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5 Surprising Facts About Grateful Dead’s ‘Workingman’s Dead’

Some albums light the way forward. Some hold the lantern to the past. Workingman’s Dead does both—while humming a melody that feels carved out of wood and river stone. Born in 1970 under pressure and starlight, it blends back-porch harmonies with cosmic cowboy storytelling. Put on your headphones and open your third ear. Here are 5 facts about Workingman’s Dead that shine like firelight on a mountain trail.

1. Jerry’s Steel Guitar Sparked a New Sound
While on tour in Boulder, Garcia found a pedal steel guitar that sang to him like an old friend. Its voice fit perfectly with the new songs taking shape—warm, rootsy, wide open. Tracks like “Dire Wolf” and “High Time” shimmer with its golden twang, as if the hills themselves joined the jam.

2. Crosby, Stills & Nash Gave Them a Harmony Awakening
Stephen Stills lived at Mickey Hart’s ranch for three months and brought some harmonic magic with him. Crosby and Nash joined in, opening Garcia and Weir’s eyes to the power of voices woven together. That revelation led to the layered beauty of “Uncle John’s Band” and beyond.

3. “Dire Wolf” Howled Its Way Out of Sherlock Holmes
After watching The Hound of the Baskervilles, Robert Hunter imagined the dire wolf as a mystical poker companion in a place called Fennario. Garcia wrote the melody the same day, and suddenly the folklore of Appalachia merged with a dreamlike American myth. “Don’t murder me” became a chant of cosmic survival.

4. Nine Days of Studio Alchemy
With legal trouble brewing and their manager’s trust evaporating, the Dead turned inward and upward. They recorded Workingman’s Dead in just nine days—fast, focused, full of life. Garcia called it “an upper,” and it became a healing ritual disguised as a folk-rock masterpiece.

5. The Album Cover Carries a Thousand Stories
The photo was taken at 1199 Evans Avenue in San Francisco, but it could have been anywhere between 1870 and 1970. The sepia tones, the workingman’s stance, the mystical fog—they all mirror the songs inside. Mickey Hart said it best: it was time to trade the spacesuit for overalls and dig into the Earth.

Workingman’s Dead doesn’t float above—it walks beside you, telling stories, offering songs like sacred bread. It’s an album that invites you to gather ‘round, feel the harmony, and remember that even in the strangest of times, the music will always find its way home.

Meet you at the next chorus.

Texas Headhunters Drop Sly, Swampy New Single “Gimme Some Love” Ahead of Debut Album

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Texas Headhunters aren’t here to play it slick; they’re here to play it real. Today, the trio of Johnny Moeller, Ian Moore and Jesse Dayton, drop “Gimme Some Love,” the third single from their self-titled debut album, out August 22 on Hardcharger / Blue Elan Records.

This time, it’s Johnny Moeller stepping out front. Long known for his razor-sharp guitar work with the Fabulous Thunderbirds, Moeller shows a new side of his artistry here — cool, sly, and soaked in Texas groove. Think Ray Wylie Hubbard swagger meets Delbert McClinton soul, with a little Billy Gibbons grit for good measure.

“This one came together real quick in the studio,” says Moeller. “I’m playing rhythm and singing while Jesse and Ian laid down the ‘ancient art of guitar weaving,’ Texas style, all in one live take. The song’s about looking at this crazy world and realizing we all just need a little more love. I was stuck on the third verse, and my wife said, ‘write something about your dog.’ So, ‘my little sweet Talullah’ made the cut.”

Lyrically, “Gimme Some Love” is a gritty gospel-blues plea for redemption, cut with humor and heart. It’s a song about breaking bad habits, riding the soul train out of trouble, and shining a light in the darkness. Musically, this track rides a low-slung groove. With the swampy pulse of Little Feat, the grit of a Chess Records session, and the laid-back cool of a late-night Austin jam, captured live at Willie Nelson’s Pedernales Studio with producer Steve Chadie.

Texas Headhunters is Ian Moore. Jesse Dayton. Johnny Moeller, three Texas titans with fire in their fingers and soul to burn. Tracked live at Willie Nelson’s Pedernales Studio with Steve Chadie, their self-titled debut is a 12-track blast of groove, grit, and no-bullshit Texas blues revival. Each member sings. Each writes. Each brings decades of sweat, swagger, and skill.

