Events
Events
Showing 1–24 of 30 events
8:00 – 10:00 PM
Shake Russell & Dana Cooper (Night One)
The 04 Center
Shake Russell/Dana Cooper Band - In the late 70's, Shake Russell formed a band in Houston and was joined by hometown friend & fellow Songwriter/Musician Dana Cooper . Based in Houston, the duo enjoyed immense success and was given extensive airplay on local radio stations. Many of the melodies on "Songs On The Radio" album were recorded at Houston's KLOL. For over a decade, The Shake Russell/Dana Cooper band garnered a large following in Texas as well as appearing on "Austin City Limits". Although their respective careers have since diverged to different regions of the country, each of them has continued to nurture their talent and maintain a successful, creative music career. Dana Cooper - In the 1970's, Cooper landed a record deal with Elektra Records and released his acclaimed self-tiled debut album in 1972. Backed by renowned LA studio musicians "The Section", including Leeland Sklar & Russ Kunkel, the album showcased Cooper's lyrical depth & virtuoso guitar playing. Through the 80's & 90's, he built his reputation on the club circuit while also collaborating with artists like Lyle Lovett, Kim Carnes, Susan Werner, Kim Richey, Hal Ketchum & more. Central to Cooper's unique artistry is his ability to connect with audiences through his authentic stories and warm stage presence. Over his 50+ year career, Cooper has amassed a catalog of over 30 albums and continues to tour actively. His latest Release "The Ghost of Tucumcari" has garnered much critical acclaim and was voted #1 Album of 2024 on "Americana Highways" Readers Poll. Several established artists lent their voices to this album, including Lyle Lovett, Hayes Carll, Susan Gibson, Shake Russell, Darden Smith, Mando Saenz & Libby Koch. "Few artists can claim to make music for 50 years and still do so with the same eagerness and enthusiasm that marked their initial efforts." Lee Zimmerman, American Songwriter "Dana has a poet's eye for beauty and detail, a blues man's soul & a songbird's gift. He is remarkable." Hayes Carll - Songwriter/Musician Shake Russell - For more than 50 years, Texas singer-songwriter Shake Russell, has been entertaining audiences throughout the region and all over the United States with his unique Americana style of folk rock. Weaving sophisticated harmonies through his songs and drawing from various genres, Shake created a style of folk-rock that is uniquely his own. Shake has released 30+ albums in his career and more to come. Shake’s recent releases, “Chasing the Song” & "Gold To Me", showcase a delightful array of original compositions that beautifully show the extraordinary talents of this singer-songwriter. To fully appreciate and comprehend the magnitude of Shake’s contributions to music, one need only listen to his life’s work. From his 1978 album “Songs on the Radio” to his latest “Gold To Me”, Shake’s music is a testament to the reasons why he is so widely celebrated as a Texas Music Legend! "Shake Russell, like Mark Twain or Guy Clark, has the gift of making us think and feel deeply at the same time. He's a prolific pioneer and a true American Treasure." Chad Watson - Songwriter/Musician "Shake's music walks right up to you, says howdy, and gives you a big hug. Nobody writes a better love song." Bruce Bryant - Ghost Ranch Films
8:00 – 10:00 PM
Shake Russell & Dana Cooper
The 04 Center
Shake Russell/Dana Cooper Band - In the late 70's, Shake Russell formed a band in Houston and was joined by hometown friend & fellow Songwriter/Musician Dana Cooper . Based in Houston, the duo enjoyed immense success and was given extensive airplay on local radio stations. Many of the melodies on "Songs On The Radio" album were recorded at Houston's KLOL. For over a decade, The Shake Russell/Dana Cooper band garnered a large following in Texas as well as appearing on "Austin City Limits". Although their respective careers have since diverged to different regions of the country, each of them has continued to nurture their talent and maintain a successful, creative music career. Dana Cooper - In the 1970's, Cooper landed a record deal with Elektra Records and released his acclaimed self-tiled debut album in 1972. Backed by renowned LA studio musicians "The Section", including Leeland Sklar & Russ Kunkel, the album showcased Cooper's lyrical depth & virtuoso guitar playing. Through the 80's & 90's, he built his reputation on the club circuit while also collaborating with artists like Lyle Lovett, Kim Carnes, Susan Werner, Kim Richey, Hal Ketchum & more. Central to Cooper's unique artistry is his ability to connect with audiences through his authentic stories and warm stage