Peter Frampton remains one of the most celebrated artists in rock history. At age 16, he was lead singer and guitarist for British band The Herd. At 18, he co-founded one of the first supergroups, seminal rock act Humble Pie. His session work includes collaborations with such legendary artists as George Harrison, Harry Nilsson, David Bowie, Jerry Lee Lewis, Ringo Starr, John Entwistle, Mike McCready and Matt Cameron (Pearl Jam), among many others.

Frampton has appeared as himself in television shows “The Simpsons” and “Family Guy.” He also served as technical advisor on Cameron Crowe’s 2000 film Almost Famous as well as appearing in it and writing songs for the soundtrack. In 2007 he won the Grammy Award for “Best Pop Instrumental Album” for Fingerprints and in 2014 was inducted into the Musicians Hall of Fame.

Frampton has toured with the likes of David Bowie, Stevie Nicks, Greg Allman, Ringo Starr, Lynyrd Skynyrd, Cheap Trick, Steve Miller Band, Bill Wyman’s Rhythm Kings, and many others. Additionally, he took Peter Frampton’s Guitar Circus on the road for two years with special guests B.B. King, Buddy Guy, Vince Gill, Larry Carlton, Robert Randolph, Don Felder (formerly of The Eagles), Dean DeLeo (Stone Temple Pilots), Kenny Wayne Shepherd, Sonny Landreth, Robert Cray and Roger McGuinn (the BYRDS).

He recently celebrated the 42nd anniversary of his fifth solo album, Frampton Comes Alive!, which remains one of the top-selling live records of all time, with over 17 million copies sold worldwide.

Steve Miller Band 2019 Spring Tour

ABOUT STEVE MILLER:

Steve Miller was a mainstay of the San Francisco music scene that upended American culture in the late ’60s. With albums like Children of the Future, Sailor and Brave New World, Miller perfected a psychedelic blues sound that drew on the deepest sources of American roots music and simultaneously articulated a compelling vision of what music – and, indeed, society – could be in the years to come. Then, in the ’70s, Miller crafted a brand of pure pop that was polished, exciting and irresistible – and that dominated radio in a way that few artists have ever managed. Hit followed hit in what seemed like an endless flow: “Take The Money and Run,” “Rock’n Me,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love,” among them. To this day, those songs are instantly recognizable when they come on the radio – and impossible not to sing along with. Their hooks are the very definition of indelible. Running through Miller’s distinctive catalog is a combination of virtuosity and song craft. His parents were jazz aficionados – not to mention close friends of Les Paul and Mary Ford – so, as a budding guitarist, Miller absorbed valuable lessons from that musical tradition. When the family moved to Texas, Miller deepened his education in the blues, eventually moving to Chicago, where he played with Muddy Waters, Howlin’ Wolf, Buddy Guy and Paul Butterfield. In recent years, Miller has immersed himself in the blues once again. And, as always, whether he was riding the top of the charts or exploring the blue highways of American music, he is playing and singing with conviction and precision, passion and eloquence, and making records that are at once immediately accessible and more than able to stand the test of time.

ABOUT MARTY STUART

Born in Mississippi in 1958, country music singer Marty Stuart got his start in Johnny Cash’s back-up band in 1979. He soon enjoyed solo success as well as hits performing with other country musicians, including Travis Tritt and Willie Nelson. He has received multiple Grammy Awards for his work.

Around this time, Stuart married Cash’s daughter Cindy, but he parted ways with his father-in-law in 1985 in order to focus on his own career. Exploring the sounds of rockabilly, he found some success with the 1986 album Marty Stuart and scored his first hit with the song “Arlene.” Stuart also worked on his stage persona, choosing to wear fancy western-style suits on stage and to tease his hair. In his personal life, he began to make changes, too. He and his wife Cindy divorced in 1988.Returning with 1989’s Hillbilly Rock, Stuart reached the top 10 of the country music charts with the album’s title track. He again won over country music fans with 1991’s Tempted, which featured “Burn Me Down” and “Little Things.” Partnering with Travis Tritt, Stuart won his first Grammy Award for Best Country Vocal Collaboration for “The Whiskey Ain’t Workin'” in 1992. The pair toured together and scored another big hit with their “This One Is Going to Hurt (For a Long, Long Time)” that same year.In 1993, Stuart won another Grammy Award—this time for Best Country Instrumental Performance. He joined forces with Chet Atkins, Vince Gill, and several other country stars for the song “Red Wing.” His next solo album Love and Luck (1994) proved to be a commercial disappointment, but he remained a popular country star. Stuart hosted the first of many Marty Party television specials that year.

