After a coming out of the gates hot in late 2008, Redwood Son found himself almost completely lost in the fall of 2009, when original drummer and long time Friend Kipp Crawford was tragically killed. It was a long road back, and on the heels of that tragedy, Redwood Son was named “Best New Artist” of the 2010 Portland Music Awards. In June 2011, he followed with a Double Album titled “The Lion’s Inside” which showcased some prolific songwriting prowess, and a lofty Debut effort.
The Debut Album was promoted heavily over the course of the next 2 years, prior to finding it’s way into the hands of Producer Steve Berlin of the Band “Los Lobos”. A natural evolution towards Country Music had been taking shape on the road, and oddly enough, the follow up effort found a genre of it’s own, when Redwood Son self released the “Westicana” EP in the Spring of 2016, featuring Six of the Eleven Tracks. The “Saints & Renegades” LP is set to release in the Spring of 2018.
With a solid following and fanfare residing in the Great Pacific Northwest, it was time to make yet another move. In late 2016, Redwood Son relocated to Nashville TN, after being selected as a Top 4 finalist in the Eckrich “Music City Sing Off” which took place at the Famous Tootsie’s Orchid Lounge, as part of their 58th Anniversary.
Brewer’s Grade Band continues to blaze their own trail bringing their unique brand of Northwest Country music to the next level. Band member Joe Smart’s recent Grammy win recognizing his work on the O’Connor Band’s “Coming Home” Album of the Year has led to some exciting opportunities to collaborate with music’s biggest names including Paul Simon and Zac Brown Band! This has helped build even more momentum for the group leading to the main stage at many of the west coast’s top festivals and events, genre-bending studio sessions and co-writes, an independent film soundtrack credit and more opportunities to create and collaborate in the Northwest, Nashville and beyond! They continue to push the envelope and advance their role as one of the region’s most sought-after independent artists all while staying true to their Northwest Country roots.
Dimestore Prophets are a three piece groove, rock, reggae band out of Washington State that has been together since 2009 playing extensively all over the Pacific Northwest. Dimestore is made up of a unique blend of influences and styles and this combination has evolved into what some have termed as “Feel Good Music”. Want to feel good? Catch the vibe with the Dimestore Prophets.
When the feedback-laden, distorted-as-all-hell guitar intro to The Brevet’s new single, “Locked & Loaded,” grinds to a crawl and lead singer Aric Chase Damm’s gritty vocals kick in, there’s a moment where—if you’ve got an ounce of soul in your body—your foot starts tapping almost involuntarily. The “woah-oh-oh” hook that hits next is the kind you feel in your bones, the eminently danceable kind that makes you want to shoot straight up, kick your chair back, and move. Every second “Locked & Loaded” begs for movement, an earworm that simply refuses to quit. And making the tune all the more impressive, in a testament to the group’s raw creativity and artistic ability, is the fact that The Brevet engineered and produced the track at the group’s recording space in Westminster, CA—where they’d also recorded their first two albums.
As the lead single off the band’s upcoming record, LEGS, “Locked & Loaded” performs a crucial task: Not only is it a representation of the band’s new sound and of what fans can expect from the forthcoming album; it is an indication of how far the band has come since their previous release, American Novel—a groundbreaking, highly acclaimed LP, released in a series of chapters.
American Novel, the group’s sophomore album, was preceded by the Brevet’s debut record, Battle of the Heart, and earned the band features and beaming reviews in such notable publications as Paste magazine, the Los Angeles Times, the Deli, Substream, OC Weekly, and many more. Per Substream’s Stephanie Roe: “There are just some moments in life that could use an extravagant soundtrack to make it feel complete. The Brevet are here to help you do just that.”
American Novel also opened the door for The Brevet in the form of some amazing opportunities: Songs from the record have been featured in movies like An Open Secret, The Good Lie, and Ashby; on TV shows such as Growing up Fisher, NCIS New Orleans, 90210, and even American Idol; and on TV networks like the MLB Network and the SEC Network (ESPN).
