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DTSTART;TZID=America/New_York:20250806T190000
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DTSTAMP:20260408T094637
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SUMMARY:Tennessee Shines - 8/6 - Kelsey Waldon & The Muleskinners / Handsome & the Humbles / Redd & the Paper Flowers
DESCRIPTION:East Tennessee’s Own WDVX presents Tennessee Shines at the Historic Bijou Theatre in downtown Knoxville on Wednesday Night August Sixth at Seven.\nThis is a FREE SHOW featuring Kelsey Waldon & The Muleskinners\, East Tennessee’s Own Handsome and The Humbles and Redd & the Paper Flowers. This show is made possible by Tennessee Stone and Modelo Especial! \nIn the six years since she signed to John Prine’s Oh Boy Records\, Kelsey Waldon has earned wide praise for her “self-penned compositions [with] the patina of authenticity” (Rolling Stone). On her new album\, Every Ghost\, she confronts addiction\, grief\, generational trauma\, and even herself — and comes through it stronger and at peace. \n“There’s a lot of hard-earned healing on this record\,” Waldon says of the nine-song project\, recorded at Southern Grooves studio in Memphis with her band\, The Muleskinners. As she sings in the record’s title track and first song\, “Ghost of Myself\,” she’s put in the work not only to better herself and leave behind bad habits\, but also to learn to love her past selves. \nDoing so wasn’t easy\, Waldon admits. “It took time and experience\,” she says\, adding that she can now find compassion for her younger self. \n“I think you’ve gotta respect her\,” Waldon says\, “because she was trying as hard as she could for where she was at\, and she was doing a damn good job.” \nCompassion is a throughline on Every Ghost\, whether it’s for Waldon herself\, for the person in the throes of addiction in “Falling Down\,” or for a suffering world in “Nursery Rhyme.” The people in Waldon’s songs aren’t irredeemable — they’re struggling. \n“You’ve got to have compassion; you gotta stay humble and have gratitude\,” Waldon says. However\, she’s learned that you also can’t let people take advantage of an empathetic heart. “Comanche” — which Waldon jokes is her very own truck song — finds Waldon grappling with the loss of a loved one\, not to death but to boundaries she’s set for her own good. Waldon owns a 1988 Jeep Comanche\, and driving it serves as a kind of therapy for her. \n“I love the whole aspect of when design mattered\,” she says\, “and owning your car was an expression of yourself.” \n“Comanche” is deeply personal\, but Waldon’s most introspective reflections bookend My Ghost. Its penultimate song\, “My Kin\,” extends the idea of loving yourself in spite of yourself beyond the choices she’s made and the circumstances she’s put herself in\, to reckon with both the good and the bad that come from her family tree. Those traits\, Waldon concludes\, make her who she is. \n“As the song says\, ‘I’m the best and worst of my kin\,’ and I love that for myself\,” says Waldon\, who was born and raised in a hunting lodge at the end of a dead-end road in the rural\, unincorporated community of Monkey’s Eyebrow\, Ky. “And I’m also at a point where I’m willing to break these cycles\, I’m willing to grow\, I’m willing to evolve.” \nAmong those best parts of her lineage is Waldon’s grandmother\, who died in June 2024. “She was a remarkable woman. The women in my family have been rocks\, and they’ve all been colorful and full of character\,” Waldon says. \n“Her garden and her yard\, that might have been one of the things she took the most pride in\,” Waldon adds\, recalling how her granny would often stop to dig up roadside flowers\, then transplant them into her yard. A display of tiger lilies\, some of which now grow in Waldon’s yard in Tennessee\, was a particular point of pride. \n“Transplanting is such a tradition — it can teach you a lot\,” Waldon says. “Life goes on\, beauty can grow from anywhere\, and as long as a person is remembered\, they’re never gone.” \nWaldon honors her granny with the song “Tiger Lilies.” She didn’t want an over-the-top sentimental song\, so she instead leaned into the idea of traditions as a way to remember loved ones. “I’m sure Granny