Events
Events
Showing 217–240 of 346 events
8:00 – 10:00 PM
Beat Root Revival's 4th Annual Christmas Cracker
The 04 Center
Join us for the 4th Annual Beat Root Revival Christmas Show, "Christmas Cracker!" BEAT ROOT REVIVAL is a multi-instrumentalist roots duo, combining elements of Folk, Blues, Country, and Rock n Roll to create a melodic sound, made up of powerhouse harmonic vocalists Andrea Magee and Ben Jones. Originally from England and Ireland, Ben Jones and Andrea Magee came to the USA 4 years ago like their ancestors before them, looking for a new life and to share their music far and wide. With just a guitar, a Bodhran and a hunger in their harmonies and songs, Austin, Texas became their adopted home and they have developed an ever-growing fan base gigging regularly while writing prolifically. The band's CD sales are higher than any other support act we’ve had at our label in years and they just recorded three brand new songs with legendary producer Paul Leary (Sublime, Slightly Stoopid, Ballyhoo!, Meat Puppets, Butthole Surfers), which includes a great rendition of Thunderclap Neman's, Something In The Air.
8:00 – 10:00 PM
Me Nd Adam & DO512 Present The 6th Annual Keep Austin Cheer'd, Night 2
The Continental Club
Me Nd Adam & DO512 Present The 6th Annual Keep Austin Cheer'd, Night 2 @8pm - $25+ Advance tickets, $25 DOS. Doors @7:30pm. 21+ only. Me Nd Adam is an alternative rock duo from Austin, Texas. Keep Au…
2:30 – 4:30 PM
Marshall Hood
The Continental Club
Marshall Hood @2:30pm – No cover! Doors open at 2pm. 21+ only. If the last name Hood sounds familiar to you – that’s because it probably is. The Hood legacy thus far includes Champ Hood, original me…
6:30 – 8:30 PM
Heybale
The Continental Club
Heybale! With Earl Poole Ball @6:30pm – $10 cash cover. Doors open @6pm. No advance tickets. 21+ only. Heybale is Austin’s best & most popular country supergroup! The lineup, including Earl Poole Ba…
8:00 – 10:00 PM
JD McPherson - SOCKS: A Rock N' Roll Christmas Tour with special guest Melissa Carper
The 04 Center
Acclaimed singer, songwriter and musician JD McPherson will embark on his eight-annual “SOCKS: A Rock n’ Roll Christmas Tour” this December with confirmed stops at LA’s Pacific Electric, The Kessler in Dallas, TX, 04 Center in Austin, TX, among several others. Tickets are available now via www.jdmcpherson.com/tour. These performances celebrate McPherson’s breakthrough debut Christmas album, SOCKS, which was released in 2018 on New West Records. The album features 11 all-original Christmas songs, the album has been the best-reviewed holiday record receiving overwhelming critical praise. -- Celebrated for her profoundly observational lyrics, her “homespun sensibility,” and a voice that curls like a croon from a gramophone, Melissa Carper plays old school country music that resonates across time and place. Carper’s repertoire weaves together the threads of old-time, bluegrass, western swing, jazz, and blues that all intertwined to form American country music, back in the days before the recording industry drew artificial lines and slapped on race-based genre labels. Veteran Nashville musician Chris Scruggs highlighted Carper’s versatile traditionalism when he dubbed her “HillBillie Holiday,” declaring, “She’s as good as it gets. She has a quality that really transcends time and fashion.” Melissa Carper’s childhood in North Platte, Nebraska, was filled with country music. She has fond memories of lying on the living room carpet with her head under the family stereo console, listening to her parents’ beloved Hank Williams and Loretta Lynn albums. From an early age, the Carper siblings sang gospel music together at churches and retirement homes, and when the kids were old enough for instruments, their mother organized them into a country band. Having taken up upright bass in 4th grade, 12-year-old Melissa naturally became the electric bassist. A childhood playing country music until midnight on the circuit of Nebraska’s rural Elks, Eagles, and American Legion halls may have been out of the ordinary, but she reflects that “my parents were dreamers and they believed in all of us and our musical abilities.” Her high school band director, himself a bassist, was another mentor, and with his encouragement, she attended the University of Nebraska at Lincoln on a classical music scholarship.