Following the buzzed-about preview run with Samantha Fish’s Paper Doll World Tour, Texas Headhunters have added a special return to Buffalo, NY, playing Iron Works on September 6. Their last Buffalo appearance, at Asbury / Babeville, ended in a fiery encore with all four guitar heroes — Samantha Fish, Ian Moore, Johnny Moeller, and Jesse Dayton — trading licks onstage. Expect more of the same electric energy when they return.

TOUR DATES
Aug 28 Milwaukee, WI Shank Hall
Aug 29 Berwyn, IL Fitzgerald’s Nightclub
Aug 30 St. Louis, MO Old Rock House
Aug 31 Kansas City, MO Knuckleheads
Sept 4 Cincinnati, OH Ludlow’s
Sept 5 Cleveland, OH Beachland Ballroom
Sept 6 Buffalo, NY Iron Works
Sept 7 Warrendale, PA Jergel’s
Sept 11 Shirley, MA Bull Run
Sept 14 Fairfield, CT StageOne
Sept 16 Philadelphia, PA World Cafe Live
Oct 19 Dallas, TX Kessler Theater
Oct 22 Tulsa, OK The Shrine
Oct 24 Houston, TX The Heights Theater
Oct 25 Austin, TX Antone’s

Poptones Draw on UNO-Inspired Chaos for New Single “Say Something Now” off Upcoming Album ‘Pure’

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Danish experimental rock trio Poptones today release “Say Something Now”, the second single from their upcoming album Pure, out September 26th via Happy Metal Records.

Where lead single “Skin of Sea” hinted at a shift toward grandeur and intuitive composition, “Say Something Now” takes that impulse further, channelling pure spontaneity through an unlikely creative source: the card game UNO.

The track’s soaring chorus is lifted directly from a unique improvisational game the band devised during an artist residency on Denmark’s North Jutland coast- the same house where former Prime Minister Jens Otto Krag spent his final days. The UNO-Improvisation game, uses the colour-coded and action-based logic of UNO cards to assign musical behaviours to each player. Red means “extreme” and chaotic; green is static and grounded; action cards can flip expectations or double a performer’s output. It’s part structured chance, part deliberate chaos – think Brian Eno’s Oblique Strategies meets John Zorn’s Cobra.

“The chorus was taken straight from that improvisation,” the band shares. “Anders and Simon both drew red, meaning they had to play with intensity and unpredictability. Mads drew green with a ‘turn around’ card, so he had to play his bass backwards – fretting with his right hand. It led to this beautiful tension: the chaos of drums and guitar, anchored by a bassline that barely moves.”

Written and recorded in a matter of hours, the song exemplifies the intuitive, rule-breaking spirit that defines Pure. Though born from a chaotic process, “Say Something Now” reveals a lyrical core that’s introspective and wistful.

In the band’s own words: “The lyrics are about delusionally imagining and dreaming about one’s own future, only to realize that it’s just a dream. A hopeful story of youth and feeling ready to take the next step in life.”

‘Cook’ by Lettuce Drops December 3, New Single “Gold Tooth” Out Now

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Legendary funk sextet Lettuce announced today the December 3 release of Cook via the band’s own Lettuce Records. The band released the new single, “Gold Tooth,” to accompany the announcement.

Lettuce keyboardist and vocalist Nigel Hall says, “This is something that we’ve sat on for a minute, and I’m glad to put some ears on it finally.”

“This is what happens when me and Shmeeans get together and make sumn FUNKY,” says drummer Adam Deitch, and “This song is giving strong 1990s Prince & Chaka Khan vibes,” agrees Eric “Benny” Bloom (trumpet, horns).

Cook, isn’t just a nod to Lettuce’s musical heat; it’s an invitation to join the band at the table, where funk, soul, jazz, rock, and hip-hop come together in one rich, flavorful dish. The album offers a menu of delights that marks a group exploring new sonic territory. On Cook, Lettuce has expanded its ever-widening musical palette again, following tours with both rap icon GZA of the Wu-Tang Clan and reggae legend Ziggy Marley. Earlier in the year, the band released the live album and concert film Lettuce with the Colorado Symphony. Still, there’s a generous dose of Lettuce’s patented funk, paying tribute to the great James Brown and his JB’s and honoring mentors like Tower of Power and Maceo Parker. For these six lifelong partners, the new songs feel like a nourishing meal that entices all of your senses.