would love it\,” Waldon says. \nEvery Ghost concludes with a Hazel Dickens cover\, “Ramblin’ Woman.” Waldon covered two Dickens songs on 2024’s There’s Always a Song and had added “Ramblin’ Woman” to their live sets as well. While Waldon didn’t originally intend to include their cover on this album\, it served as “a sonic star” during the recording process and has a message Waldon feels is still relevant decades after Dickens wrote it. “Hazel was ahead of her time\,” Waldon says. “Our existence is more than just what society expects of us. We’re more than just somebody’s girlfriend or wife or mother\, and those are all beautiful things\, but we can have our own independence\, and we don’t have to do it for anybody else. We’re beautiful\, magical\, and powerful creatures.” \nThat’s certainly how Waldon sees herself after completing Every Ghost. “It feels like there’s a spirit of fearlessness throughout this album\,” Waldon says\, “and I’m really proud of that.” \nWaldon’s fearlessness is among the reasons she landed at Oh Boy Records in 2019\, as the independent label’s first new signee in 15 years. It’s attracted fans to her headline tours and her festival sets\, and prompted artists including Tyler Childers\, Charley Crockett\, Robert Earl Keen\, Margo Price\, and Lucinda Williams to invite her on tour. It helped earn her both the title of “Kentucky Colonel” — an honor recognizing goodwill ambassadors of Kentucky’s culture and traditions — and a spot in the Country Music Hall of Fame and Museum’s annual American Currents exhibit in 2024. \n“True outlaw shit is sticking to your guns\, and I feel like I’m doing that\,” Waldon says. “I’m not saying I’m unbreakable\, but I feel almost unbreakable. I’ve already hurt the worst that I could and lived to tell the story. We can be thankful for our ghosts.” \n \nRedd & The Paper Flowers is an Appalachian Folk / Livingroom Folk band from Knoxville\, Tennessee with members Katie Adams (upright bass)\, Colleen d’Alelio (cello)\, Gavin Gregg (mandolin)\, and Redd Daugherty (guitar). \nThe band met in 2022 through a local open mic and mutual friends\, and they just released their debut album\, Appalachian Bell Jar\, a record that is a testament to East Tennessee and greater Appalachia’s beauty\, struggles with government support\, and their experiences in the area. \nThe band has grown extremely close over the past three years\, particularly in touring: In 2025 alone\, they’re on the road for 22 weeks out of the year. The band also grew through the tragedy of Redd Daugherty losing her dear friend\, Jason Cooper\, who owned a local Knoxville music store named Rush’s Music\, which has been a staple of the Knoxville music community since 1958. From Coop’s tragic death\, Redd found out he willed her the business\, his estate\, and his dog\, Ando\, who passed in April 2024. Redd owns\, operates\, and works at Rush’s alongside Katie and Gavin during their off time from touring\, which services over 90 schools. \nTheir second album\, Dead Little Thing\, will highlight the struggles from this experience and is set to release January 2026. \nhttps://www.youtube.com/watch?v=TU2Z91d6LuQ \nThe best songs\, the thinking goes\, are the ones written from real-life experiences\, but those experiences sometimes exact a heavy toll. \nJosh Smith\, the singer and songwriter for Handsome and the Humbles\, knows that all too well. “Draw Some Blood\,” the new album by the Knoxville-based Americana outfit\, is built on a foundation of loss that knocked the gregarious and affable frontman to his knees … but in so doing\, gifted him with a record that smolders like the orange coals of a once mighty conflagration. \n“None of these songs are really about my dad\, but the sadness I experienced from his death\, as well as the loss of my marriage\, is pretty much the foundation of this album\,” Smith says. \nIt’s a profoundly intimate affair\, evolving from the skeletal framework of scribbled lyrics in the dead of night and rudimentary chords on an acoustic guitar. Upon those bones\, Smith and guitarist Josh Hutson began to bring the record to life in Hutson’s garage (affectionately nicknamed “The Ding Don Den”) using an iPhone interface to record everything but drum tracks