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SUMMARY:DelFest Presents: The Travelin' McCourys — Live at the Bijou — 4/9
DESCRIPTION:Click here for tickets! \nFrom a source deep\, abundant\, and pure the river flows. It’s there on the map\, marking place and time. Yet\, the river changes as it remains a constant\, carving away at the edges\, making new pathways\, gaining strength as it progresses forward. The Travelin’ McCourys are that river. \nThe McCoury brothers—Ronnie (mandolin) and Rob (banjo)—were born into the bluegrass tradition. Talk about a source abundant and pure: their father\, Del\, is among the most influential and successful musicians in the history of the genre. Years on the road with Dad in the Del McCoury Band honed their knife-edge chops and encouraged the duo to imagine how traditional bluegrass could cut innovative pathways into 21st century music. \n“If you put your mind\, your skills\, and your ability to it\, I think you can make just about anything work on bluegrass instruments\,” says Ronnie. “That’s a really fun part of this—figuring the new stuff out and surprising the audience.” \nThe newest member of the band\, fiddler Christian Ward\, joined after Jason Carter moved on to pursue a solo career. Bassist Alan Bartram\, and Cody Kilby on guitar\, they assembled a group that could take what they had in their DNA\, the traditions they learned and heard\, and push the music forward. In fact\, the band became the only group to have each of its members recognized with an International Bluegrass Music Association Award for their instrument at least once. There were peers\, too\, that could see bluegrass as both historic and progressive. Rock and Roll Hall of Fame inductees The Allman Brothers Band\, improv-rock kings Phish\, and jamband contemporary Keller Williams were just a few that formed a mutual admiration society with the ensemble. \nThe band played the Allman’s Wanee Festival and guitarist Warren Haynes’ Christmas Jam—an annual holiday homecoming of Southern music. An early-years jam with the Lee Boys was hailed by many as the highlight of the evening\, and with the video catching fire online\, earned a legion of new\, young fans of their supercharged combination of sacred steel\, R&B\, and bluegrass. There were unforgettable collaborations with country smash Dierks Bentley\, onstage magic jamming with titans String Cheese Incident and Phish\, cutting an album with Keller (Pick)\, and creating the Grateful Ball—a tribute concert-turned-tour bridging bluegrass with the iconic music of the Grateful Dead. \n“That’s something that’s part of us being who we are\,” says Ronnie. “It comes\, too\, with us plugging in. It gets louder\, for sure. We can’t be another version of our dad’s band. It wouldn’t make any sense for us to do that.” \nTheir concerts became can’t-miss events\, whether headlining historic venues or as festival favorites\, drawing the love and respect of a growing fanbase craving their eclectic repertoire. At the 2016 edition of DelFest\, an annual gathering of the genre’s best aptly named for the McCoury patriarch\, the band delivered the take-away highlight. Rolling Stone called it “a sublime combination of rock and bluegrass\, contemporary and classic\, old and young. The best set of the festival…” The river was going new places\, getting stronger. It was time to re-draw the map. \n“We’ve tried to pick songs we think people are going to enjoy\,” says Ronnie. “Something we learned from our dad is that a good song is a good song. It can be done in any way.” \nSo arrives the long-awaited\, self-titled debut album from the quintet. A brilliantly executed set overflowing with inventive style\, stellar musicianship\, and\, of course\, plenty of burnin’ grass\, the 14-song collection is a true culmination of their decades-long journey. From the headwaters of Bill Monroe and the waves of Jerry Garcia to a sound both rooted and revolutionary\, soulful and transcending that belongs only to the Travelin’ McCourys. \n“The album definitely shows what we’ve evolved into as a band. And it’s a pretty good representation of what’s happening with the whole genre\,” says Rob. “The old bluegrass material is something I love but it’s been done many times. We’re forging ahead with our own sound. That’s what you have to do to make it all work.”