“This record is a little more three-dimensional than our past albums,” says Deitch. “It shows a lot more sides to the band, exploring further depths of production and arrangements.”

The band has also recently announced the launch of Lettuce Red Crush and Orange Crush wine brands in collaboration with Aquila Cellars, along with a recipe book featuring pairings to be included with the vinyl album and available in digital form. The wine was brought to life by Bloom and Zoidis’ wine distribution company, Benny & Zoid Selections, who made it accessible to purchase nationwide online.

“Music and food are very related,” said Deitch. “Use the wrong ingredients in either and you can ruin the sound and the meal.”

With Cook, it appears Lettuce has the right recipe for success… both musically and organizationally.

“This is the best team we’ve ever had,” said Deitch of his current management. “We feel like the world is our oyster. Our concepts and ideas can really come to fruition now with our infrastructure. It’s beautiful to be in a headspace of feeling this fresh. It’s the start of a brand-new era for us.”

In anticipation of the release of Cook, Lettuce is also set to perform around the world with dates reaching into 2026. The full schedule of shows, happening across North America, Europe, Japan, and Australia, can be found below, including just-announced East Coast dates in 2026.

As part of the 2026 run, fans can also access the exclusive “Cookin’ with the Band” VIP experience, a pre-show hang designed for funk lovers and foodies alike. Available for all January and February shows, the package includes soundcheck viewing access; setlist voting power; early merch shopping + discount code; and limited-edition keepsakes like a custom ‘Cook’ apron, a printed recipe zine, and a signed tour laminate.

‘It’s Never Over, Jeff Buckley’ Documentary Hits Theaters Aug 8, New Trailer Out Now

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From Academy Award-nominated director Amy Berg, IT’S NEVER OVER, JEFF BUCKLEY is in theaters starting August 8th and a brand new trailer has been released.

IT’S NEVER OVER: JEFF BUCKLEY, directed by Oscar-nominated filmmaker Amy Berg (DELIVER US FROM EVIL, JANIS: LITTLE GIRL BLUE, WEST OF MEMPHIS), covers the life of the rising young star with an otherworldly voice and boundary-pushing artistry, who left the ’90s music world reeling when he died suddenly, at age 30, after the release of his critically acclaimed debut album “Grace.”

Told through never-before-seen footage from Buckley’s archives and intimate accounts from his mother Mary Guibert, former partners Rebecca Moore and Joan Wasser, Jeff’s former bandmates, including Michael Tighe and Parker Kindred, and luminaries like Ben Harper and Aimee Mann, IT’S NEVER OVER, JEFF BUCKLEY illuminates one of modern music’s most influential and enigmatic figures.

Hannah Anders Defies the Odds of Young Love on New Single ‘Break Us’

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 Nashville country artist Hannah Anders releases new single “Break Us”, The single is now available on all digital streaming platforms. When you hear the term “young love,” you might assume it begins and ends in the same breath-a fleeting, innocent kind of affection you look back on with a soft smile. But with Hannah Anders’ newest release, “Break Us,” she challenges that narrative, revealing just how deep and lasting young love can truly be. That it’s not always naive-sometimes it’s the start of everything. The ultimate “when you know, you know.”

From the very first strum, you’re drawn in by a Chicks-esque rhythm that feels both nostalgic and fresh. There’s an urgency to the guitar, like a heartbeat leading you into something worth listening to. Then Anders delivers the opening line: “May be 5th grade but, what do you say, we just make a little pinky promise, to rise above all the problems this world throws our way.” With that, she sets the tone-not just for the song, but for a relationship built on conviction. She’s not just singing about love; she’s singing about commitment, about choosing the same person again and again, no matter the season.

Speaking on the song and the relationship that inspired it, Anders says, “What’s kept us strong isn’t some magical formula-it’s the choice we make every single day to keep showing up for each other, even when it’s hard.” It’s a grounded kind of romance, one rooted in resilience and the everyday decision to stay.

As the song builds to its emotional climax, her voice swells with purpose. You can feel the weight behind the line: “And I know what we’re made of, so let ’em try to break us and watch us survive.” It’s not just a lyric-it’s a declaration. Love isn’t always smooth or easy, and yes, life will throw challenges your way. But real love-the kind that sticks, stretches, and strengthens over time-endures.