8:00 – 10:00 PM
DJ Paul of Three 6 Mafia: Crunk Gods Tour w/ DJ Montay, Die Slo (Keep Austin Live), TTBBY, Stockz & DJ Hella Yella
Antone's Nightclub
9:30 – 11:30 PM
Willie Pipkin & Friends
The Continental Club
Willie Pipkin & Friends @9:30pm – $10 cash cover. Doors open @9pm. No advance tickets. 21+ only. Willie Pipkin’s sound is based on blues, but he gets to play bluegrass and swing music too. He’s dabb…
6:30 – 8:30 PM
Eve Monsees & Mike Buck
The Continental Club
Eve Monsees & Mike Buck @6:30pm – No cover. 21+ only. Eve Monsees got her first guitar at 12 and soon began hooking up with her schoolmate, Gary Clark Jr., to regularly practice playing the blues. A…
10:15 PM
Dale Watson
The Continental Club
Dale Watson @10:15pm – $10 cover at the door at 9pm. No advance tickets. 21+ only. Dale Watson is a honky tonk hero and country music maverick, a true outlaw carrying on where Waylon Jennings left o…
8:00 – 10:00 PM
Buckcherry
Pershing Hall
Loud guitars. Bad decisions. Damn good rock ’n’ roll. Buckcherry is bringing their unapologetic, high-energy rock ’n’ roll to Pershing Hall! With over two decades of raising hell, millions of fans worldwide, and hits like “Crazy Bitch,” “Lit Up,” and “Sorry,” these rock veterans know a thing or two about putting on one hell of a show. From their platinum-selling records to explosive live performances, Buckcherry has never been about playing it safe. And we wouldn't have it any other way. OPENING THE SHOW: TRASHY ANNIE Kicking things off is Austin's own Trashy Annie , bringing their gritty, no-holds-barred rock ’n’ roll to the stage. Come early, turn it up, and get ready for one hell of a night. Check them out: https://www.trashyannie.com/ You bring the attitude. We'll bring the volume. Don't just hear about it. Be there. Grab your tickets and get ready to raise a little hell! LISTEN BEFORE THE SHOW Spotify: https://open.spotify.com/artist/0yN7xI1blow9nYIK0R8nM7 Apple Music: https://music.apple.com/us/artist/buckcherry/3444975 FOLLOW BUCKCHERRY Instagram: https://www.instagram.com/buckcherry/ Facebook: https://www.facebook.com/buckcherry YouTube: https://www.youtube.com/buckcherry X: https://x.com/buckcherry Website: https://www.buckcherry.com/
12/8/2026, 10:00 PM – 12/9/2026, 12:00 AM
James McMurtry and The Martial Law Review @10pm, TBA @12am
The Continental Club
James McMurtry and The Martial Law Review @10pm, TBA @12am – $10 cover at 9pm. No advance tickets. 21+ only. Never one to rest on his laurels, James McMurtry continues to tour constantly, and consis…
7:00 – 11:00 PM
Trans-Siberian Orchestra
Moody Center
Trans-Siberian Orchestra is coming to Moody Center on Wednesday, December 9, 2026 for The Ghosts of Christmas Eve Tickets on sale now! All sales are subject to ticket availability. There are no age restrictions for this event. PLAN YOUR TRIP TO MOODY CENTER Clear bag policy Frequently Asked Questions Interested in upgrading your event day experience? Explore single event Suite & Loge Box rentals here . PARKING SHOW: 7:00pm CT Times subject to change.