URL:https://wdvx.com/event/delfest-presents-the-travelin-mccourys-live-at-the-bijou-4-9/
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:20260415T193000
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SUMMARY:Martin Sexton — Live at the Bijou — 4/15
DESCRIPTION:Get tickets here! \nMartin Sexton tours in support the 25th anniversary of Live Wide Open – the critically-acclaimed double vinyl live album. The show will include these fan-favorites as well as some new material and surprise covers. \n“The real thing\, people” —Billboard \n“Soul-marinated voice” —Rolling Stone \n“Mr. Sexton as an impassioned performer can bring women and men to tears when they see him live” —Wall Street Journal \n“The best live performer I’ve ever seen.” —John Mayer \n“Master of dynamics\, reducing a room to silence with his blustering baritone\, then teasing that silence with a fluttering falsetto.” —Acoustic Guitar
URL:https://wdvx.com/event/martin-sexton-live-at-the-bijou-4-15/
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:20260417T200000
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SUMMARY:Live From the Bijou - 4/17 - Taj Mahal & the Phantom Blues Band
DESCRIPTION:CLICK HERE FOR TICKETS & INFO! \nTaj Mahal doesn’t wait for permission. If a sound intrigues him\, he sets out to make it. If origins mystify him\, he moves to trace them. If rules get in his way\, he unapologetically breaks them. To Taj\, convention means nothing\, but traditions are holy. He has pushed music and culture forward\, all while looking lovingly back. \n“I just want to be able to make the music that I’m hearing come to me — and that’s what I did\,” Taj says. The 82-year-old is home in Berkeley\, reflecting on six + decades of music making. “When I say\, ‘I did\,’ I’m not coming from the ego. The music comes from somewhere. You’re just the conduit it comes through. You’re there to receive the gift.” \nTaj is a towering musical figure — a legend who transcended the blues not by leaving them behind\, but by revealing their magnificent scope to the world. “The blues is bigger than most people think\,” he says. “You could hear Mozart play the blues. It might be more like a lament. It might be more melancholy. But I’m going to tell you: the blues is in there.” \nIf anyone knows where to find the blues\, it’s Taj. A brilliant artist with a musicologist’s mind\, he has pursued and elevated the roots of beloved sounds with boundless devotion and skill. Then\, as he traced origins to the American South\, the Caribbean\, Africa\, and elsewhere\, he created entirely new sounds\, over and over again. As a result\, he’s not only a god to rock-and-roll icons such as Eric Clapton and the Rolling Stones\, but also a hero to ambitious artists toiling in obscurity who are determined to combine sounds that have heretofore been ostracized from one another. No one is as simultaneously traditional and avant-garde. \nQuantifying Taj’s significance is impossible\, but people try anyway. A 2022 Grammy win for ‘Get On Board’ for his collaboration with Ry Cooder\, then a trip with his Sextet to Leon Russell’s Church Studio in Tulsa\, OK to record ‘Swingin’ Live at the Church Studio in Tulsa\,’ yet another Grammy win\, brought his Grammy tally to five wins and 16 nominations\, and underscored his undiminished relevance more than 50 years after his solo debut. Blues Hall of Fame membership\, a Lifetime Achievement Award from the Americana Music Association\, 2025 Recording Academy Lifetime Achievement Award Honoree and other honors punctuate his resumé. He appreciates the accolades\, but his motivation lies elsewhere. “It’s not a hunger\, not a lust or even a thirst\,” Taj says of what drives him. “It’s just more knowledge of self — to realize that almost everything is right here. We’re so used to looking outside of ourselves for things\, and it’s right here.” \nTaj’s exploration of music began as an exploration of self. He was born in 1942 in Harlem to musical parents — his father was a jazz pianist with Caribbean roots; mother was a gospel-singing schoolteacher from South Carolina — who cultivated an appreciation for both personal history and the arts in their son. “I was raised really conscious of my African roots\,” Taj says. “So I was trying to find out: where does what we do here connect to what we left there?” In the early 1950s\, his family moved to Springfield\, Massachusetts — a microcosmic melting pot for immigrants from across the globe: the Caribbean\, the American South\, Europe\, the Mediterranean\, Syria\, Lebanon. “Music was everywhere\,” he says. “Things were different in those days. There weren’t a lot of places that African Americans had to go out to entertain themselves. So people did a lot of entertaining in their homes. Friday or Saturday night\, you’d move the furniture\, mop and wax the floor\, and set things up so people could pop over and hear all the music.” Musicians and friends from around the world passed through\, ate home-cooked feasts\, and led neighborhood jam sessions and dance parties in cozy living rooms. \nFrom the beginning\, Taj found the blues magnetic\, even