With “Break Us,” Hannah Anders gives us a rare kind of love story. One that started young, stood the test of time, and continues to grow. She and her husband are living proof that sometimes, young love isn’t just the beginning. It’s the whole story.

The Snozzberries Launch Southern Tour July 24, With Live-to-Vinyl Show at Purple Bee Studios August 2

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Asheville’s own psychedelic funk powerhouse, The Snozzberries, are taking their electrifying, mind-bending live show on the road this summer, bringing a kaleidoscope of groove-soaked jams to cities across the Southeastern U.S.

Kicking off in Mobile, AL on July 24, 2025, this string of dates marks the band’s most anticipated Southern run yet—blending high-energy performances, wild improvisation, and a loyal fanbase that keeps showing up ready to dance.

With a reputation for turning every venue into a full-blown cosmic playground, The Snozzberries have become a staple of the jam/festival circuit—sharing the stage with acts like Pigeons Playing Ping Pong, Papadosio, and The Werks, and gracing lineups at festivals like Hulaween 2025.

“There’s something special about the Deep South—we always feel like the energy’s just dialed all the way up down here,” says Ethan Hellar, guitarist and singer for the band. “This run is going to be pure fire. We’re excited about every show, but especially our August 2nd show at Purple Bee Studios outside of Austin in Volente, TX.”

“It’s a hybrid event: the first set is fully interactive, where the crowd helps steer the jams, there’ll be hilarious stunts, and chances to win prizes. Then we shift gears for the second set, which will be recorded live, straight to vinyl.”

“Pre-sales for the vinyl are happening now and will run through the end of the show—after that, the window closes. So, head over to the Purple Bee website and reserve your copy! We’re stoked to be trying something totally new with this fan-driven format.”

Tour Dates:

Jul 24 Mobile, AL Brickyard

Jul 25 Jackson, MS Martin’s Downtown

Jul 26 New Orleans, LA Les Bon Temp Roule

Jul 27 Orange Beach, AL Undertow

Jul 28 New Orleans, LA Parallel Threads at Banks Street Bar

Jul 31 Dallas, TX Electrik Ants at Deep Elem Art Co.

Aug 1 Shreveport, LA Sauce at Seventh Tap

Aug 2 Volente, TX Purple Bee

Aug 9 High Point, NC Ziggy’s

Aug 14 Columbus, OH Woodlands Tavern

Aug 15 Covington, KY Madison Live!

Aug 22 Boone, NC Boone Saloon

Aug 23 Roanoke, VA Martin’s

Aug 28 Stuart, VA Front Porch Fest 2025

Aug 29 Ansonia, OH Fall Hookahville 2025

Sep 11 Virginia Beach, VA Lunasea

Shawn Camp Announces ‘The Ghost of Sis Draper’—A Long-Awaited Album Honoring Guy Clark, Out September 12

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“This is as much Guy Clark’s album as it is mine,” says GRAMMY-winning producer, songwriter, and member of traditional bluegrass torchbearers, The Earls of Leicester, Shawn Camp. The album? A concept of sorts, built on the songs born from Camp and Clark’s most revisited muse, Sis Draper, and one which Guy Clark fans have been looking forward to almost as much as Camp himself. 

Camp was seven years old when a traveling fiddle player named Sis Draper finally arrived at a pickin’ party in the hills of Perry County, Arkansas. To young Camp, Draper was already a legend—and he was dying to play with her. Twenty-five years later, in Guy Clark’s basement workshop in Nashville, Camp and Clark were stumped on what they’d write their next song about. Camp told Clark about Sis Draper; the lore, the excitement. “Guy said, ‘Well, there’s your song,’” Camp remembers. “We wrote ‘Sis Draper’ that day. ‘Magnolia Wind’ came next. For years, we would work on other songs, then fall into ‘Sis.’ If we got stuck on something, we’d end up going to the Sis Draper project.” 

On September 12, Shawn Camp’s The Ghost of Sis Draper—featuring ten songs co-written by Camp and Clark and one solo Clark composition—will be released on Truly Handmade Records, the perfect resting place for over a decade’s worth of imagination between the two songwriters. “Now, Truly Handmade Records, the label that manages Guy’s legacy, is the home of Shawn Camp and The Ghost of Sis Draper, a masterpiece album that only Shawn could record,” says Tamara Saviano, President and Creative Director of Truly Handmade Records. “Shawn is the keeper of the flame of Sis Draper. Truly Handmade Records is the keeper of Guy’s legacy. It’s a match made in folk music heaven.” 