8:00 – 10:00 PM
Hayes Carll / Grateful For Christmas Tour with special guest Calder Allen (Night One)
The 04 Center
We’re Only Human Hayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of us what to do or think. But he is charting out a personal guide for his life, quieting the noise, and sitting with his real voice – the one that’s candid, consistent, and often inconvenient. We’re Only Human is Carll’s tenth album. Like his best lyrics, it is also an understated masterpiece, an honest snapshot of one man’s confrontation and delight with humanity’s biggest and most intimate questions. Where do we find forgiveness for ourselves and grace for others? How do we hold on to peace of mind and stay present? What can we—and should we––trust? And how can we moor ourselves to, well, ourselves, in the midst of confusing, trying times? We’re Only Human offers audiences the chance to listen to Carll as he listens to himself. “I’ve lived outside of myself for so long,” Carll admits. “Distractions, fear, anxiety, insecurity, and the complexity of being human in this world have so often pulled me away from being present or at peace.” “I feel like there’s been a voice riding shotgun all my life, pushing me to do better, but I’ve struggled to listen to it,” Carll says. “The idea behind this record was to do the personal work I needed to do, then codify those lessons in song to serve as sort of breadcrumbs to get me back on the trail if, and inevitably when, I get lost again.” Carll is more than two decades into a celebrated career. Praise from places such as Pitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle tough issues with wry humor to Bob Dylan––punctuate a resume that includes Americana Music Awards and a Grammy nomination. His songs aren’t safe, but many of Nashville’s stars have recorded them, including Kenny Chesney, Lee Ann Womack, and Brothers Osborne. As a solo recording artist, Carll has long-since established himself as one of Americana’s most-played––and most loved––voices. His warm but crackling vocals, wit, and heart dance through wordplay that’s always clever, and never too precious. Through it all, whenever Carll points a finger, it’s most often at himself. As We’re Only Human collects moments of Carll figuring out how to be with himself, the songs feel forthright, hopeful, and timely. In today’s onslaught of instant gratification, rage-baiting headlines, glorified intolerance, and falling empathy, the record is a startling outlier: an artist’s raw, real-life effort to live well—both with himself and others. Carll embraces private epiphanies, and shares them with the world, allowing them to unfold for all to see and share. Of course, We’re Only Human is also art. So while appreciating the motivation and compelling themes driving it will underpin the listener’s experience, Carll’s album also matters because of the sheer brilliance of its execution. These are songs composed by a writer’s writer, wielding his considerable skill with precision and beauty. The album’s title track unfolds with plaintive piano and a mantle of grace. Carll sings, with a calming sincerity, “We’ll do most anything to avoid the pain / Hiding our hearts and casting the blame / 6,000 tongues, but we’re all the same / Ain’t no need to carry that shame / ‘Cause we’re only human.” Hard-won minutes of quiet clarity inspired some of the record’s most beautiful moments. Accented by bright mandolin and soft, simple percussion, “Stay Here a While” captures a peaceful reprieve from a racing mind. “I remember sitting on the couch, looking out the window, watching the birds do their thing,” Carll says with a laugh. “I got lost in their lives for a moment, and it was such a wonderful feeling because my mind is always going in circles, seeking excitement, and frankly, just thinking about myself. I enjoyed the peace I felt in that moment and I thought, this is lovely and I’d like to stay in this place.” Carll shared that takeaway with MC Taylor, aka Hiss Golden Messenger, who not only could relate, but helped finish the song. “High” offers another invitation to stop and breathe. Opening with a solo horn, flute, and stripped down piano, the track is lovely and sincere, with Carll’s signature humor hovering comfortably nearby. There are also times when Carll’s sharp wit comes roaring to the foreground. “Progress of Man (Bitcoin and Cattle)” sends up society’s disorienting––and conflicting––forces, while “Good People (Thank Me)” is a masterclass in comedic timing, stubborn humanism, and the untapped potential of gratitude. A dogged insistence on acceptance, both of one’s self and others, courses through the album— as does Carll’s determination to hold himself accountable. “If I’m judging others, then I’m not having to look at myself,” Carll says. “I’m flawed as hell, judgmental, and critical of myself and those around me. That’s a loop that feeds itself. But I figure If I can look at myself clear-eyed and acknowledge my own shortcomings, it might help me have some grace and acceptance for myself and others.” It’s that sort of harmonious duality––embracing one’s self and confessing one’s own mistakes––that solidifies the record’s big-hearted honesty. “The creative process was in large part a self-therapy session. I don’t think that would work if I was only looking at everyone else’s issues,” Carll says. A moving series of grounding vignettes, realizations, and self-love roll through “What I Will Be,” as Carll promises to not compromise himself to fit in. A slow-burning, blues-tinged standout, “I Got Away with It” is painful and gorgeous. Brimming with hope, “One Day” balances the work Carll sees as necessary with the