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SUMMARY:Paul Thorn Presented by WDVX — Live at the Bijou — 6/11
DESCRIPTION:Get tickets here! \n“Life Is Just A Vapor”\nWhen it comes to songwriting\, less is more\, and simplicity is strength. Just ask Paul Thorn\, who’s spent three decades turning soulful grooves and small syllables into songs that pack a big wallop. Maybe he learned the power of minimalism from his years as a pro boxer; maybe it just comes naturally. But whether he’s targeting heads\, hearts\, hips or the occasional funny bone\, he somehow manages to condense large nuggets of wisdom into tight little mantras\, the kind embroiderers stitched onto pillows before internet memes existed. \nThorn’s new album\, Life is Just A Vapor\, contains some beauties: “Life is a vapor\, let’s live it while we can”; “tough times don’t last\, but tough people do” (from “Tough Times Don’t Last”); “any mountain up ahead is just a hill” (from “Old Melodies”). They’re words of advice\, comfort\, support\, encouragement\, often meant to uplift\, especially in times of struggle. \n“I like for people to be touched by music and get something from it\, something that they can take with them throughout the day\,” Thorn says. “Every song on this album\, there’s a message in it of some sort about how to live life.” \nAmerican Blues Scene writer Don Wilcock calls Thorn “an everyman (who) addresses things we all think about\, but few can articulate with the kind of candor\, humor and folksy truth that immediately endear him to almost everyone lucky enough to hear his music.”
URL:https://wdvx.com/event/paul-thorn-presented-by-wdvx-live-at-the-bijou-6-11/
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:20260701T193000
DTEND;TZID=America/New_York:20260701T193000
DTSTAMP:20260525T110522
CREATED:20260211T172705Z
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SUMMARY:Josiah and the Bonnevilles: The Redline North American Tour — Live at the Bijou — 7/1
DESCRIPTION:Click here for tickets! \nJosiah Leming has paid his dues. As a teenager from East Tennessee\, his devotion to music led him to hit the road\, where he lived in his car and played for anyone who would listen. That took him all the way to a major record deal when he was only nineteen. When that ended\, he refused to give up and became an indie artist\, relying solely on the music and his undeniable gift for crafting relatable songs that led to a devoted fan base he calls the Bonnevilles. He appreciates them so much that he includes them in his artist name. “They’re the reason I’m able to make music\,” he says. \n2024 saw Josiah and the Bonnevilles reaching new heights\, completing a headlining tour of thirty-three sold-out dates followed by a slew of international stops that proved his global following. He has become known for raw emotion and a profound connection to his audience. This newfound attention has led to much anticipation for his new album — and As Is lives up to the expectations. \n“I knew I had a responsibility to try to become a better writer\, a better artist\,” he says. “One day that feels like a blessing\, and the next it feels pretty intimidating.” Instead of reproducing his popular sound from the self produced “Endurance”\, he decided to expand it. “I think it would have been hard to keep my excitement to go out on the road with another kind of acoustic record.” \nHis tenth studio album finds him going more electric than ever before\, even as he unplugs from the digital world. “I feel like a grizzled old veteran at this point\,” he says\, even though he is only thirty-six. “I’m desiring quiet\, a work space away from the internet…I felt like it was important to pull back this last year and try to understand what’s on my heart.” What he found there resulted in an album focusing on joy\, sorrow\, and working-class issues that feel very of the moment in a time when so many Americans are struggling to make ends meet. \nLeming comes by his empathy for working people honestly. He’s one of nine siblings\, born and raised in Morristown\, Tennessee\, right in the heart of Appalachia. He taught himself piano when he was eight and was writing songs by thirteen. As a child he was intently aware of his community and intensely proud of his people\, something he thinks about even more in these trying times. “I look at my folks in East Tennessee and very few of them seem to be winning in this new world\,” Leming says. “Being a regular person\, working\, trying your best. I think that’s something to be proud of.” \nHis records have always been intensely personal. But on As Is he wanted to step away from being the main character and instead use vignettes to express essential truths he has learned. “I want anyone to be able to put it on and not think about me when they’re listening. I want them to be in the emotion.” Because of this he made a conscious choice to not include himself on the album cover. \nLeming chose ten tracks from ninety-six songs he has written over the last year and a half. As Is features the most co-writes he has ever recorded. “I love writing alone\, but I wanted to bring in some trusted partners on this one\,” he says. The resulting list features some of the most acclaimed songwriters working today. There’s Nashville powerhouse Natalie Hemby\, a two-time Grammy winner who has written for everyone from Lady Gaga to Miranda Lambert; Joel Little\, a Grammy winner who has written with Lorde\, Taylor Swift\, Noah Kahan\, and many others; Scott Harris\, best known for work he’s produced or written for artists such as Shawn Mendes\, Dua Lipa\, and The Chainsmokers; and others. \nTo help him find the sound he hoped to achieve\, Leming brought in Konrad Snyder as a co-producer. Snyder has engineered or produced some of the best work to come out of Nashville in the last decade\, including tracks by Kacey Musgraves\, Stephen Sanchez\, and Noah Kahan. “It was an amazing partnership with Konrad\,” Leming says. “I never had to touch a computer or a piece of gear; he’s a whiz with all that stuff. I’m usually so hands-on with my stuff\, switching between setting up\, tracking and editing but on this record I got to just perform the songs.” \nThe songs on As Is feature Leming’s vivid sense of place\, precise yet poetic lyrics\, and  emotion that is always longingly expressed by his vulnerable vocals. This collection is more up-tempo than most of his work\, which is something Leming and Snyder strived to make happen on about half the songs. “I was thinking a lot about the energy\, of having a couple songs that can amp up people at live shows\,” he says. \nThis power is especially apparent on songs like opening track “Good Boy”\, which boils toward a rousing breakdown\, “Carolina Heart”\, a tune Leming calls “less existential and my attempt at a feel-good song\,“ and “Going Gone”\, a nostalgic track about the passage of time. “Mountain Girl” is a foot-tapping harmonica-led tribute to Appalachian women. There’s the jaunty rock of “Redline”\, and a song called “One Day at a Time” that is sure to resonate with anyone who has ever struggled with addiction\, depression\, or a lack of confidence. Leming’s fans often cite his storytelling abilities as one reason they love his work\, and that takes center stage on the title track\, a spoken-word song. “Where It Starts” is a meditation on how heartache can lead to great art. The first single is the powerful “Hell Without the Flames\,” the album’s darkest track that also showcases some of the best lyrics and vocals of his career. \nThey all make for a collection of songs that take the listener full circle. “I just want people to be able to see themselves in the songs.” \nThat’s what it’s all about for Leming. “The only goal for me is to make something real\, and honest\, and that can get them through the day\,” he says. “I gave everything I have for this album. I laid it all on the table\, which is what I always want to do.” As Is proves to be all of that\, and more\, a milestone for one of our most authentic and resonant artists working today.