The Ghost of Sis Draper is a concept album that plays by its own rules, loosely calibrated by Camp and Clark. The songs are tied to one another by characters, narratives, and kernels of old-time fiddle tunes. Arkansas fiddle great Tim Crouch breathes life into the legend of Sis Draper’s fiddlin’, supported by Mike Bub on bass, Chris Henry on mandolin, Jimmy Stewart on dobro, Cory Walker on banjo, and of course, Camp on guitar and vocals. Captured in one day at the studio formerly known as The Cowboy Arms Hotel and Recording Spa, now simply called Clement House, the album immerses listeners in a sharply drawn world: The devil’s box is temptation and salvation; life is beautiful, but death lurks nearby; and the hero is a wayfaring, fiddle-wielding woman called Sis. 

Camp and Clark co-wrote every song on the album, save one, which Clark wrote alone. Clark released six of the songs on his own albums over the years, but the seven other tunes on The Ghost of Sis Draper are being released for the first time. “It’s partially fairytale and partially truth,” Camp says with a grin. “We intentionally wrote songs that fit together.” So here, for the first time, is the definitive conclusion of the Sis Draper saga and a beautiful tribute to Camp’s old pal Guy Clark and their time writing songs together. “That’s part of my passion for putting it out,” says Camp. “To try and keep him alive!” 

To pre-save The Ghost of Sis Draper ahead of its September 12th release, please visit this link. Camp will appear at the Mini Music Fest in Key West, Florida, July 30-August 2. A full list of Camp’s tour dates can be found below. For more information, check out shawncamp.com

“This is as much Guy Clark’s album as it is mine,” says GRAMMY-winning producer, songwriter, and member of traditional bluegrass torchbearers, The Earls of Leicester, Shawn Camp. The album? A concept of sorts, built on the songs born from Camp and Clark’s most revisited muse, Sis Draper, and one which Guy Clark fans have been looking forward to almost as much as Camp himself. 

Camp was seven years old when a traveling fiddle player named Sis Draper finally arrived at a pickin’ party in the hills of Perry County, Arkansas. To young Camp, Draper was already a legend—and he was dying to play with her. Twenty-five years later, in Guy Clark’s basement workshop in Nashville, Camp and Clark were stumped on what they’d write their next song about. Camp told Clark about Sis Draper; the lore, the excitement. “Guy said, ‘Well, there’s your song,’” Camp remembers. “We wrote ‘Sis Draper’ that day. ‘Magnolia Wind’ came next. For years, we would work on other songs, then fall into ‘Sis.’ If we got stuck on something, we’d end up going to the Sis Draper project.” 

On September 12, Shawn Camp’s The Ghost of Sis Draper—featuring ten songs co-written by Camp and Clark and one solo Clark composition—will be released on Truly Handmade Records, the perfect resting place for over a decade’s worth of imagination between the two songwriters. “Now, Truly Handmade Records, the label that manages Guy’s legacy, is the home of Shawn Camp and The Ghost of Sis Draper, a masterpiece album that only Shawn could record,” says Tamara Saviano, President and Creative Director of Truly Handmade Records. “Shawn is the keeper of the flame of Sis Draper. Truly Handmade Records is the keeper of Guy’s legacy. It’s a match made in folk music heaven.” 

The Ghost of Sis Draper is a concept album that plays by its own rules, loosely calibrated by Camp and Clark. The songs are tied to one another by characters, narratives, and kernels of old-time fiddle tunes. Arkansas fiddle great Tim Crouch breathes life into the legend of Sis Draper’s fiddlin’, supported by Mike Bub on bass, Chris Henry on mandolin, Jimmy Stewart on dobro, Cory Walker on banjo, and of course, Camp on guitar and vocals. Captured in one day at the studio formerly known as The Cowboy Arms Hotel and Recording Spa, now simply called Clement House, the album immerses listeners in a sharply drawn world: The devil’s box is temptation and salvation; life is beautiful, but death lurks nearby; and the hero is a wayfaring, fiddle-wielding woman called Sis. 