presence. Over his 50+ year career, Cooper has amassed a catalog of over 30 albums and continues to tour actively. His latest Release "The Ghost of Tucumcari" has garnered much critical acclaim and was voted #1 Album of 2024 on "Americana Highways" Readers Poll. Several established artists lent their voices to this album, including Lyle Lovett, Hayes Carll, Susan Gibson, Shake Russell, Darden Smith, Mando Saenz & Libby Koch. "Few artists can claim to make music for 50 years and still do so with the same eagerness and enthusiasm that marked their initial efforts." Lee Zimmerman, American Songwriter "Dana has a poet's eye for beauty and detail, a blues man's soul & a songbird's gift. He is remarkable." Hayes Carll - Songwriter/Musician Shake Russell - For more than 50 years, Texas singer-songwriter Shake Russell, has been entertaining audiences throughout the region and all over the United States with his unique Americana style of folk rock. Weaving sophisticated harmonies through his songs and drawing from various genres, Shake created a style of folk-rock that is uniquely his own. Shake has released 30+ albums in his career and more to come. Shake's recent releases, “Chasing the Song” & "Gold To Me", showcase a delightful array of original compositions that beautifully show the extraordinary talents of this singer-songwriter. To fully appreciate and comprehend the magnitude of Shake's contributions to music, one need only listen to his life's work. From his 1978 album “Songs on the Radio” to his latest “Gold To Me”, Shake's music is a testament to the reasons why he is so widely celebrated as a Texas Music Legend! "Shake Russell, like Mark Twain or Guy Clark, has the gift of making us think and feel deeply at the same time. He's a prolific pioneer and a true American Treasure." Chad Watson - Songwriter/Musician "Shake's music walks right up to you, says howdy, and gives you a big hug. Nobody writes a better love song." Bruce Bryant - Ghost Ranch Films
8:00 – 10:00 PM
Paula Cole // THIS FIRE: 30
The 04 Center
Paula Cole returns to the stage with THIS FIRE: 30 —a special anniversary tour celebrating three decades of This Fire, her landmark album that cemented Cole as one of the most distinctive voices of the 1990s. A Grammy-winning singer-songwriter known for her fearless writing and genre-blending sound, Cole broke boundaries with songs that were both deeply personal and universally resonant. On THIS FIRE: 30 , Paula will perform This Fire in its entirety—revisiting the era-defining music that sparked a generation and bringing new life, nuance, and power to the songs fans have carried with them for decades. Expect an intimate, emotionally charged performance that honors the original spirit of the album while showcasing the artistry and perspective she's continued to evolve. Spanning 50+ markets across the US, the UK, and Europe, THIS FIRE: 30 marks a major touring moment for Paula Cole—one of her most far-reaching runs in years—celebrating a classic album and the enduring connection it created with listeners around the world.
7:00 – 9:00 PM
Ordinary Elephant
The 04 Center
Mesmerizing folk duo Ordinary Elephant has spent the better part of the last decade on a never-ending tour that’s earned married couple Crystal and Pete Damore widespread critical acclaim and made fans of luminaries like Tom Paxton and Mary Gauthier. In 2017, the pair took home the International Folk Music Award for Artist of the Year on the strength of their breakout album, Before I Go, and two years later, they returned with the similarly lauded Honest, which the Associated Press hailed as “one of the best Americana albums of the year.” The duo hasn't slowed down, earning consecutive International Folk Music Award nominations for Album of the Year in 2024 for their self-titled release, and then Artist of the Year in 2025. This latest eponymous record is the purest distillation of their sound yet, showcasing the arresting power of the couple’s gorgeous harmonies and intricate fretwork. The songs are timeless, rooted in rich, character-driven storytelling, and the performances are similarly transportive, fueled by delicately intertwined banjo, guitar, and octave mandolin. Though the songs were born out of a period of deep uncertainty, the record itself is a work of profound self-assurance, one delivered by a duo whose personal and professional lives embody the limitless possibility of honest, organic collaboration. Press play on Ordinary Elephant, or attend a live performance, and you’ll hear more than just a husband and wife; you’ll hear the sound of sincerity and commitment, of patience and gratitude, of learning to let go of expectation and revel in the simple beauty of the moment.