certainty that satisfaction, contentment, and peace are reachable by trusting in yourself and the universe. Featuring a parade of Carll’s longtime friends, album closer “May I Never” is a plea to himself. As Ray Wylie Hubbard, Shovels & Rope, Darrell Scott, Nicole Atkins, and The Band of Heathens’ Gordy Quist and Ed Jurdi each take verses, listeners are swept up in a resolute promise to keep after good. “It brings up a lot for me when I hear them singing those lines,” Carll says. Each of those people – whether they know it or not – have played a part in my story, and it’s gratifying and humbling to me to have them lend their voices to this song.” In the end, Carll’s latest album is a lovingly and purposefully written collection of reminders. “I hope other people find something in it, too” Carll says. “Through it all, I am trying to stay appreciative, knowing that I did what I set out to do: write something that can help me navigate this journey with a little more grace and peace.” -- Born and raised in Austin, Texas, Calder Allen is a fifth-generation Texan whose roots run deep in the state. His mother’s family settled in Austin in the 1890s, while his father’s side put down roots in the Texas Panhandle in the early 1900s. That grounding in Texas tradition was paired with an upbringing steeped in creativity. Calder was exposed to the world of music and art at an early age through his family. His grandparents, Terry and Jo Harvey Allen, are lifelong career artists who curated an upbringing and culture that encouraged every form of honest artistic expression. Before pursuing it full-time, he had planned on becoming a fly-fishing guide. Introduced to the river life by his brother Sled, he quickly became captivated by the art of fly fishing, setting his priorities around time on the water and exploring river systems across the country. In 2020, when schools shut down due to the pandemic, Calder used the unexpected time at home to start writing songs. Those early efforts led to his debut studio album, The Game, produced by Charlie Sexton, who quickly became both a mentor and collaborator. Through that process, Calder fell in love with record-making, a discovery that convinced him to change course and commit fully to music. His new album, Fault Lines, recorded at Austin’s renowned Arlyn Studios with Sexton and longtime collaborator Jacob Sciba, is the most complete expression of that decision yet. It’s a deeply personal and cinematic journey through love, loss, self-discovery, and the tension between resilience and fracture. “By the time we started to record this latest album, the working process between the three of us had become a well-oiled machine,” Calder says. “We all had an understanding of what we were creating and the importance of the songs and how they work together.” With contributions from Sexton, Martie Maguire, Jon Randall, and Jack Ingram, the record builds a layered soundscape that mirrors the emotional highs and lows of Calder’s storytelling. Calder approaches his craft with rare openness, channeling his own experiences while leaving space for others to find themselves in the music. “I allow myself to be completely open and transparent and try to convey what I’m trying to say without paying any attention to how it will be received,” he explains. “I’m not in the catering business. As an artist and songwriter, it’s a responsibility to offer an original perspective on life’s commonalities. We are all so similar, yet we each view the world differently. To me, the writing process is very obvious—say what you have to say.” Fault Lines is the culmination of Calder Allen’s journey so far—a record that marries the richness of his Texan roots with the depth of his emotional and musical exploration. It marks the arrival of a songwriter unafraid to navigate both his inner landscape and the wide terrain of Americana music.
8:00 – 10:00 PM
Jackopierce
Pershing Hall
Jackopierce Live at Pershing Hall | December 9 Acoustic duo Jackopierce—made up of Cary Pierce and Jack O’Neill—have been a staple of the American folk-pop scene for over three decades. Known for their rich harmonies, heartfelt songwriting, and energetic live shows, the pair first gained national attention in the 1990s with their gold-certified album Bringing on the Weather . With a loyal fanbase and a touring history that includes appearances alongside artists like Dave Matthews Band and Counting Crows, Jackopierce continues to deliver timeless, feel-good performances that blend storytelling with musicianship. Don’t miss this intimate night at Pershing Hall. Website: https://www.jackopierce.com Spotify: https://open.spotify.com/artist/1D9nOrYVEVg5nRbUABsrcW Instagram: @jackopierce Facebook: Jackopierce
12/9/2026, 10:00 PM – 12/10/2026, 12:00 AM
Louisiana Surf Department
The Continental Club
Louisiana Surf Department @10pm – $10+ tickets. $10 cash cover may be available DOS according to capacity. 21+ only. The Louisiana Surf Department is a swampadelic-country-rock band founded January 1,…
10:30 PM
Louisiana Surf Department
The Continental Club
Louisiana Surf Department @10:30pm – $10 cover. 21+ only. The Louisiana Surf Department is a swampadelic-country-rock band founded January 1, 2024 in Austin, Texas. On lead vocals and electric guitar…
6:30 – 8:30 PM
Casper Rawls
The Continental Club
Casper Rawls @6:30pm – No cover! 21+ only. Expect anything from an all-acoustic show to an electric romp through blazing instrumentals. Casper is a musician’s musician. And for Casper it’s more than…
8:00 – 10:00 PM
Amigo The Devil
Mohawk Outdoor
Resound Presents: Amigo the Devil in Austin, TX at Mohawk (outdoor) on December 10, 2026.