on three songs. \n“I’d lay down an acoustic track\, he’d do electric\, then I’d do bass and vocals\, and we’d go back and do background vocals\,” Smith says. “They started sounding better than we anticipated\, so we just decided that since it’s so hard to get everyone together\, we’d just release what we have.” \nAlong the way\, they migrated to professional studios and recording spaces\, adding band members (guitarist Marcus Balanky\, former-and-sometimes-fill-in drummer Lauryl Brisson) and friends (drummer Kris “Tugboat” Killingsworth\, organist Matt Coker) to sculpt the tracks into a fully realized new record. \nThe finished creation is both warm and familiar and a startling departure\, made evident by the opening track “Be Around.” Ruminations on friendships during those dark times buoyed his spirits and inspired the shimmering ambiance that owes as much to the Flaming Lips as it does to any alt-country touchstones to which Handsome and the Humbles compare. \nAnd yet those touchstones remain … polished in ways that are a direct result of the musical intimacy shared between friends who first shared a stage together as teenagers. On “Now I Know\,” Hutson plays a guitar-slinging foil every bit as adept as Nels Cline to Smith’s Jeff Tweedy\, stomping through a swirling maelstrom of regret over the end of the latter’s marriage: “When everything means so much\, nothing means anything\,” he sings\, bone-tired weariness hanging on every syllable\, regret tinging every chord. \nThat regret lingers on “Nice Things” – “you’d think by now I’d be better than this” are the words of a man still coming to terms with a profoundly life-changing experience\, and once again Hutson’s fretwork serves as Smith’s North Star through the foggy remnants of remorse. \nHere’s the thing about “Alt-Country\,” though: Smith’s stories might burn like straight whiskey\, but the music is the sweet fire of bliss that follows. Whether it’s Brisson on sticks giving “Fades Away” a “D’yer Mak’er”-style groove or Coker coaxing “Exile”-era Stones juju on a song like “You Walked Away\,” there’s joy to be found in this collection\, if for nothing else than the simple fact that pain fades and the sun always rises. \nLight\, Smith has learned over time\, is always on the horizon\, somewhere in the distance\, guiding a path through the darkness. That’s a theme that Handsome and the Humbles have championed since the band came together around an EP titled “Hallelujah\, Alright\,” the capstone of which\, “Knoxville Lights\,” was a shambling rock ‘n’ roll homage to the cityscape as seen from a weary traveler crossing the mountains. Two full-length records followed — “Have Mercy” and “We’re All the Same\,” along with another EP (“400 Cigarettes”) a couple of years ago. \n“Alt-Country” is a continuation of the band’s journey to places “both frightening and stunning\,” as Smith croons on the new record’s final track\, “Returning to You.” And as that song fades\, he assures us: “When I’m alone\, my heart keeps returning to you.” \nIt seems natural to assume he’s talking about the loved ones he’s lost along the way\, but there are greater forces at work here\, made evident in the beauty carved from the granite face of pain: \nHe’s returning to the light\, and the fans and bandmates and opportunities that music has always provided\, and we are all the better for it. \n-Steve Wildsmith
URL:https://wdvx.com/event/tennessee-shines-8-6-kelsey-waldon-band-handsome-the-humbles-special-guest/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Free Live Show,Tennessee Shines
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DTSTART;TZID=America/New_York:20250205T190000
DTEND;TZID=America/New_York:20250205T190000
DTSTAMP:20260408T094637
CREATED:20241119T123617Z
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SUMMARY:Tennessee Shines - 2/5 - American Aquarium\, Lilly Hiatt & Zach Russell