8:00 – 10:00 PM
Ben Jones with an All-Star Band & special guests Lemongrass
The 04 Center
Kent-born, Austin-based songwriter and multi-instrumentalist Ben Jones brings his solo catalogue to the The 04 Center stage with a full band for the very first time on November 11th. Backed by an all-star band, Jones will draw from 2022’s Souvenir, which featured guitar contributions from Telecaster legend Bill Kirchen and David Jimenez, alongside songs from his forthcoming album, The Heartbreak Handbook. The new record carries particular weight: it was made with Jones’ late friend and collaborator Chris Gage, making the evening not only a debut for these songs in their full-band clothes, but a celebration of a musical friendship and a record the two made together. Ben is no stranger to The 04 Center: Austin audiences will know him from his many appearances there with Beat Root Revival and the Pepperland Players. This time, however, it’s personal, as it’s his first show at the venue under his own name, with a band, performing his original material. It’s the latest turn in a career that has taken him from making records and fronting bands in England to becoming part of Austin’s musical community; with Beat Root Revival he signed to Surfdog Records, released UP, received a Sonic Guild grant, and toured with Brian Wilson, Brian Setzer Orchestra, Jeff Bridges and The Fixx, while his songs and co-writes have appeared on releases by Kelley Mickwee, Michael Hearne, Natalie Price, Shawnee Kilgore, Giulia Millanta and Pat Byrne, to name but a few. Opening the evening are Lemongrass , the new Austin duo of Taylor Rae and Sam Hodgson, who were writing songs together within hours of first meeting. Built around their natural vocal blend, bittersweet songwriting and a shared love of harmony, they’ve dubbed their emerging sound “Sour Folk”, drawing on the classic folk-duo tradition while kick drum, tambourine and percussion give the whole affair rather more horsepower than you’d expect from two people. Ben Jones with an All-Star Band, with Lemongrass, plays The 04 Center, Wednesday November 11, 2026, doors 7pm, show 8pm. A familiar stage, perhaps, but a Ben Jones show Austin hasn’t seen before.
8:00 – 10:00 PM
Neil Young's 81st Birthday Bash feat. Ty Hurless of The Damn Torpedoes
The 04 Center
The 04 Center Presents Ty Hurless of The Damn Torpedoes celebrating his own birthday by hosting Neil Young's 81st birthday! Featuring very special musical guests. The Damn Torpedoes have it: attitude, mojo, chemistry, skill, and determination… and use those qualities to pay tribute to an American band who for 4 decades were the pure embodiment of the same, Tom Petty and the Heartbreakers. This time around, they're paying tribute to the great Neil Young for his 81st Birthday!
8:00 – 10:00 PM
Matt the Electrician / 30 Years in South Austin with special guests Paper Lawn
The 04 Center
Matt the Electrician is Matthew Sever, a quirky, sincere folk/pop singer songwriter based in Austin, TX. He has self-released 11 studio albums, 2 live albums and 7 vinyl 45's since 1998. Matt moved to Austin, TX from the West Coast in 1996 to pursue music full time. He regularly tours all over the world, specifically The US, Canada, Western Europe and Japan. His songs have been featured on Network TV shows, in feature length movies, and in TV commercials. He regularly plays festivals, theaters, nightclubs, and house concerts, and will continue to do so until he cannot. Matt's most recent release is 2026's 2-song Vinyl 45, “Let's Play Two” 2 baseball themed songs, one of which features Boston Red Sox organist, Josh Kantor on organ. The B Side features an “informational voice-over” performed by actor Nick Offerman. “Matt flowed from story to song to stories within songs to spontaneous moments with the crowd with the supreme showmanship and undeniable raw talent of Todd Snider and Robyn Hitchcock. Matt is a modern equivalent to prime Loudon Wainwright III and John Gorka with the tale-spinning gifts of Spalding Gray rolled into a soft spoken, tattoo adorned package…Matt is so good at what he does that nothing feels rote or routine – it’s all happening in the minutes we share and one leaves better for the experience.”-Jambase, Dennis Cook
8:00 – 10:00 PM
James McMurtry with special guest Betty Soo
The 04 Center
"THE WANDERING BOY NEVER FLINCHES - James McMurtry’s 11th LP is a solid smorgasbord of aging, Americana, and arrested development” "Local critic asks another: 'How’s the McMurtry?' Answer: cut-above songs and then the clutch killers.” ...The Austin Chronicle/Raoul Hernandez • October 31st, 2025 https://www.austinchronicle.com/music/record-reviews/the-wandering-boy-never-flinches/ James McMurtry released The Black Dog and the Wandering Boy on June 20th via New West Records. The 10-song collection was co-produced by McMurtry & Don Dixon (R.E.M., The Smithereens) and is his first album in four years. It follows his 2021 acclaimed new West debut, The Horses and the Hounds, which UnCut Magazine said “lifts storytelling-in-song to meticulous new levels" and Pitchfork awarded an 8.0, saying “James McMurtry stands out even among the Lone Star State’s finest songwriters…” The Black Dog and the Wandering Boy features appearances by