Camp and Clark co-wrote every song on the album, save one, which Clark wrote alone. Clark released six of the songs on his own albums over the years, but the seven other tunes on The Ghost of Sis Draper are being released for the first time. “It’s partially fairytale and partially truth,” Camp says with a grin. “We intentionally wrote songs that fit together.” So here, for the first time, is the definitive conclusion of the Sis Draper saga and a beautiful tribute to Camp’s old pal Guy Clark and their time writing songs together. “That’s part of my passion for putting it out,” says Camp. “To try and keep him alive!” 

To pre-save The Ghost of Sis Draper ahead of its September 12th release, please visit this link. Camp will appear at the Mini Music Fest in Key West, Florida, July 30-August 2. A full list of Camp’s tour dates can be found below. For more information, check out shawncamp.com

The Ghost of Sis Draper Tracklist (all songs written by Shawn Camp and Guy Clark except where noted): 

1. Sis Draper

2. Magnolia Wind

3. Soldiers Joy 1864

4. The Fiddlin’ Preacher

5. Old Hillybilly Hand-Me-Down (by Shawn Camp, Guy Clark, Verlon Thompson)

6. The Checkered Shirt Band

7. Big Foot Stomp

8. Grandpa’s Rovin’ Ear

9. Cornmeal Waltz

10. New Cut Road (by Guy Clark)

11. The Death of Sis Draper (part 1)

12. Hello Dyin’ Day

13 The Death of Sis Draper (part 2)

14. The Ghost of Sis Draper

Catch Shawn Camp On Tour:

July 30-August 2 – Key West, FL – The Mini Music Festival

August 30 – Mill Spring, NC – The Earl Scruggs Music Festival *

August 31 – Mill Spring, NC – The Earl Scruggs Music Festival ^

October 5 – Birmingham, AL – Fundraiser In-The-Round

October 17 – Edmund, OK – UCO Jazz Lab *

October 23 – Stephenville, TX – Keith Sykes Songwriter Weekend

October 28 – Nashville, TN – Country Music Hall of Fame

November 9 – Rockport, TX – The Rockport Songwriter Festival

November 22 – Nashville, TN – 3rd & Lindsley – Alzheimer’s Benefit Show 

* as part of Shawn Camp & Verlon Thompson: The Songs & Stories of Guy Clark

^ as part of The Earls of Leicester

1. Sis Draper

2. Magnolia Wind

3. Soldiers Joy 1864

4. The Fiddlin’ Preacher

5. Old Hillybilly Hand-Me-Down (by Shawn Camp, Guy Clark, Verlon Thompson)

6. The Checkered Shirt Band

7. Big Foot Stomp

8. Grandpa’s Rovin’ Ear

9. Cornmeal Waltz

10. New Cut Road (by Guy Clark)

11. The Death of Sis Draper (part 1)

12. Hello Dyin’ Day

13 The Death of Sis Draper (part 2)

14. The Ghost of Sis Draper

Catch Shawn Camp On Tour:

July 30-August 2 – Key West, FL – The Mini Music Festival

August 30 – Mill Spring, NC – The Earl Scruggs Music Festival *

August 31 – Mill Spring, NC – The Earl Scruggs Music Festival ^

October 5 – Birmingham, AL – Fundraiser In-The-Round

October 17 – Edmund, OK – UCO Jazz Lab *

October 23 – Stephenville, TX – Keith Sykes Songwriter Weekend

October 28 – Nashville, TN – Country Music Hall of Fame

November 9 – Rockport, TX – The Rockport Songwriter Festival

November 22 – Nashville, TN – 3rd & Lindsley – Alzheimer’s Benefit Show 

* as part of Shawn Camp & Verlon Thompson: The Songs & Stories of Guy Clark

^ as part of The Earls of Leicester

Buc-ee’s Presents ‘Applause for the Cause’ with Robert Earl Keen, Tyler Childers & Friends to Aid Kerr County Flood Relief

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Robert Earl Keen has been dubbed a lot of things in his sixty-nine years, but he’s most proud of the moniker “Texan”—more specifically, a Texan from Kerrville. And now more than ever, in response to the July 4th flooding in Kerr County, Keen’s Hill Country community needs a helping hand. Without a second of hesitation, the Americana pioneer has circled the wagons, called his talented compadres, and secured a venue and date for a one-night-only fundraising event, Buc-ee’s Presents Robert Earl Keen and Friends: Applause for the Cause

On August 28th at Whitewater Amphitheater outside of New Braunfels, Texas, Keen will hit the stage with special guest Tyler Childers, alongside a special trio set from Miranda Lambert, Jon Randall, and Jack Ingram, plus Cross Canadian Ragweed, Randy Rogers, Ryan Bingham, Ray Wylie Hubbard, and many, many more to raise money for the Community Foundation of the Texas Hill Country—check out the full lineup below. 