While the band has certainly enjoyed the exposure, as well as the accolades they’ve received from critics and fans alike, they’re particularly excited for the release of their upcoming single—because, to Damm, it sets the stage for a tighter, more mature, redefined Brevet. It represents a band who, having already achieved significant commercial success, is free to be as creative as they want, driving their music in a wholly new direction.
Damm, who helms the band as its primary creative force—though, of course, his fellow members contribute to the writing, engineering, and production process—says, of the band’s new sound:, that “Locked & Loaded”
We’re writing in a way we want to write now. I’m not trying to follow trends; I just want to write from my heart.”
Seattle’s Cody Beebe & The Crooks make rock music that is inspired by the frontier attitude of the American Heartland. When you hear their music, you hear the West’s Americana and Blues roots. However, rather than eclectic, the music comes off with a directness and unpretentious nature characteristic of their hometown’s rock and roll. After 5 years on the road and 2 albums, CBC is bolstered by a tight brotherhood and bravely presenting innovative music with honest, well crafted lyrics.
Having recently performed at The Gorge’s Watershed Music Festival and having shared stages with acts as diverse and accomplished as Buddy Guy, Stevie Nicks, Austin Jenckes, and Allen Stone, CBC is on the precipice of making a lasting national impact.
Austin Jenckes was born and raised outside of Seattle in the small town of Duvall, Washington & moved to Nashville in early 2012 to pursue his songwriting & artist career. After having cuts as a songwriter with Lee Brice, Colt Ford & more he released his first single “Same Beer Different Day” in August 2017 reaching 1 million streams on Spotify.
Rolling Stone Country named him one of their “10 Artists You Need To Know” in January 2018 saying “he sounds like a gnarly, but vulnerable, country-blues singer with the introspective songwriting chops Nashville thankfully continues to reward.
Austin’s new single “Ride Away” was released on March 9th, 2018 and has received nothing but positive reactions.
“Like a reincarnated Bob Seger track from the Eighties, “Ride Away” looks to heartland rock & roll for its cues. It’s big, booming and a bit wild-sounding – a soundtrack for pool halls, roadhouses and open highways… When he climbs into his upper register during each chorus, the effect is Stapleton-sized.”
It may be a ballsy move for The Cadillac Three to name their new album LEGACY, but if any country band has the shared history to lay claim to such a weighty title, it’s the longhaired trio of Nashville natives.
Singer-guitarist Jaren Johnston, drummer Neil Mason and lap-steel player Kelby Ray have known one another since they were teens and have been sharing stages together for nearly 15 years. This summer, they’ll headline their hometown’s most famous venue, the Ryman Auditorium, just a few blocks from where Johnston and Ray sat in high-school math class daydreaming about one day playing the legendary hall. Johnston’s connection to the Ryman goes back even further: his father has been a drummer at the Grand Ole Opry since Jaren was a child. And now he has a son of his own, who, like his old man, will be well-versed in all the sounds that make up both Music City and The Cadillac Three, from country and blues to rock & roll.
So, yeah, “legacy” looks good on this band.
“We’re trying to build something and do it our way, which is always harder,” says Johnston. “If you’re going to leave something that people are actually going to remember, you can’t take the easy way. So we took all of our history, mixed it with the energy of The Cadillac Three and put it into a record that makes sense of where we’ve been and where we’re going.”
After nearly a full year on the road in support of 2016’s BURY ME IN MY BOOTS, their first full-length album recorded for Big Machine Records, the group returns with a more mature perspective. Johnston, Mason and Ray have experienced a lot on tour, whether opening arenas across the country on Florida Georgia Line’s Dig Your Roots Tour or headlining their own consistently sold-out string of sweaty club and theater shows in the U.K. and Europe. As they prepare to head back in November for another big run, for The Cadillac Three, the old saying really is true: this band is huge overseas.
“Europe showed us that we should bet on ourselves. It was a big gamble the first time we went over there,” says Mason, “but the shows and the fans have continued to grow.”