Sarah Jarosz, Charlie Sexton, Bonnie Whitmore, Bukka Allen and more, alongside his trusted backing band, THE MARTIAL LAW REVIEW, Tim Holt on guitar and accordion, Cornbread on bass and Daren Hess on drums. As varied as they are, McMurtry’s new story-songs find inspiration in scraps from his family’s past: a rough pencil sketch by Ken Kesey that serves as the album cover, the hallucinations experienced by his father, the legendary writer Larry McMurtry, an old poem by a family friend. A supremely insightful and inventive storyteller, McMurtry teases vivid worlds out of small details, setting them to arrangements that have elements of Americana but sound too sly and smart for such a general category. Funny and sad often in the same breath, The Black Dog and the Wandering Boy adds a new chapter to a long career that has young songwriters like Sarah Jarosz and Jason Isbell cite him as a formative influence.
7:00 – 9:00 PM
Garrison Keillor Tonight
The 04 Center
DOORS @ 6:00PM SHOW STARTS @ 7:00PM -- Garrison Keillor did “A Prairie Home Companion” for forty years, wrote fiction and comedy, invented a town called Lake Wobegon where all the children are above average, even though he himself grew up evangelical in a small separatist flock where all the children expected the imminent end of the world. He’s busy in retirement, having written a memoir and a book of limericks and is at work on a musical and a Lake Wobegon screenplay, and he continues to do “The Writers Almanac” sent out daily to Internet subscribers (free). “Fans laughed, applauded and sang along throughout Sunday night’s two-hour show” -Jeff Baenen, AP News “His shows can, for a couple of hours, transform an audience of even so-called coastal elites into a small-town community with an intimacy only radio and its podcast descendants can achieve” -Chris Barton, LA Times “[Keillor is] an expert at making you feel at home with his low-key, familiar style. Comfortable is his specialty.” -Betsie Freeman, Omaha-World Herald
8:00 – 10:00 PM
Kevin Russell with special guest Alice & The Lion
The 04 Center
Kevin Russell is the frontman and multi-instrumentalist of the award-winning Austin-based 8-piece Swamp-Pop-Soul supergroup, Shinyribs, and former member of the cult-favorite, The Gourds. A Beaumont, Texas native, Russell is a natural observer and wordsmith – drawing from the Gulf Coast hotbeds of roots music to craft his clever songwriting and on-stage antics to create an ethereal entertainment experience. -- Alice Spencer I come from a family of teachers, musicians, and artists. Everyone played piano, there were lots of horns and homemade instruments lying around, and if no one was playing music, the reel-to-reel or the turntable was going. Zappa, Bartok, Ellington, The Beatles, Billie Holliday, Jacques Brel, or maybe just the audio from an episode of All In The Family that my father had recorded on his Wollensak. It was a very free and creative environment for a kid. I was really into musical theater and I loved to sing and dance. I thought I’d pursue acting but at 18 while in theater school in St. Louis, I joined my first band, Three Merry Widows. I’d found my calling. I dropped out, we got a record deal, and began touring; me and a bunch of guys in a 15 passenger van. We were best friends and we wrote together effortlessly. The Widows enjoyed college chart success and had a loyal regional following, but disbanded when the label didn’t hear a single in the demos for what would have been our second album. At the time, I had already begun singing with another St. Louis band, The Geyer Street Sheiks, a 7 piece string band with a rich regional history and a varied repertoire that included jazz, blues, and old time music. After releasing 3 critically acclaimed albums with The Sheiks, I returned home to Austin, Texas to be closer to my family. For the next several years I worked in original music projects (The Barkers, Victrola), performed with jazz bands (The Oxblood Melodians, Alice Spencer and Her Monkey Butlers, Floyd Domino’s All Stars, and Slim Richey’s Dream Band), toured as Patsy Cline in the musical, Always, Patsy Cline, and began working as a voiceover artist for commercials and video games. When my first daughter, Beatrice, was born I took a 7 year hiatus and during that time I had another daughter, Amelia. When they reached school age, they began to encourage me to return to performing. Maybe they were just sick of hearing me sing around the house, who knows. Around that time I got an offer to join Austin’s beloved band, Shinyribs, and when I wasn’t on the road with those guys, I performed my original music, with Brian Beattie (Glass Eye) and Dony Wynn (Robert Palmer, Brooks & Dunn). After nearly 9 years of rigorous touring and a bucket list appearance on Austin City Limits, I left Shinyribs to pursue other projects and to devote more time to my original music. I co-wrote and co-produced an album with Jon Langford (Mekons, Waco Brothers) in 2024 for his band, The Bright Shiners. I currently perform my songs accompanied by Brian Beattie on bass, and sing with the inimitable Seth James Band, as well as taking jazz gigs here and there. I live with my daughters and our cat, Oscar and I’m proud to call Austin my home.