“This is a star-studded lineup with music starting in the mid-afternoon and lasting far into the night,” says Keen. “We must help everyone as much as we can, for as long as we can.” Beaver Aplin, founder of Buc-ee’s, echoes Keen, “We are pleased to have the opportunity to support the relief efforts of so many for our beloved Hill Country. The tragedies are beyond belief.” Aplin continues, “Buc-ee’s teaming with Robert Earl Keen and friends for this benefit concert just seemed like the right thing to do. When we learned 100 percent of our commitment goes to the Community Foundation of the Hill Country, we were all in.” 

This Friday, July 18th, at noon Central, reserved seating tickets ($200) and general admission tickets ($99) will go on sale, with 100% of the proceeds benefiting the Community Foundation of the Texas Hill Country. Additionally, at the time of purchase, attendees will be given the opportunity to purchase a ticket for a local first responder to attend Applause for the Cause. For those interested, these special first responder tickets can be purchased and gifted without attending the event. For all tickets, please visit whitewaterrocks.com. 

Doors for Applause for the Cause are scheduled to open at 3 pm, kicking off with Lloyd Maines and his Austin City Limits Band with special guest vocalists. As the sun sets, expect full-band sets from music legends from Texas and beyond, including a very special closing set shared by Robert Earl Keen and Tyler Childers. 

Applause for the Cause is made possible by generous support from Whitewater Amphitheater, Miller Pro AVL, C.C. Creations, illustrator Dorothy Nottingham, and of course, Buc-ee’s, who have already pledged a one-million-dollar donation to the Community Foundation of the Texas Hill Country. To make a direct contribution to the Community Foundation, please click here

Buc-ee’s Presents Robert Earl Keen and Friends: Applause for the Cause Lineup:

Robert Earl Keen with special guest Tyler Childers

Miranda Lambert, Jon Randall, and Jack Ingram (performing together)

Cross Canadian Ragweed

Aaron Watson

Catie Offerman

Cleto Cordero

Cody Jinks

Hayes Carll

Jamestown Revival

Jamey Johnson

Jason Boland

Josh Abbott 

KAZIMI

Kelsey Waldon

Kolton Moore

Pug Johnson

Radney Foster

Randy Rogers

Ray Wylie Hubbard

Ryan Bingham

Sarah Jarosz

Terry Allen

Vincent Neil Emerson

William Clark Green

Josh Weathers

Kyle Park

Rob Baird

The Texas Trio

Derek Frank Drops Funky New Single “Beefcake,” A Horn-Heavy Groover Inspired by ‘80s Wrestling & Cory Wong

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Bassist and composer Derek Frank is back with a brisk, funk-fueled hit in the form of his new single “Beefcake,” which dropped on July 11 across all streaming platforms. This horn-heavy, rhythm-forward instrumental is Frank’s most high-energy, pulsed release to date this year-bursting with contagious grooves, tongue-in-cheek swagger, and the kind of tight musicianship that fans have come to expect from the longtime touring bassist turned solo artist.

Crafted during a recording session at Stagg Street Studios in Van Nuys, CA, “Beefcake” is pure sonic fun. “I was going for something more danceable,” Frank says, “and definitely wanted to incorporate an intricate horn arrangement. As for emotion, I just wanted it to be happy and lively.”

The track’s confident title came just as playfully as the music itself. “Just a silly name, no backstory really,” Frank laughs. “I guess you could say that it’s a nod to my affinity for ’80s wrestling-Brutus Beefcake-but I just needed a fun title for the song and that’s what came off the top of my head.”

The result is a wildly entertaining instrumental that blends disco flair with jazz fusion intricacy, all grounded in a deep-pocketed funk foundation. It opens with a bold, unison intro riff that recurs throughout, driving the song’s momentum while giving space for solo breaks and layered transitions. “I knew I wanted something faster than much of the stuff I’d written before,” Frank explains. “So I found a drum loop, picked a tempo that felt good, and just started playing bass along with it. That’s where I came up with the basic groove, and then built from there.”