as most artists around him in the Northeast were exploring other sounds. “I could hear little strains of the blues coming through — you could feel that energy in the music that was being played\,” he says. “I could also feel that energy of the blues inside myself.” Piano lessons didn’t stick — “I’d already heard what I wanted to play” – so when a blues guitarist from North Carolina moved in next door\, Taj found an early mentor and was off. \nFor college\, Taj attended the University of Massachusetts Amherst. He graduated after studying agriculture and animal husbandry. “I knew I’d like to connect myself to something on this planet that’s meaningful\,” he says. “That’s why I was interested in agriculture and music. Those were the two things that I recognized even as a very young child that people are never going to do without.” \nIn 1964\, Taj packed up and headed west. In Los Angeles\, he formed six-piece the Rising Sons with Ry Cooder. The group opened for Otis Redding\, the Temptations\, and more\, and recorded an album\, but it wasn’t released until about 30 years later. “I guess that’s when they decided\, ‘Whoa. I guess this guy is real\,'” Taj says\, with a hint of a smirk. He’s referring to record executives — a breed for whom he has little patience. “For me\, playing the old music was a refuge from all the stupid stuff that was going on\,” he says\, pausing for a moment to point out commercialization’s limiting effects on what was both recorded and heard. \nIn 1967\, Taj’s self-titled debut announced the arrival of bold young bluesman. The following year ushered in two milestones: sophomore album The Natch’l Blues dropped\, and Taj performed in The Rolling Stones Rock and Roll Circus\, a film featuring performances from the Stones\, The Who\, Marianne Faithfull\, Martha and the Vandellas\, and others meant for the BBC but pulled and kept from public eyes until 1996. In 1969\, full of music and only just beginning\, Taj released Giant Step / De Ole Folks at Home\, a massive double album that hinted at Taj’s refusal to be boxed in. \nThe 70s were a productive and ambitious recording period for Taj that included the Grammy-nominated soundtrack for the film Sounder. He began experimenting with global fusions and flirtations\, signaling to listeners his restless intention to discover both new and old and disregard commercially imposed boundaries. In the 80s\, Taj moved to Hawaii\, and fell in love with sounds native to the island as he toured constantly\, internationally. His gritty blues began to incorporate Latin\, reggae\, Caribbean\, calypso\, cajun\, jazz\, and more\, all layered over a distinctly Afrocentric roots base he’d been raised to rediscover. \nFor Taj\, the 90s were incredibly prolific. Back-to-back Grammy wins for the Best Contemporary Blues Album recognized two dynamic projects with the Phantom Blues Band: Señor Blues and Shoutin’ in Key. “I noticed that when it came to complicated pieces of blues music\, they’d never get played\,” Taj says. “It’s one of the reasons we put Señor Blues out — to say\, ‘You guys\, you know there is more that just the same old [imitates a beat] di da di di di da.’ It’s good when you believe it when you’re playing it. But just to play it as a cliche? That’s real boring. And real tiring.” Collaborations with Hawaiian\, African\, Indian\, and other musicians helped define his decade. \nOver the years\, Taj had also emerged as a mind-boggling\, multifaceted player. In addition to the guitar\, he has become proficient on about 20 different instruments — and counting. “There weren’t an awful lot of people still playing these instruments that came from my culture\,” Taj explains. “Not that they didn’t before\, but nobody was playing them in the time I was. But I wanted to hear them. So I watched people play\, got one\, sat down\, remembered the music that I was listening to\, and started picking it out on the mandolin or banjo or 12-string.” \nTaj didn’t slow down as he entered the 21st century. Maestro\, marking the 40th anniversary of his recording career and featuring a global mix of voices ranging from Angelique Kidjo to Los Lobos to Ziggy Marley to Ben Harper\, dropped in 2008. In 2017\, his highly anticipated collaboration with Keb’ Mo’ — TajMo — netted Taj his third Grammy. Their partnership continued in 2023-24 when they regrouped to record the follow up TajMo record due out in Spring 2025. 2022’s Grammy for ‘Get on Board’ with Ry Cooder\, Taj’s live record from the Church Studio in Tulsa\, ‘Savoy’ are amongst a few of the several projects he is either touring behind or currently in the works\, as Taj remains excited by fresh young voices trying new things and exhumed treasures that have been buried too long. \nAs Taj thinks about the dozens and dozens of albums\, collaborations\, live experiences\, and captured sounds\, he finds satisfaction in one main idea. “As long as I’m never sitting here\, saying to myself\, ‘You know? You had an idea 50 years ago\, and you didn’t follow through\,’ I’m really happy\,” he says. “It doesn’t even matter that other people get to hear it. It matters that I get to hear it — that I did it.” \n 