Busy as ever, Stuart recorded duets with Steve Earle, Willie Nelson, B. B. King, and Travis Tritt. He also worked behind the scenes, serving as producer for songs by George Ducas, Pam Tillis, and Jerry and Tammy Sullivan. Stuart worked on film soundtracks for a diverse range of movies from the Steven Seagal action flick Fire Down Below (1997) to the Western drama All The Pretty Horses (2000). For All The Pretty Horses, he received a Golden Globe nomination.In 1999 Stuart released The Pilgrim, a concept album that told the story of a man, brokenhearted and suicidal, who sets off on a journey. Country stars such as Emmylou Harris, Earl Scruggs and Pam Tillis contributed to the project. While it earned some positive reviews, it failed to catch on with music buyers.Working again with Scruggs, Stuart earned a Grammy Award in 2001 for Best Country Instrumental Performance for their version of “Foggy Mountain Breakdown.” Legendary banjo player Scruggs had recorded the song decades earlier when he teamed up with Lester Flatt. The following year, Stuart formed his own backup band called the Fabulous Superlatives. He recorded several albums with them, including 2003’s Country Music and 2006’s Live at the Ryman. The group has also toured with the likes of Merle Haggard and the Old Crow Medicine Show. Stuart is currently at work on his next album.

Little Big Town

GRAMMY, ACM, CMA, and AMA Award-winning group, Little Big Town — consisting of members Karen Fairchild, Phillip Sweet, Kimberly Schlapman, and Jimi Westbrook — first entered the music scene over 19 years ago with hit songs “Boondocks,” “Bring It On Home,” “Good As Gone” and the GRAMMY-nominated “Little White Church.” Their breakthrough albums Tornado and Pain Killer produced multiple #1 singles, including  “Pontoon,” “Tornado,” and “Day Drinking,” as well as the history-making, best-selling country single of the year (2015) “Girl Crush.”  Released February 24, 2017, Little Big Town’s latest studio album, The Breaker, debuted #1 on the Billboard Country Charts and Top 10 (No.4) on the Billboard 200 to critical acclaim, marking the group’s fourth Top 10 debut on the Billboard 200 chart. The album features their GRAMMY-winning, multi-week #1 single, “Better Man,” as well as “When Someone Stops Loving You.”

Little Big Town has earned more than 40 award show nominations and in the past five years has taken home nearly 20 awards, including multiple GRAMMY, AMA, People’s Choice, CMA, ACM awards, and an Emmy award. Currently the reigning CMA and ACM Vocal Group of the Year, the Country Music Hall of Fame inductees (2014) went onto receive their star on the Nashville Walk of Fame in 2017. Also in 2017, Little Big Town hosted a sold-out, year-long artist residency at the famed Ryman Auditorium in Nashville — marking the venue’s first-ever, year-long residency in its 125-year history. The band also recently launched 4 Cellars wine, their first non-musical project as a band, with Browne Family Vineyards. For more information on Little Big Town visit LittleBigTown.com or follow them @littlebigtown.

 

With Season 15 Winner of the voice Chevel Shepherd

Tickets go on Sale Friday, February 15, 2019.

Ever since 2010, when Gary Clark Jr. wowed audiences with electrifying live sets everywhere from the Crossroads Festival to Hollywood’s historic Hotel Café, his modus operandi has remained crystal clear: “I listen to everything…so I want to play everything.” The revelation that is the Austin-born virtuoso guitarist, vocalist and songwriter finds him just as much an amalgamation of his myriad influences and inspirations. Anyone who gravitated towards Clark’s, 2011’s Bright Lights EP, heard both the evolution of rock and roll and a savior of blues. The following year’s full-length debut, Blak And Blu, illuminated Clark’s vast spectrum – “Please Come Home” is reminiscent of Smokey Robinson, while “Ain’t Messin’ Around” recalls Sly and the Family Stone. 2014’s double disc Gary Clark Jr–Liveprojected Clark into 3D by adding palpable dimension and transcendent power –– songs soared and drifted from the epic, psychedelic-blues of “When My Train Comes In” to his anthemic, hip-hop, rock-crunch calling card, “Bright Lights”, all the way down to the deep, dark, muddy water of “When The Sun Goes Down”.