8:00 – 10:00 PM
Hayes Carll / Grateful For Christmas Tour with special guest Calder Allen (Night Two)
The 04 Center
We’re Only Human Hayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of us what to do or think. But he is charting out a personal guide for his life, quieting the noise, and sitting with his real voice – the one that’s candid, consistent, and often inconvenient. We’re Only Human is Carll’s tenth album. Like his best lyrics, it is also an understated masterpiece, an honest snapshot of one man’s confrontation and delight with humanity’s biggest and most intimate questions. Where do we find forgiveness for ourselves and grace for others? How do we hold on to peace of mind and stay present? What can we—and should we––trust? And how can we moor ourselves to, well, ourselves, in the midst of confusing, trying times? We’re Only Human offers audiences the chance to listen to Carll as he listens to himself. “I’ve lived outside of myself for so long,” Carll admits. “Distractions, fear, anxiety, insecurity, and the complexity of being human in this world have so often pulled me away from being present or at peace.” “I feel like there’s been a voice riding shotgun all my life, pushing me to do better, but I’ve struggled to listen to it,” Carll says. “The idea behind this record was to do the personal work I needed to do, then codify those lessons in song to serve as sort of breadcrumbs to get me back on the trail if, and inevitably when, I get lost again.” Carll is more than two decades into a celebrated career. Praise from places such as Pitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle tough issues with wry humor to Bob Dylan––punctuate a resume that includes Americana Music Awards and a Grammy nomination. His songs aren’t safe, but many of Nashville’s stars have recorded them, including Kenny Chesney, Lee Ann Womack, and Brothers Osborne. As a solo recording artist, Carll has long-since established himself as one of Americana’s most-played––and most loved––voices. His warm but crackling vocals, wit, and heart dance through wordplay that’s always clever, and never too precious. Through it all, whenever Carll points a finger, it’s most often at himself. As We’re Only Human collects moments of Carll figuring out how to be with himself, the songs feel forthright, hopeful, and timely. In today’s onslaught of instant gratification, rage-baiting headlines, glorified intolerance, and falling empathy, the record is a startling outlier: an artist’s raw, real-life effort to live well—both with himself and others. Carll embraces private epiphanies, and shares them with the world, allowing them to unfold for all to see and share. Of course, We’re Only Human is also art. So while appreciating the motivation and compelling themes driving it will underpin the listener’s experience, Carll’s album also matters because of the sheer brilliance of its execution. These are songs composed by a writer’s writer, wielding his considerable skill with precision and beauty. The album’s title track unfolds with plaintive piano and a mantle of grace. Carll sings, with a calming sincerity, “We’ll do most anything to avoid the pain / Hiding our hearts and casting the blame / 6,000 tongues, but we’re all the same / Ain’t no need to carry that shame / ‘Cause we’re only human.” Hard-won minutes of quiet clarity inspired some of the record’s most beautiful moments. Accented by bright mandolin and soft, simple percussion, “Stay Here a While” captures a peaceful reprieve from a racing mind. “I remember sitting on the couch, looking out the window, watching the birds do their thing,” Carll says with a laugh. “I got lost in their lives for a moment, and it was such a wonderful feeling because my mind is always going in circles, seeking excitement, and frankly, just thinking about myself. I enjoyed the peace I felt in that moment and I thought, this is lovely and I’d like to stay in this place.” Carll shared that takeaway with MC Taylor, aka Hiss Golden Messenger, who not only could relate, but helped finish the song. “High” offers another invitation to stop and breathe. Opening with a solo horn, flute, and stripped down piano, the track is lovely and sincere, with Carll’s signature humor hovering comfortably nearby. There are also times when Carll’s sharp wit comes roaring to the foreground. “Progress of Man (Bitcoin and Cattle)” sends up society’s disorienting––and conflicting––forces, while “Good People (Thank Me)” is a masterclass in comedic timing, stubborn humanism, and the untapped potential of gratitude. A dogged insistence on acceptance, both of one’s self and others, courses through the album— as does Carll’s determination to hold himself accountable. “If I’m judging others, then I’m not having to look at myself,” Carll says. “I’m flawed as hell, judgmental, and critical of myself and those around me. That’s a loop that feeds itself. But