URL:https://wdvx.com/event/live-from-the-bijou-4-17-taj-mahal-the-phantom-blues-band/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:WDVX Supported Events
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SUMMARY:Penny & Sparrow — Live at the Bijou — 4/18
DESCRIPTION:Get Tickets Here! \nA wise wizard once said: “when in doubt\, always follow your nose.” \nThe last album from Penny and Sparrow\, Olly Olly\, was a work of revelation and liberation. A search for and an embrace of the self. I imagine they were left with a headscratcher of a question: well\, shit. Where do you go from there? \nFortunately\, they listened to the wizard and followed their noses backwards to find their way forward. \nAiming to strip away pretense and invite experimentation\, they commandeered a garden shed from a friend and retrofitted it to make a twenty-track album that is vast\, weird\, and wholly unexpected. \nIf Lefty is anything\, it is the journal of Penny and Sparrow’s inner child. Dog-eared\, lock busted open. On its pages the sketches of dreams\, nightmares\, erotica\, and literary fan fiction graffiti the margins of poetry\, elegies\, and love letters in the wild colors of saxophone blue\, electronic pink\, and blood harmony red. \nBeautifully varied and richly rendered\, it is an album that wanders from theme to theme\, style to style\, exultation to tragedy. Yet it is never lost. If anything\, it is at play. \nUnited by its intimate vocals and aching harmonies\, its acoustic laments trickle into ethereal pop only to surge into whimsical ballads and crest into grand hooligan anthems that sway gently down to familiar shores where melancholic ballads tell of love lost\, found\, forgotten\, and remembered. \nAndy and Kyle have written some albums in blood. Others they’ve whispered to the sea. This one they danced in the sky with smiles on their faces. Lefty feels like not just a celebration of their journey beyond the bounds of their traditional genre\, but as if they have rediscovered the joy in music by honoring the sounds that inspired two boys growing up in Texas to one day make the damn stuff themselves. \n– Pierce Brown\, author and friend
URL:https://wdvx.com/event/penny-sparrow-live-at-the-bijou-4-18/
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:20260430T193000
DTEND;TZID=America/New_York:20260430T193000
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SUMMARY:Brandy Clark — Live at the Bijou — 4/30
DESCRIPTION:Sale starts Friday\, 3/6/2026\, at 10:00 am\nA Grammy\, CMA and Americana Award-winner\, Brandy Clark is one of her generation’s most esteemed songwriters and musicians. Most recently\, Clark performed “Trailblazer (Dream Chaser Version)” at the 68th Annual Grammy Awards alongside Reba McEntire and Lukas Nelson. “Trailblazer (Dream Chaser Version)” is a reimagined version of the original\, Grammy-nominated song\, “Trailblazer\,” which Clark wrote with Lainey Wilson and Miranda Lambert and reworked specially for the Grammy In Memoriam performance. \nAmong her many accolades\, Clark won Best Americana Performance at the 66th Annual Grammy Awards and Song of the Year at the 2024 Americana Honors & Awards for “Dear Insecurity” featuring 11x Grammy-winner Brandi Carlile. The track is from Clark’s self-titled album\, which was produced by Carlile and features her most personal songwriting to date. Released to overwhelming praise\, Forbes calls the record “an Americana Masterpiece\,” while Variety proclaims it “further clarifies that she’s one of America’s treasures” and Billboard declares\, “Clark continues to convey her inexorable talents as both a song-crafter and vocal interpreter.” \nIn addition to her work as a solo artist\, Clark has written songs such as “A Beautiful Noise\,” the Grammy-nominated duet performed by Brandi Carlile and Alicia Keys\, Kacey Musgraves’ “Follow Your Arrow\,” and Miranda Lambert’s “Mama’s Broken Heart.” She also composed the music for the hit musical comedy\, Shucked\, alongside her longtime collaborator\, Shane McAnally. With the show\, Clark won Outstanding Music at the 67th Drama Desk Awards and was nominated for Best Original Score at the 76th Tony Awards\, with Shucked receiving nine Tony nominations overall. Clark is set to tour throughout the spring\, including select stops as part of her “Art of the Storyteller” series\, where she engages in intimate conversations with some of the most acclaimed and inspiring storytellers of our time.
URL:https://wdvx.com/event/brandy-clark-live-at-the-bijou-4-30/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events,WDVX Supported Events
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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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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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DTSTART;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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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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