To balance the quarter-note drive of the primary groove, Frank adds a shift to halftime in the B section-a move that lets the track breathe and adds another level of dynamic interplay. “Because it’s such a fast groove, I needed that section to break it up a bit and give it some release,” he adds.

Cory Wong was a clear influence on this track’s upbeat pace and polished funk stylings. “So many of his songs are at breakneck tempos, and it’s so fun to listen to,” Frank says. “I didn’t have anything like that in my catalog, so I decided it was time to grab some of that influence.”

But Frank’s inspirations run deeper than today’s funk trailblazers. “Beefcake” also pays homage to his lifelong obsession with vintage film and TV soundtracks. “Much of my influence comes from seventies film and television music-composers like Quincy Jones, Artie Lange, Lalo Schifrin,” he explains. “Their orchestrations tend to be incredibly dense, and when I write the basic framework of a song, I imagine what the horn section will be and leave room for it.”

To bring that vision to life, Frank once again teamed up with arranger Nathan Tanouye, who’s become an essential collaborator on his solo projects. “My horn arrangement skills are rather limited, so I turn them over to Nathan,” Frank shares. “He gets what I’m going for immediately without me having to explain much-and as always, he absolutely nailed it.”

In true Derek Frank fashion, “Beefcake” is built on a live-band recording approach, prioritizing feel over excessive polish. The track features a stellar cast of musicians: Frank holds down bass duties and produced the track, alongside Anthony King (guitar), Dan Boissy (saxophone), Mike Cordone (trumpet), Tom Whaley (trombone), Tom Amend (keyboards), Demian Arriaga (percussion), and Matt Hankle (drums). The track was engineered by Greg Foeller, with assistant engineering from Arthur Seltzer, mixed by Kevin Shirley, and mastered by Stephen Marsh.

Frank sets the tone for what’s to come with “Beefcake.” “I’m going to aim for more stuff like this for the rest of the next album-fast, happy, upbeat music,” he says. And the reaction on stage confirms it’s the right direction. “This kind of track gets a great response during our live shows. It’s so much fun to play, and I’m going to try and stay close to this style.”

While many artists rely on complicated concepts or layered metaphors to sell their music, Frank keeps it simple-and all the more powerful for it. “I just hope people enjoy it,” he says, “and that it makes them feel good.”

With this new single, Frank continues to prove he’s not only one of the most versatile bassists in the game-but also a dynamic composer capable of channeling the soul, sass, and swagger of a funk-rock era gone by.

Frank is currently on the road with Don Felder-the legendary Eagles guitarist and co-writer of classics like “Hotel California,” “Victim of Love,” and “Those Shoes.” The Brotherhood of Rock tour, a 40-date North American amphitheatre summer jaunt, features Felder, Kevin Cronin (former lead singer of REO Speedwagon), and Styx. The second leg of the tour will make stops at PNC Music Pavilion (Charlotte, NC), Empower Federal Credit Union Amphitheater (Syracuse, NY), Xfinity Center (Mansfield, MA), Freedom Mortgage Pavilion (Camden, NJ), Budweiser Stage (Toronto, Canada), Credit Union 1 Amphitheatre (Tinley Park, IL), Toy F. Reid Employee Center (Kingsport, TN), among others.

Derek and his handpicked five- to seven-piece band craft an eclectic mix of funk, blues, soul, jazz, and southern rock, channeling the feel of vintage soundtrack music. His compositions are defined by tight arrangements, slinky grooves, and a deep sense of musical interplay that prioritizes taste and feel over flashy technique.

Frank’s solo work has earned praise from Bass Magazine, Guitar World Magazine, American Songwriter Magazine, Bass Player Magazine, Music Connection Magazine, and podcasts such as “Everyone Loves Guitar” and “The Bass Shed”. Additionally, he received a Hollywood Independent Music Award nomination for Best Instrumental Song. His work has drawn comparisons to Lettuce, Vulfpeck, Cory Wong, Snarky Puppy, Tedeschi Trucks Band, Karl Denson, and John Scofield.

Growing up in Pittsburgh, Frank’s passion for music was sparked by the TV shows, movies, and MTV culture of the ’70s and ’80s. His love for bass emerged unexpectedly when he picked up the instrument at a music store while waiting for a guitar lesson. That moment launched a lifelong career that would take him to Los Angeles, where he became one of the city’s most sought-after touring and session bassists.