URL:https://wdvx.com/event/josiah-and-the-bonnevilles-the-redline-north-american-tour-live-at-the-bijou-7-1/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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SUMMARY:Graham Nash — Live at the Bijou — 7/29
DESCRIPTION:Get Tickets Here! \nNash is a two-time Rock and Roll Hall of Fame inductee\, with Crosby\, Stills\, and Nash\, and with the Hollies. He was also inducted twice into the Songwriters’ Hall of Fame\, as a solo artist and with CSN\, and he is a GRAMMY Award winner. \nTowering above virtually everything that Graham Nash has accomplished in his multi-faceted career stands the litany of songs that he has written and introduced to the soundtrack of the past half-century. His remarkable body of work\, beginning with his contributions to the Hollies opus\, including “On a Carousel” and “Carrie Anne\,” continues all the way to Now (2023)\, his most recent solo album. \nThe original classic union of Crosby\, Stills & Nash (& Young) lasted but twenty months.  Yet their songs are lightning rods embedded in our DNA\, starting with Nash’s “Marrakesh Express\,” and “Lady of the Island\,” from the first Crosby\, Stills & Nash LP (1969)\, and “Teach Your Children” and “Our House” on CSNY’s Déjà Vu (1970). \nNash’s solo career debuted with Songs For Beginners (1971)\, which included “Chicago/We Can Change the World” and “Military Madness” and others. In addition to his string of solo albums\, he has performed and recorded with David Crosby as Crosby/Nash. Their eponymously titled Graham Nash/David Crosby (1972) is bookended by Nash’s “Southbound Train” and “Immigration Man”.
URL:https://wdvx.com/event/graham-nash-live-at-the-bijou-7-29/
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:20260805T193000
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SUMMARY:An Evening With Patty Griffin — Live at the Bijou — 8/5
DESCRIPTION:Get Tickets Here! \nPatty Griffin is among the most consequential singer-songwriters of her generation\, a quintessentially American artist whose wide-ranging canon incisively explores the intimate moments and universal emotions that bind us together. \nOver two decades\, the 2x GRAMMY® Award winner – and 7x nominee – and Americana Music Association Lifetime Achievement award winner\, has crafted a remarkable body of work in progress that prompted the New York Times to hail her for “[writing] cameo-carved songs that create complete emotional portraits of specific people…[her] songs have independent lives that continue in your head when the music ends.” \n2019 saw the acclaimed release of the renowned artist’s GRAMMY® Award-winning 10th studio recording\, PATTY GRIFFIN. One of the most deeply personal recordings of Griffin’s remarkable two-decade career and first-ever eponymous LP\, PATTY GRIFFIN made a top 5 debut on Billboard’s “Independent Albums” chart amidst unprecedented worldwide acclaim\, and later\, a prestigious GRAMMY® Award for “Best Folk Album.” \nGriffin’s new album\, CROWN OF ROSES\, is a deeply personal and introspective work that explores themes of identity\, nature\, family\, and womanhood. Emerging from a creative drought during the pandemic\, Griffin found herself re-evaluating the stories she’d long told herself. The result is an eight-track collection that is both sparse and emotionally rich\, blending folk\, Americana\, and blues. With CROWN OF ROSES\, Griffin offers a record that’s both grounded and transcendent — one that invites listeners to release old narratives\, embrace new truths\, and stay truly alive while they’re here. Having crafted a rich catalog that chronicles love and death\, heartache and joy\, connection and detachment\, Patty Griffin continues to push her art forward\, as always imbuing every effort with compassion and craft\, uncanny perception\, and ever-increasing ingenuity.
URL:https://wdvx.com/event/an-evening-with-patty-griffin-live-at-the-bijou-8-5/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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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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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:20270410T190000
DTEND;TZID=America/New_York:20270410T190000
DTSTAMP:20260525T110522
CREATED:20260224T200621Z
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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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