DESCRIPTION:CLICK HERE FOR TICKETS!\nFor nearly two decades\, American Aquarium have pushed toward that rare form of rock-and-roll that’s revelatory in every sense. “For us the sweet spot is when you’ve got a rock band that makes you scream along to every word\, and it’s not until you’re coming down at three a.m. that you realize those words are saying something real about your life\,” says frontman BJ Barham. “That’s what made us fall in love with music in the first place\, and that’s the goal in everything we do.” On their new album The Fear of Standing Still\, the North Carolina-bred band embody that dynamic with more intensity than ever before\, endlessly matching their gritty breed of country-rock with Barham’s bravest and most incisive songwriting to date. As he reflects on matters both personal and sociocultural—e.g.\, the complexity of Southern identity\, the intersection of generational trauma and the dismantling of reproductive rights—American Aquarium instill every moment of The Fear of Standing Still with equal parts unbridled spirit and illuminating empathy. \nRecorded live at the legendary Sunset Sound in Los Angeles\, The Fear of Standing Still marks American Aquarium’s second outing with producer Shooter Jennings—a three-time Grammy winner who also helmed production on 2020’s critically lauded Lamentations\, as well as albums from the likes of Brandi Carlile and Tanya Tucker. In a departure from the stripped-down subtlety of 2022’s Chicamacomico (a largely acoustic rumination on grief)\, the band’s tenth studio LP piles on plenty of explosive riffs and hard-charging rhythms\, bringing a visceral energy to the most nuanced and poetic of lyrics. “In our live show the band’s like a freight train that never lets up\, and for this record I really wanted to showcase how big and anthemic we can be\,” notes Barham\, whose bandmates include guitarist Shane Boeker\, pedal-steel guitarist Neil Jones\, keyboardist Rhett Huffman\, drummer Ryan Van Fleet\, and bassist Alden Hedges. \n \nCLICK HERE FOR TICKETS!\nThe search for answers—where she’s been\, who she’s become\, what it all means—lies at the heart of Hiatt’s striking new album\, Forever. Written and recorded in Hiatt’s new home just outside Nashville\, the collection grapples with growth and change\, escape and anxiety\, self-loathing and self-love. The songs are intensely vulnerable here\, full of diaristic snapshots and deeply personal ruminations\, but they’re also broad invitations to find yourself in Hiatt’s unflinching emotional excavations\, to see your own humanity reflected back in her pursuit of something larger than herself. Hiatt cut the album with her husband\, Coley Hinson\, who produced and played most of the instruments on the record\, and the result is a raw\, unvarnished work of love and trust that walks the line between alt-rock muscle and singer/songwriter sensitivity\, a bold\, guitar-driven\, at times psychedelic exploration of maturity and adulthood from an artist who wants you to know you’re not alone\, no matter how lost you may feel. \n“I think of this album like a hand to hold\,” says Hiatt. “I wanted to open up the door and let people in on what I’ve been going through\, but I also hoped that by telling the truth about the joy and pain and love and grief I’ve experienced\, it might strike a chord with somebody else navigating their way through all those things\, too.” \nBorn in Los Angeles and raised in Tennessee\, Hiatt first earned buzz with a pair of early solo records before breaking out with 2017’s Trinity Lane. Produced by Shovels & Rope’s Michael Trent\, the record helped Hiatt earn dates with the likes of John Prine\, Margo Price\, Drive-By Truckers\, and Hiss Golden Messenger in addition to festival slots everywhere from Pilgrimage to Luck Reunion. NPR called the album “courageous and affecting\,” while The Independent raved that it showcased Hiatt’s “gift for unpicking knotty lyrical themes in a personalised blend of countrified rock music\,” and Rolling Stone hailed it as “the most cohesive and declarative statement of the young songwriter’s career.” Hiatt delivered on the album’s promise with her similarly well-received 2020 follow-up\, Walking Proof\, and\, unable to tour due to the pandemic\, quickly returned to the studio again for 2021’s Lately\, which The Boston Herald said showcased her “knack for plainspoken\, poetic lyrics” and Uncut proclaimed to be “captivating.” \n \nCLICK HERE FOR TICKETS!