8:00 – 10:00 PM
River Shook with special guest ISMAY
The 04 Center
River Shook carries the country-rock torch of Sarah Shook & the Disarmers into an exciting new era. Shook debuts as a solo artist this year, and continues to deliver everything we’ve come to expect from them: killer songwriting, a smoking hot band, and high-energy, heart-winning live shows. River Shook's galvanizing, self-titled, debut solo album (Independent, June 26, 2026) is a mythic body of work. Arrow-to-the-heart honest lyrics, unforgettable characters, rock-god electric guitar solos, shimmering pedal steel, and Shook’s unmistakable voice cut like a ray of light through a great darkness, coaxing listeners towards a deeper level of awareness and empowerment. In rebellious country rocker “Country Angel,” a narrator immerses herself in the feelings of young love and freedom, while her old-soul sensibility tugs gently with a reminder that this night, this feeling, this person, they’re all already slipping through her fingers. “You can’t tie a feeling down,” Shook’s haunting voice soars in the chorus, delivering twin doses of joy and sorrow. In “If We Got A Chance,” Shook takes an honest stock of their situation as a touring artist: they miss their partner back home, they’ve been gone too long, and they’re struggling to patch up a fight while navigating a grueling schedule on the road. We find a range of relatable themes: work obligations delaying the speedy resolution of an argument, getting burned out on a thankless job, or choosing not to give up on a struggling relationship. Shook’s songwriting has never been more inspiring. Throughout the album, Shook intentionally explores themes we tend to avoid, reminding us that we’re braver than we think, that we can handle hard truths about ourselves, and that we can change course the moment we’re ready. Touring 150 days per year with the Disarmers gave Shook a significant advantage that they did not let go to waste; they spent a decade developing their stage presence, honing their storytelling, and learning how to give audiences across the world an unforgettable, potentially life-changing experience. Shook’s egalitarian songwriting, their ability to make fans feel seen, and their reputation as a wildly exciting front person have led them to be referred to as “punk” and “rock n’ roll” as frequently as they're called country. “My songwriting, my music, they’re country to the bone, but it’s that rock n’ roll element that makes the whole thing lift off,” says Shook. “If you want to give fans an unforgettable show every night, you need that reckless energy and purity of spirit." -- Avery Hellman has been a rancher, an alt-country musician, and, always, a dreamer. But they recently found themself once more while looking for Lucinda Williams. In 2023, Hellman was hard at work on an album, podcast, and documentary delving into the psyche of the country singer-songwriter when they discovered how much poetry played into Williams’ general talents. “That was a really big shift for me,” Hellman says. “I was like, ‘Well, why don’t I learn how to write poetry?’” Add another job to that resume. Coincidentally, Hellman had been invited to the National Cowboy Poetry Gathering in Nevada, where they presented a few early poems — and opened the barn door. Creativity stampeded out, and, with the help of co-writer/producer Sam Cohen, Avery penned their new record as alt-country project ISMAY, Half Truth, out June 12th 2026 on Fossil Records. “My intention with the record, especially given the fact that a lot of the songs started as poems, wasn’t to be perfect,” they say. “I wanted the words to be in the forefront — not smooth, but raw.” Hellman grew up in the Bay Area on Emmylou Harris, Gillian Welch and Hazel Dickens, hanging out backstage at their grandfather’s Hardly Strictly Bluegrass Festival since age eight. As a young person, they initially wanted to get into environmental studies — inspired by their work on the family ranch — but when their grandfather died, they decided to preserve his legacy. They started playing with his band, then honed their own sound, dropping their debut album as ISMAY, Songs of Sonoma Mountain, in 2020 (one of KQED’s 10 best Albums in the Bay Area), then Desert Pavement with Andrew Marlin of Watchhouse in 2024. Through it all, they grew into their own as an artist, performing at music fests and opening for the likes of Steve Earle, John Doe, and Chuck Prophet, and scoring a role on TV+ Show My Kind of Country, produced by Kacey Musgraves and Reese Witherspoon. And, after immersing themselves in the study of poetry, they wrote Half Truth, an 11-song suite of wry yet lonesome tracks about rodeo horses, salvation, and finding yourself — again and again. In 2026 Avery helped to launch Fossil Records with Margo Cilker, an indie label whose aim is to capture the expression drawn from seasons of work on ranches and in rural outposts. Currently, Avery is based in the Sierra Nevada Mountains of California. ISMAY also curates a music festival called Woollystar.