I figure If I can look at myself clear-eyed and acknowledge my own shortcomings, it might help me have some grace and acceptance for myself and others.” It’s that sort of harmonious duality––embracing one’s self and confessing one’s own mistakes––that solidifies the record’s big-hearted honesty. “The creative process was in large part a self-therapy session. I don’t think that would work if I was only looking at everyone else’s issues,” Carll says. A moving series of grounding vignettes, realizations, and self-love roll through “What I Will Be,” as Carll promises to not compromise himself to fit in. A slow-burning, blues-tinged standout, “I Got Away with It” is painful and gorgeous. Brimming with hope, “One Day” balances the work Carll sees as necessary with the certainty that satisfaction, contentment, and peace are reachable by trusting in yourself and the universe. Featuring a parade of Carll’s longtime friends, album closer “May I Never” is a plea to himself. As Ray Wylie Hubbard, Shovels & Rope, Darrell Scott, Nicole Atkins, and The Band of Heathens’ Gordy Quist and Ed Jurdi each take verses, listeners are swept up in a resolute promise to keep after good. “It brings up a lot for me when I hear them singing those lines,” Carll says. Each of those people – whether they know it or not – have played a part in my story, and it’s gratifying and humbling to me to have them lend their voices to this song.” In the end, Carll’s latest album is a lovingly and purposefully written collection of reminders. “I hope other people find something in it, too” Carll says. “Through it all, I am trying to stay appreciative, knowing that I did what I set out to do: write something that can help me navigate this journey with a little more grace and peace.” -- Born and raised in Austin, Texas, Calder Allen is a fifth-generation Texan whose roots run deep in the state. His mother’s family settled in Austin in the 1890s, while his father’s side put down roots in the Texas Panhandle in the early 1900s. That grounding in Texas tradition was paired with an upbringing steeped in creativity. Calder was exposed to the world of music and art at an early age through his family. His grandparents, Terry and Jo Harvey Allen, are lifelong career artists who curated an upbringing and culture that encouraged every form of honest artistic expression. Before pursuing it full-time, he had planned on becoming a fly-fishing guide. Introduced to the river life by his brother Sled, he quickly became captivated by the art of fly fishing, setting his priorities around time on the water and exploring river systems across the country. In 2020, when schools shut down due to the pandemic, Calder used the unexpected time at home to start writing songs. Those early efforts led to his debut studio album, The Game, produced by Charlie Sexton, who quickly became both a mentor and collaborator. Through that process, Calder fell in love with record-making, a discovery that convinced him to change course and commit fully to music. His new album, Fault Lines, recorded at Austin’s renowned Arlyn Studios with Sexton and longtime collaborator Jacob Sciba, is the most complete expression of that decision yet. It’s a deeply personal and cinematic journey through love, loss, self-discovery, and the tension between resilience and fracture. “By the time we started to record this latest album, the working process between the three of us had become a well-oiled machine,” Calder says. “We all had an understanding of what we were creating and the importance of the songs and how they work together.” With contributions from Sexton, Martie Maguire, Jon Randall, and Jack Ingram, the record builds a layered soundscape that mirrors the emotional highs and lows of Calder’s storytelling. Calder approaches his craft with rare openness, channeling his own experiences while leaving space for others to find themselves in the music. “I allow myself to be completely open and transparent and try to convey what I’m trying to say without paying any attention to how it will be received,” he explains. “I’m not in the catering business. As an artist and songwriter, it’s a responsibility to offer an original perspective on life’s commonalities. We are all so similar, yet we each view the world differently. To me, the writing process is very obvious—say what you have to say.” Fault Lines is the culmination of Calder Allen’s journey so far—a record that marries the richness of his Texan roots with the depth of his emotional and musical exploration. It marks the arrival of a songwriter unafraid to navigate both his inner landscape and the wide terrain of Americana music.
10:30 PM
Barfield, The Tyrant
The Continental Club
Barfield, The Tyrant of Texas Funk @10:45pm – $10 cover. 21+ only. Imagine one part Cash, One part Clash, add some James Brown and a little Screamin’ Jay and you’ve got Barfield, The Tyrant of Texas…