\nEach year\, thousands of people flock to the city of Nashville with hopes of “making it”. Ironically\, it wasn’t until Zach Russell made the decision to leave Music City\, USA that he inked his first record deal with Thirty Tigers. The drive back home may have only been three hours long\, but Russell’s journey back to old haunts in Eastern Tennessee isn’t quite that cut and dry. \nIn the 7 years preceding that trip down I-40\, there were stints as a manager at a shoe store and a karaoke host. He calloused his hands installing irrigation systems and working as a carpenter. He traveled the US and Europe as Tyler Childers’ merchandise manager and got to witness firsthand what it takes to chase down greatness. Through it all\, one thing that remained constant was his belief that he could chase it down as well. \nMusic has always played a pivotal role in Russell’s life. A background in Baptist and Hymnal music as a youth and a taste for hip-hop\, rock\, and country music informed his musical style between 2016 and 2020 as he found his footing. In 2021 the world received its proper introduction to Zach Russell as a fully formed artist with the release The Creek. This five-song EP proved not only to be a landmark release in Russell’s career\, but with its lyrical depth\, soaring instrumental jams and infectious melodies\, it served as proof that this landmark was merely the first of many to come. \nSince moving home and finding clarity\, the past 18 months have been busy for Russell. He spent those months writing music\, touring with The Alex Leach Band\, and delivering a guest appearance on Adeem the Artist critically acclaimed album\, White Trash Revelry. That wave of momentum has culminated to this moment\, and the release of his highly anticipated full-length debut\, Where the Flowers Meet the Dew. \nOnce again joining forces with up-and-coming producer Kyle Crownover (Adeem the Artist)\, this ten-song effort never takes its foot off the gas pedal. Dominant themes of wrestling with mortality\, pondering reincarnation\, and finding that ever elusive feeling of contentment in this life weave gracefully through.
URL:https://wdvx.com/event/tennessee-shines-2-5-america-aquarium-lilly-hiatt-zach-russell/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Tennessee Shines
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DTSTART;TZID=America/New_York:20241113T190000
DTEND;TZID=America/New_York:20241113T190000
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SUMMARY:Tennessee Shines - 11/13 - Andrew Marlin Stringband / Rachel Baiman / Robinella
DESCRIPTION:CLICK HERE FOR TICKETS!\nRachel Baiman  Common Nation of Sorrow\, Baiman’s 2023 LP\,  was called one of “The Best Albums of the Year (So Far) by The Boston Globe\, awarded 4 stars from American Songwriter\, and deemed a “Tremendously and remarkable record” by The Amp.  On the heels of an album release year that saw her play more than 130 shows across the globe\, Baiman in making 2024 her “Year of collaboration” with a series of A Side/B Side mini release projects featuring some of her favorite songwriters including Pony Bradshaw\, Caroline Spence\, and Nicholas Jamerson. If Common Nation of Sorrow was a novel\, this year’s releases feel more like short stories\, just long enough to make you want more. \nRaised in Chicago\, Baiman made her way to Nashville at 18 with the dream of being a professional fiddle player and has since released three solo records and an EP\, alongside session and side-person work with Kacey Musgraves\, Kevin Morby\, and Molly Tuttle among many others. As a songwriter\, she has garnered a reputation for her specific brand of political and personal lyricism\, which Vice’s Noisey described as ‘Flipping off Authority one note at a time”. \nIn contrast with her previous work\, (Watchouse’s Andrew Marlin produced her debut album\, Shame)\, Baiman was the sole producer of Common Nation of Sorrow. After recording for twelve days in Nashville with Grammy-Award-winning engineer Sean Sullivan\, Baiman traveled to Portland\, OR\, where she spent two weeks mixing the record with famed engineer and producer Tucker Martine (My Morning Jacket/The Decemberists/First Aid Kit). For her new collaborative singles\, she turned to friend and indie-pop writer and producer Clare Reynolds\, known professionally as Lollies.  “One thing I learned from producing my own record is that I love producing\, as long as it’s not my own parts”\, she laughs.  “I thought it would be great to have another kind of collaboration included in these new songs\, on the production side. \nThe first In Collaboration single release\, “Dominoes”\, with Pony Bradshaw\, was the result of months of musical collaboration. “I’d been playing and singing in Bradshaw’s band some\, and on his upcoming record\, and we’d always talked about writing something together.  So this felt like a natural progression.”  The song hit 100\,000 streams on Spotify in it’s first month\, and Wide Open Country called it “a gut wrenching tale that catalogs the tension between two people acting on their worst impulses\, leading to a domino effect of fallout.” \n“I’ve been looking for a new well of inspiration\, something outside of myself\,” Rachel Baiman told Wide Open Country in early 2024. “Every time that you work with someone you admire\, there’s a lot of growth that happens from being around their creative process and seeing how they approach a song. It brings a new energy and perspective to my own work.” \n \nCLICK HERE FOR TICKETS!\nRobinella’s career began with a sort of luck that rarely comes to most artists within their lifetime. What started out as a simple husband-and-wife duo fresh out of college quickly grew to a full-fledged band that blended Bluegrass\, Country and Jazz. The combination of Robinella’s honey-sweet vocals with violin\, mandolin\, bass\, drums and piano captivated audiences\, thus creating the ever popular Robinella & the CC Stringband. \nThey released their first album\, self-titled Robinella and The CC Stringband\, in 2000\, which quickly followed\, No Saint\, No Prize in 2001. Both were on the independent label Big Gulley Records. With a few simple twists of fate\, what followed was a whirlwind of rapid success – Columbia Records liked what they heard and signed Robinella in 2002. The label took seven songs from the band’s two prior albums and released them as the CD Blanket for My Soul and then released a full album in 2003\, Robinella and the CC Stringband. This led to a national tour including opening for such artists as Bob Dylan\, Willie Nelson\, Earl Scruggs\, Nickel Creek\, Robert Earl Keen\, Kasey Chambers\, Del McCoury and Rodney Crowell as well as an appearance on “Late Night with Conan O’Brien” and a music video on CMT for their hit single\, “Man Over”. She also performed on NPR’s “Mountain Stage\,” appeared on the Grand Ole Opry and performed on PBS’s “SoundStage.” In 2006\, Robinella was nominated for “Emerging Artist of the Year” at the Americana Music Awards and released her fourth album\, “Solace for the Lonely”\, on Dualtone Records in Nashville. \nBut then life\, as it has a tendency to do\, threw a few curveballs her way. She became a mom and a couple of years later\, she and her husband/musical partner split up with a new record almost completed. Exhausted and somewhat disillusioned with the industry and its promises\, it was time to regroup\, redefine and get back to her roots. So she returned to her home\, the foothills of the Great Smoky Mountains\, and got back in touch with what she truly wanted – love\, family\, friendship\, music\, art\, truth. \nWith that comes her latest release\, “Fly Away Bird”\, her most mature work. However\, within the melancholy and touches of sadness there is not true despair. For such a voice — that dazzling\, warm\, bright-as-summer-sunshine soprano — to even communicate it would most likely defy certain laws of emotional physics. No\, instead\, this album\, beneath the disappointments\, she is brimming with optimism — with hope. You can feel it\, and even more important than that\, you believe — because she believes\, and because her music is so honest and so genuine and so forthright that you just can’t help but knowing that this is an artist who still finds life to be magical. \nArtist’s Statement\n“The more things change the more they stay the same.” The longer I live the more I see the truth In this statement. And the truth I see is that as the day to day passes\, while the years roll on\, our lives are full of repetition — repetition in choices\, repetition in words\, repetition of body and