8:00 – 10:00 PM
Margaret Glaspy with special guest Olive Klug
The 04 Center
In an era of excess and endless distraction, the New York-based singer/songwriter Margaret Glaspy rejects the noise in favor of something far more essential. On the self-possessed title track for her new album I Am Both Glaspy offers an ardent refusal of any outside pressure to compromise her multidimensionality. “I wrote ‘I Am Both’ a while ago; the story is based on a female character that I look up to deeply—a woman who contains multitudes while seeing reality very clearly,” says Glaspy. “It can feel safer to try to fit myself into a category, but I find that embracing my own complexity is much healthier for me.” That embrace of complexity runs throughout the album’s eleven tracks. In the making of I Am Both Glaspy stepped away from social media and soon discovered a clarity of mind she hadn’t experienced in years, followed by a sustained burst of creative momentum. As she penned her lyrics in longhand and then polished them up on a typewriter, Glaspy assembled a selection of songs that span from fictional vignettes to unguarded self-revelation to empathetic observation of the troubled world around her. Produced by Joe Henry (the three-time Grammy-winning singer/songwriter/producer known for his work with luminaries like Aimee Mann and Joan Baez), I Am Both ultimately stands as a striking new statement from one of the modern music canon’s most formidable songwriters. “When I started writing for this record I had a goal of getting my practice back—to walk the walk in terms of how I envision myself as a songwriter,” says Glaspy, a Northern California-bred artist who made her debut with 2016’s lavishly acclaimed Emotions and Math. “At first it was really hard to break that addiction to social media, but after a while something shifted. It felt like I’d gotten back to original thought instead of being under the influence of so many outside opinions. It was life-changing.” Her fourth full-length album, I Am Both emerged from three days of sessions at New York City’s Reservoir Studios, where Glaspy recorded live with drummer/percussionist Jay Bellerose (Bonnie Raitt, Robert Plant, Alison Krauss), keyboardist Patrick Warren (Tracy Chapman, Tom Waits, Bruce Springsteen), and bassist Ross Gallagher (Paula Cole, Grails). “I always think of myself as more of a photographer than a sculptor in the studio—it’s about capturing the moment rather than layering and building things up over time, and Joe has a similar mentality when it comes to recording,” says Glaspy, who first connected with Henry at a T Bone Burnett-curated tribute to Bob Dylan at New York’s Town Hall in 2022. “There was an incredible chemistry with the band and the whole process felt electric, so a lot of what you hear on the album is the first take.” The follow-up to 2023’s Echo the Diamond (hailed by Uncut as “songs that glint like shards of glass yet brim with love, grief, courage, existential doubt and all the stuff that makes us human”), I Am Both brings Glaspy’s disarmingly direct vocals and eloquent guitar work to a cathartic form of folk-leaning indie-rock. In a potent introduction to the LP’s luminous immediacy, the album opens on “Michigan”—a lush and lacerating piece of storytelling that imagines a post- breakup escape to the Midwest. “I was in Michigan a couple years back and had a really beautiful time, and thought about how New Yorkers sometimes fantasize about the countryside as a retreat from the intensity of the city,” Glaspy says. “It turned into a song about someone going through a bad breakup, and then deciding to just leave the city behind.” Like “Michigan,” a number of songs on I Am Both unfold as finely detailed story fragments that privilege impression over exposition, each one etched with a precise emotional truth. On the wildly romantic “That Rose,” Glaspy spins distanced longing into something gloriously surreal (“I dreamt you looked into the clouds like they were my eyes / You made them blush—the clouds got shy”). “It was fun to write a love story where the jealousy is almost sweet.” One of several songs featuring Glaspy’s soulful performance on harmonica, “Common Ground” tilts toward a Dylan-esque acerbic wit. “That song feels relevant to the culture these days. There’s a tendency to either put people on a pedestal or dismiss them entirely, instead of perceiving them as human beings or using our own reasoning.” Another outward-looking and galvanizing track, “Martin Luther King Jr.” reframes passages from a 1957 sermon by the legendary civil rights leader, recasting