“And going overseas reinforced that we wanted to get more music out more quickly,” adds Ray. “They go through singles really quickly over there. They want more, more, more and that encouraged us to go into the studio, knock this album out and keep going.”
All that travel, from city to state, country to continent, could decimate a lesser band, but it only served to creatively inspire the mighty TC3. They wrote many of the 11 songs that make up LEGACY on the road, cut the tracks on rare days off in Nashville and then recorded all of Johnston’s vocals – one of the most “country” voices in the genre – in the back lounge of their bus in between shows, adding a crackling sense of vitality to LEGACY. They also produced the album themselves.
“We knew what we wanted to do with this record. Instead of putting it together in bits and pieces, we started with a batch of songs and then picked a single,” Johnston says. “That’s how this shit should be done.”
That back-to-basics approach to making music yielded the band’s most infectious single to date: the woozy singalong “Dang If We Didn’t.” Written, as is most of the album, by Johnston and Mason (here, with Jonathan Singleton; other times with songwriters like Laura Veltz and Angelo Petraglia), “Dang If We Didn’t” teases fans with its ambiguous title, before revealing what the guys actually did in the chorus: get drunk last night.
“When you’re a songwriter, you can be critical of song titles,” says Johnston. “But with ‘Dang If We Didn’t,’ I thought it was a little bit mysterious. It makes you wonder, ‘Dang if we didn’t do what?'”
“Eat pizza last night,” quips Mason. “It could be anything.”
“American Slang” rivals “Dang If We Didn’t” in its grandeur. It’s a huge song, akin to Tom Petty’s “Free Fallin'” or The Cadillac Three’s own “Graffiti,” off BURY ME IN MY BOOTS. Lori McKenna (Little Big Town’s “Girl Crush”) began writing the tune with the intention of having The Cadillac Three finish it. “We are vampires on Hollywood Boulevard / angels and sinners of our hometown streets,” go the lyrics, painting a picture of life’s rebels, before a massive country-radio chorus kicks in: “We are the back roads, dirty water shore banks…we are born and raised on American slang.”
The constant throughout LEGACY, however, lies in the players: as on all three of The Cadillac Three’s albums, only Johnston, Mason and Ray are the musicians. There’s no guest keyboard player, no second percussionist and certainly no bassist. Ray holds down the low end on his lap steel.
Especially on the standout LEGACY track “Take Me to the Bottom,” which features Johnston reaching high for a breathtaking falsetto. “‘Take Me to the Bottom’ has the best bass sound of anything I’ve ever done,” says Ray, who also keeps things greasy on the intense “Tennessee.” A thrashing love song, it evokes the stomp of ZZ Top– a favorite of TC3 – and features a lyrical shout-out to progressive country hero Sturgill Simpson, a kindred spirit of the band.
No matter the influence, though, the trio stays faithful to their own unique sound throughout LEGACY. “Hank & Jesus” glides along with Tennessee twang; “Demolition Man” is distinguished by the space between the notes; and the swaggering “Cadillacin'” is a band anthem. “We don’t put anything on our albums that we can’t re-create live,” says Mason. “If there is a TC3 rule, it’s that: keep it honest.”
Honesty, or authenticity, is a favorite buzzword around Nashville. But few artists come to it as naturally as The Cadillac Three. These guys couldn’t fake it if they tried. In the album’s title track, they offer a heart-on-the-sleeve testimony to what’s really important at the end of one’s days: love and a family tree.
When Mason and Ray heard “Legacy,” co-written by Johnston, they flipped, and pushed for it to be the title of the record. “We’re far enough along in our careers where doing an album called LEGACY doesn’t feel presumptuous to me,” says Mason.
Not when you run through The Cadillac Three’s milestones. It’s all there, from boundary-pushing albums, Grammy-nominated No. 1 songwriting across genres and fan-favorite singles to sold-out club shows and massive festival gigs alongside Aerosmith.
“With this album, we’re continuing to build this thing we’ve created. We’re touring nonstop, headlining shows in the U.K., playing the Ryman, and putting out a new record,” says Johnston. “Shit, that’s a pretty good legacy so far.”