A trap for its prey? This\nled to more thoughts about unseen things at work. A God? A voice in your\nhead? It all feels kind of made up until someone responds to it. \nLess means more. That’s kind of always how it’s been with us. This time the\nrules were simple: we can only use what we work with live and whatever we\nput down on tape must be accomplishable on a stage in a live setting. That’s\nalways seemed to be when we’re at our best. Or most twitchy. Many times\nwe’ve made records that we loved and then\, after figuring out how we’d perform\nit live\, we end up falling in love with the live arrangement because being a 2\npiece band it took some real risk and struggle which led to innovation which\ngave it a whole new life. (Consider the tortured grape.) So with this one we just\nstarted there and worked backwards. The result encapsulates\, more than\nanything we’ve done before\, the sound of our live performance. Resulting in\nwhat one might consider by definition\, a definitive album. \nThe summer and fall leading up to recording we spent writing songs\, hanging\nout with family in Colorado and playing shows opening for The Wood Brothers\nand Gregory Alan Isokov\, both of whom have large audiences. So each night we\nwere playing in front of a lot of people\, many of whom had never heard of us.\nWe decided to take those opportunities to rattle our comfort zone cage and try\nout a bunch of brand new\, just written songs and basically learn how to play\nthem in front a few thousand people. The songs would grow and change show\nto show\, sometimes for the better and sometimes for the worse. Maybe we go\ndown in flames? Maybe something beautiful happens while it’s burning? We\nhappily embraced the chaos. That’s kind of always how it’s been with us. \nWe had a new song that initially neither of us thought that much of called ‘Love\nSong From A Dog’. During one of the first nights of the Isakov run we decided\,\non stage\, mid set\, to try it out because the show was going well and the\naudience was warm. To our surprise\, it kind of killed and became a fan favorite\nmoment of our set each night. And honestly in all the years of doing this we’ve\nnever had so many people send us messages or reach out about any one\nspecific song as they did this one.. It just goes to show us that we don’t know\nanything. When it came time to record it we thought it’d be fitting and a nice\ntouch to have Greg sing on it since it was his audience who basically fostered it into being by giving us the confidence and encouragement we needed to see it\nthe way they did. He generously obliged and the song was instantly elevated by\nthe sincerity and richness of mood that colors his voice. \nThe two of us can’t help but be obsessed with duality. The song ‘Two Wolves’ is\na meditation about two conflicting energies competing for power. The first time\nwe ever played it was on New Years Eve at Rupp Arena opening for Tyler\nChilders in front of 15k or so country music fans who surely were like “what the\nhell is this” but to us it seemed 100 percent appropriate because\, if we have a\nsong made for an arena\, this is probably it. A fuzzy\, thick riffed stomper with a\nhypnotic head bob refrain. It was a big show on a big stage and we were feeling\nour saltiest rock n roll consummate professional selves in that moment\, so we\nwent wide open with it off the rip because well\, we had to. \nFor those who are new here we’ve spent the last decade or so bouncing around\nin the ‘Americana’ realm quite a bit. Getting branded into that world was\nadmittedly a bit of a shoulder shrug for us as we’ve always identified more as\nmessy\, misfit\, folk songwriters and electric yarn spinners who’s harmonies land\nsomewhere between sweet and spit.. But the people were paying attention and\nwe were building a fan base so we kind of felt like “who were we to tell them\nwho we weren’t?” But when you go all the way to Europe and are standing on a\nstage in front of a few hundred Scandinavians who are dressed in head to toe\ndenim and cowboy hats expecting something a little more specific\, we can’t\nhelp but feel like we’re about to confuse some people. We will often find\nourselves playing an outdoor\, ‘free in the park’ type of concert series where a\nMale and Female with 2 guitars and beautiful harmonies will be booked as the\nopener and then we’ll take the stage and proceed to be a little louder and\nmaybe a little more brash than was anticipated.. It’s always kind of been this\nway with us. The joke in our camp when this happens goes something like:\nAnd for tonight’s entertainment we have for you “The What We Thought They\nWere’s” followed by the “Louder Than We Thoughts”! Recently we did a gig\nwhere the spokesperson said to us just before we went on ‘so maybe don’t\ncome out with your heaviest guitar stuff and your 808 bass bullshit right off the\nrip.. there are kids and old people here and they’ll leave” (he was trying to be\nhelpful). We politely told him “Don’t worry\, we have a plan”.. and then again\nopened with Two Wolves\, with its loud guitar stuff and its 808 bullshit\, followed\nby a dynamic set where we touched on all the different things we do and\neveryone proceeded to have a great time. That’s kind of always how it’s been\nwith us. \nSomething Is Working Up Above My Head is a catalog of vulnerable characters\nwith sweet and sordid narratives. \n  \n‘Colorado River’ is a song about a boy and his Dad disposing of bodies in\nvarious ways as the water level recedes and dark surprises surface. The hot\ndog bun line was initially supposed to be a place holder because it sounded\nfunny and it rhymed\, but then we sang it sooo many times over the summer that\nit built a little hot dog shack and moved in forever. I still think it’s kind of dumb\nbut it’s also kind of great. For those who pay attention it’s a pretty obvious John\nPrine nod. I’d like to think he handed us the hot dog bun like a relay baton on\nhis way to the great mystery. Macabre pairs well with a side of humor.\n‘Piranhanana’ is about a boy growing up in a house of sex workers and being\nfine with it with a little meditation\, while his sister struggles to find her zen. ‘I’d\nbe lying’ is about navigating a crisis with a long time friend. ‘Double Lines’\nfollows the journey of a young woman thru pregnancy tests\, covid tests and\nvarious other forms of duality and two-ness. \n  \n‘Something is Working’ and ‘Dass Hymn’ (referring to Ram Dass) were the last 2\nsongs written and added to this collection of songs. They book end the record\nwith questions about what\, if anything\, is pulling the strings? In the closing\nmoments of the last song\, 3 generations of our family all sing together about\nhow nobody knows what happens at the end. And in all the not knowing\, it’s\ncomforting to sing with your family. \n 