his wisdom in light of present-day emergencies like the U.S. housing crisis. “I’ve been listening to Martin Luther King’s speeches for a long time, and I find so much inspiration in how transcendent his public speaking is,” says Glaspy. “His work is obviously very pertinent to what we’re going through right now in America and the world over.” Throughout I Am Both, Glaspy reveals one of the more thrilling outcomes of deepening her creative practice: a commitment to following her own internal logic when structuring songs. On the slow-building and softly powerful “Reminder,” she contends with her own smallness against the scale of others’ suffering, rendering her inner monologue in a rush of unbroken syntax (“Hope can only get me so far / I also have to be willing to catch a few scars / And I also have to be willing to apologize / And I also have to be willing to scrutinize / And I also have to be willing to not be right / But I also have to be willing to fight, fight, fight”). “That song’s a message to myself for when it feels like I’m doing nothing of value, reminding me that it’s important to keep showing up in lots of little ways instead of giving up altogether,” says Glaspy. “It’s an example of something I never would’ve written if I were still praying to the gods who told me everything needs to be neat and tidy and symmetrical.” That sense of self-acceptance extends beyond identity and into Glaspy’s broader philosophy: one that increasingly resists the cultural appetite for hierarchy and ascent. “In any industry, success is measured by climbing as high as you possibly can, but these days I think of music as something more like a public service,” she says. “You show up in city after city and you bring the music with you, and hopefully it reaches whoever needs to hear it. I feel really honored to be of service in that way.”
8:00 – 10:00 PM
Sue Foley // Holiday Show
The 04 Center
Sue Foley brings her band home to Austin for a special holiday show at the 04 Center on November 28, celebrating the season and a brand-new holiday recording coming this fall. Drawing from her deep roots in Texas blues, Foley will feature new material from the upcoming release alongside a few holiday favorites, plenty of guitar, and a special guest or two. A holiday show for anyone who likes their Christmas music with a little more blues and a little less tinsel. __ Sue Foley is a multi-award-winning blues guitarist, singer, and songwriter. Her latest release, One Guitar Woman: A Tribute to the Female Pioneers of Guitar, was nominated for the 2025 GRAMMY® Award for Best Traditional Blues Album. On it, Foley delivers a masterclass in acoustic guitar, honoring the trailblazing women who shaped the instrument’s history—from Maybelle Carter and Sister Rosetta Tharpe to Ida Presti and Lydia Mendoza. Foley’s guitar tone—whether drawn from her signature pink paisley Fender Telecaster or a handmade Mexican flamenco guitar—is a voice unto itself: lyrical, commanding, and unmistakably hers. With painted fingernails and pinpoint precision, she fuses fiery Texas blues with delicate fingerstyle flourishes, channeling a poet’s sense of purpose through every note. Raised in Ottawa, Canada, Foley was drawn to the guitar at 13 and performing professionally by 16. After relocating to Austin, Texas in her early 20s, she signed with Antone’s Records—home to legends like Stevie Ray Vaughan—and released her 1992 debut, Young Girl Blues, to widespread acclaim. She has since toured internationally and shared stages with B.B. King, Buddy Guy, Jimmie Vaughan, and Billy F Gibbons, earning her place among the top tier of modern blues artists. A five-time winner of the Blues Music Award for Traditional Blues Female Artist (2020–2025), Foley also holds a Juno Award, the 2024 Maple Blues “Blues With a Feeling” Lifetime Achievement Award, and numerous other honors. She is not only a performer but a scholar: her forthcoming book, Guitar Women: Conversations with the Heroines of Guitar (Sutherland House, 2026), chronicles her interviews with groundbreaking female players. Foley also holds a PhD in Musicology from York University. Her performances—stripped-down or electrified—exude conviction, grace, and grit. As The Philadelphia Inquirer put it, “Foley has a killer voice, an impossibly alluring blend of sex and innocence to go with those blazing guitar chops.” With One Guitar Woman, she opens new musical and historical territory, affirming that women have always had a place in the pantheon of guitar greats. “We’ve been here all along,” she says. “Now we’re claiming it.”