There are a handful of folks who have informed for the mélange of genres and styles, which comprise the genius of Clark. One is Michael Jackson. It was on Denver stop of MJ’s Bad Tour where a four-year-old Gary’s life was altered after witnessing The King of Pop. By the sixth grade, Clark would own his first set of strings (Ibanez RX20).

As a teen, Clark began making a local name by jamming with adult musicians around nearby clubs. He struck a balance by singing in the church choir with his sisters. That gritty & sweet combination imbues the honey-thick soul that oozes from his vocals today. The eclectic Texas circuit, though, was Clark greatest university, where another culprit in the GCJ genesis lives: Clifford Antone, ambassador of the Austin music scene. Antone’s nightclub granted Clark the honor of sharing the stage with local blues heroes like Jimmie Vaughn, Hubert Sumlin Jr, and Pinetop Perkins. This on-the-job training, combined with studying licks by literal Kings like BB, Albert and Freddie, observing the mastery of Curtis Mayfield, Miles Davis, Hendrix, Marvin Gaye, Parliament-Funkadelic, and digesting the fresh edge of Tupac and Biggie, lifted the guitar prodigy up into a multi-instrumentalist, adept scribe, and undisputed music festival champ.

Now, after spending the last five years transforming audiences from the California desert to the London metropolis, acquiring fans like Barack Obama, Keith Richards, Alicia Keys and Beyoncé along the way, the 6’4 Texan needs to spread his musical wings and spectrum hues wider. This exhibition will be Clark’s second full-length worldwide album, The Story of Sonny Boy Slim due from Warner Bros. Records on September 11th. The title’s inspiration is one half Clark’s Southern roots––those singers and local musicians who saw the future in this young man ––and other half, his acting debut in John Sayles’ 2007 film Honeydripper. A 23-year-old Clark played the fictitious Sonny, (in fact, already his family-given nick-name), a young musician who transformed the blues and R&B into rock and roll. On his latest, Clark isn’t trying to reinvent any wheel. He’d rather deploy as many wheels as possible in order to lead music fans toward his favorite destinations.

“The Healing” mashes blues and hip-hop into the 21st century with a Marleyesque message of hope and faith. This journey of the soul hits Mississippi on the Delta jam of “Shake,” before pulling into the spiritual station of“Church,” serving gospel made with the purist folk elements: hypnotic strum, sweet harmonica, and aloud prayers as painful as they are beautiful (dare we say, Dylan-esque). “Grinder” makes musical graffiti out of fierce, freeform wah-wah screaming that spars with rap-tough urban tension. The code is completed once Clark’s chordophone wails a salute to all guitar gods.

“Our Love” could’ve easily been a standard in any decade past or present; “Down To Ride”, an avant-garde, soul love letter with its sensual falsetto, classic Casio synths, and outer-space guitar fade, fits into fresh unexplored sonic territories. The trippy flight “Wings” is Clark’s most modern flip as the Outkast fan is heard in his lyrical prime: “We got issues and people get misused/and girl I miss you/but I know that we’ll get through what we go through.”

Sterling songwriting is where Mr. Clark’s evolution is arrayed best. Never has his pen’s moonshine been so in tune with the times. The Lone Star diamond gleams brightest when he’s sketching then voicing his country’s current and evergreen socio-economic tensions simultaneously. When he’s progressing the art of blues by replacing hopeless conclusion with empathy and strength. When he’s reintroducing and redefining red, white, and blue music. “Hold On,” impressively captures the struggle of being African-American in any era by stirring a pungent punch of Curtis Mayfield, Gil Scott-Heron and Buddy Guy influence over some serious (and visual) commentary. “Seems like new news is the old news from a different angle/another mother on TV crying cause her boy didn’t make it/She said, What am I gon’ do? What I’m gon’ tell these babies?”

A 2015 reply is offered on the all-consuming space-age funk of “Star.” “I am devoted to seeing you shine on,” could be a message in falsetto from Clark to those babies, his country, his family, and his innermost self. With a musical palette as gracious and glorious as Gary Clark Jr’s, the target is most likely all of the above. As Clark put his mojo in full motion on the album’s opening track, “The Healing”, he eloquently states his subtle and underlying theme that “this music” is our hope, faith and ultimate healing.

with Peterson Brothers