mind. \nAs an artist\, and a singer and songwriter. I see this repetition in paint\, in color\, and in song rolling off my lips. I’m from East Tennessee this means a lot of things to different people. To me\, it means a big family\, a mild climate\, an accent\, a thank you and your welcome. It means part of an old hymn. “Lord lead me on from day to day I want to walk the holy way though friends forsake me all alone\, I ask the Lord to lead me on…” \nIt means modesty. \nIt means character. \nWhat can I say about my music but that it is intertwined with my life. The songs I have written\, the songs I will write… These words I know because I have either lived them or seen them or felt them over and over\, over and over\, over and over again. I’ve seen many things. Some people would say I was naive. Maybe naive is a choice. I believe in beautiful\, beautiful\, beautiful. Can you see it? \nWant me to try and show you? \nI will. \nWith repetition\, with a country song\, with a smile\, with a jazzy phrase I heard in a movie\, with some fancy chords a man showed how to play. With some truth. With some lies. \n“Before a word is on my tongue you know it completely\, O Lord you hem me in Behind and Before”-Psalm 139 \n \nCLICK HERE FOR TICKETS!\nAndrew Marlin is a songwriter and multi-instrumentalist based out of Chapel Hill\, NC. He’s known for his captivating songwriting\, presented both lyrically with his band Watchhouse\, in roots group Mighty Poplar\, and under his own name. His latest solo record\, Phthalo Blue is out now! \n \nCLICK HERE FOR TICKETS!\nSupport for Tennessee Shines comes from Tennessee Stone & Visit Knoxville.
URL:https://wdvx.com/event/tennessee-shines-11-13-andrew-marlin-rachel-baiman-robinella/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Tennessee Shines,WDVX Featured Events
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DTSTART;TZID=America/New_York:20241027T183000
DTEND;TZID=America/New_York:20241027T183000
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SUMMARY:Appalachian Allies Benefit Concert
DESCRIPTION:CLICK HERE FOR TICKETS\nTickets go on sale Wednesday\, October 16 at 10 AM EST \nWDVX is a media sponsor for Appalachian Allies\, a special benefit show for East Tennessee Hurricane Relief on Sunday\, October 27 at the Bijou Theatre in Knoxville. The show will include performances by Adeem The Artist\, Andy Wood\, Darrell Scott\, Jerry Douglas\, Larkin Poe\, R.B. Morris\, and Sarah Jarosz. All proceeds will benefit the East Tennessee Foundation. \nHosted by Daniel Kimbro and Sam Lewis\, this benefit concert promises to be an unforgettable night of live performances\, celebrating the resilience and strength of the Appalachian community. All proceeds from the event will go directly to the East Tennessee Foundation’s Hurricane Helene Disaster Relief Fund\, supporting both immediate and long-term recovery efforts in the region. \nThe concert is expected to sell out\, so don’t wait! Secure your seat today and be part of this meaningful effort to aid our friends and neighbors in East Tennessee. \nFor those unable to attend\, donations can still be made directly to the East Tennessee Foundation here. \nAbout the Cause:\nThe East Tennessee Foundation (ETF) is a nationally accredited community foundation\, providing critical support to impacted areas following Hurricane Helene. The recovery effort includes long-term disaster relief aimed at rebuilding and restoring affected communities throughout 25 counties in the region. \nCome celebrate the power of music\, community\, and giving back—every ticket purchased helps those in need. \nCLICK HERE FOR TICKETS\nTickets go on sale Wednesday\, October 16 at 10 AM EST \n  \n 
URL:https://wdvx.com/event/appalachian-allies-benefit-concert/
LOCATION:Bijou Theatre\, 803 South Gay Street\, Knoxville\, TN\, 37902\, United States
CATEGORIES:Featured Events
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ORGANIZER;CN="WDVX":MAILTO:info@wdvx.com
GEO:35.9623478;-83.9170961
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bijou Theatre 803 South Gay Street Knoxville TN 37902 United States;X-APPLE-RADIUS=500;X-TITLE=803 South Gay Street:geo:-83.9170961,35.9623478
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