URL:https://wdvx.com/event/shovels-rope-bare-bones-live-at-the-bijou-2-11/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20270213T200000
DTEND;TZID=America/New_York:20270213T200000
DTSTAMP:20261024T120535
CREATED:20260928T144353Z
LAST-MODIFIED:20260928T144403Z
UID:10082659-1802548800-1802548800@wdvx.com
SUMMARY:Erick Baker: "Beautiful Life" Album Release Show — Live at the Bijou — 2/13
DESCRIPTION:Get Tickets Here! \nErick Baker is an Emmy Award-winning folk soul singer-songwriter from Knoxville\, Tennessee\, who has spent nearly two decades turning the poetry of everyday life into soulful Americana songs that feel like your own. \n  \nHe didn’t pick up a guitar until after college\, but what began as a late start quickly grew into something much deeper. Drawn from real life\, his songs speak to the joys and struggles that connect us all\, blending folk\, rock\, country\, and soul into something distinctly his own. The result is music that feels lived-in\, honest\, and deeply human. \n  \nKnown for his powerful live performances and a voice that hits you right in the chest\, he’s shared the stage with John Legend\, Brandi Carlile\, Grace Potter\, the Goo Goo Dolls\, and rock legends Heart\, rising from the corners of smoky dive bars to iconic stages like Nashville’s Ryman Auditorium. \n  \nAsheville’s Mountain Xpress has called him a “heart-on-his-sleeve troubadour” with “a smoke and whiskey tenor full of range and emotion\,” while The Daily Times wrote that “Baker has built a career out of peeling back the skin and bones that surround his beating heart…to watch him perform is to witness a man who truly believes in what he’s doing.” \n  \nSince his 2008 debut\, Baker has released eight albums and earned national recognition not only for his music\, but also as a children’s book author and host of the PBS travel series Tennessee Valley Uncharted\, celebrating his Southern roots. \n  \nWith his upcoming studio album Beautiful Life arriving in early 2027\, he takes a defining step forward in both his songwriting and sound\, while continuing to make music that helps people feel seen\, understood\, and a little less alone. \nValentine’s Day VIP Experience (Pre-Show Add-On): \n  \nEnjoy an exclusive pre-show experience for TWO\, for just $100. \n  \nYou and your guest will enjoy:\nAn intimate acoustic performance before the main show\nA photo opportunity on the Bijou Theatre stage with Erick\nA champagne toast\nA box of Erick & Mandy’s homemade brown butter toffee chocolate chip cookies\nEarly entry into the theatre \n Details:\nVIP experience begins at 5:30 PM.\nEach guest must also have a ticket to the show.
URL:https://wdvx.com/event/erick-baker-beautiful-life-album-release-show-live-at-the-bijou-2-13/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20270410T190000
DTEND;TZID=America/New_York:20270410T190000
DTSTAMP:20261024T120535
CREATED:20260224T200621Z
LAST-MODIFIED:20260224T200636Z
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SUMMARY:Foy Vance - The Wake World Tour — Live at the Bijou — 4/10
DESCRIPTION:Get Tickets Here! \nThe seventh album from Foy Vance\, The Wake marks the completion of a decades-long journey defined by tireless soul-searching and life-altering revelation. While playing a gig on the Spanish island of Lanzarote in January 1999\, the Northern Ireland-born singer/songwriter experienced a moment of unprecedented transcendence onstage\, then learned the next morning that his father had suffered a fatal heart attack that very night. Overcome by grief and a galvanizing clarity\, Vance immediately resolved to create seven albums informed by the loss of his father—a traveling preacher who moved their family to the American South when Vance was a baby\, and set him on his life’s path by teaching him to play guitar early in his childhood. At turns devastating and ecstatic and wildly illuminating\, The Wake reveals an artist highly attuned to the task of preserving the human spirit in an often-unforgiving world. \nProduced by Ethan Johns (the Brit Award-winning producer known for his work with Paul McCartney\, Ray LaMontagne\, and more)\, The Wake brings Vance’s gritty vocal work to a potent convergence of folk and soul and Southern blues\, instilling every moment with an unbridled vitality. In his intimate exploration of the human condition\, the Scotland-based artist muses on matters both intensely personal (e.g.\, fatherhood\, heartbreak) and wholly existential (the slippery essence of time\, the looming crisis of AI’s unchecked ascent). The final volume in a run of albums that began with his 2007 debut Hope—and also includes standouts like 2016’s The Wild Swan (executive-produced by Elton John)\, 2019’s From Muscle Shoals and To Memphis (recorded at the historic FAME Studios and Sam Phillips Recordings Studios\, respectively)\, and 2021’s Signs of Life (partly made at Vance’s home in the Scottish Highlands)—the result is the purest distillation yet of his truly singular artistry\, imparting a defiant joy into songs of longing and loss and hard-won acceptance.
URL:https://wdvx.com/event/foy-vance-the-wake-world-tour-live-at-the-bijou-4-10/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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