8:00 – 10:00 PM
KT Tunstall (Night One)
The 04 Center
Since scoring a worldwide smash with her debut album Eye To The Telescope in 2004, which went on to sell over 5 million copies, and is about to celebrate its 20th anniversary, KT Tunstall has remained at the forefront of UK singer- songwriter talent. Tunstall outsold every other female artist in the UK in 2005, won the 2006 Brit Award for Best British Female Solo Artist, an Ivor Novello Best Song award for her huge, self-penned hit ‘Suddenly I See’, and a Q award for Track of the Year. She also landed a Grammy nomination for Best Female Pop Vocal Performance and lent her tunes to a host of movies and TV shows (‘Suddenly I See’, used in the iconic opening scene of Meryl Streep flick ‘The Devil Wears Prada’). Several critically acclaimed albums were released in the years that followed, culminating in a trilogy of albums on the theme of Mind Body and Soul: 2016’s Top 10 album KIN, WAX in 2018 and most recently, NUT (2022). KT has toured and collaborated with a dizzying array of superb artists including The Pretenders, Simple Minds, Hall and Oates, Roger Daltrey and Barenaked Ladies. Her many awards include Inspirational Artist gong at the Women In Music Awards and most recently, earlier in 2024, a prestigious Ivor Novello Award for Outstanding Song Collection. 2025 saw her perform a collection of ‘Eye To The Telescope’ 20th Anniversary Shows, including a duo of electric gigs in Glasgow (Royal Concert Hall and Barrowlands) as part of Celtic Connections, as well as her own headline show at London’s iconic Royal Albert Hall on June 23rd - her 50th birthday. A starstudded celebration, the highly praised show featured special guest appearances from Sir Roger Daltrey, Jools Holland, Mel C, Natalie Imbruglia and Rick Astley. KT has also written the music for the acclaimed stage musical of classic 90’s movie “Clueless”, which opened in London’s West End in February 2025 and will tour in 2026 as well as several other forthcoming theatre projects, to be announced. KT toured Australia and New Zealand earlier this year, and had a run at UK and European summer festivals, including opening for Robbie Williams’ 30,000 fans in Florence, Italy. In August, she headlined the Opening Ceremonies of the 2026 Commonwealth Games, broadcast live from Glasgow,Scotland. KT is currently on tour across the U.S. with O.A.R. and Gavin DeGraw. She will then continue her tour in March and April of 2027 in the UK and Europe, performing in arenas alongside Brandi Carlile.
8:00 – 10:00 PM
KT Tunstall (Night Two)
The 04 Center
Since scoring a worldwide smash with her debut album Eye To The Telescope in 2004, which went on to sell over 5 million copies, and is about to celebrate its 20th anniversary, KT Tunstall has remained at the forefront of UK singer- songwriter talent. Tunstall outsold every other female artist in the UK in 2005, won the 2006 Brit Award for Best British Female Solo Artist, an Ivor Novello Best Song award for her huge, self-penned hit ‘Suddenly I See’, and a Q award for Track of the Year. She also landed a Grammy nomination for Best Female Pop Vocal Performance and lent her tunes to a host of movies and TV shows (‘Suddenly I See’, used in the iconic opening scene of Meryl Streep flick ‘The Devil Wears Prada’). Several critically acclaimed albums were released in the years that followed, culminating in a trilogy of albums on the theme of Mind Body and Soul: 2016’s Top 10 album KIN, WAX in 2018 and most recently, NUT (2022). KT has toured and collaborated with a dizzying array of superb artists including The Pretenders, Simple Minds, Hall and Oates, Roger Daltrey and Barenaked Ladies. Her many awards include Inspirational Artist gong at the Women In Music Awards and most recently, earlier in 2024, a prestigious Ivor Novello Award for Outstanding Song Collection. 2025 saw her perform a collection of ‘Eye To The Telescope’ 20th Anniversary Shows, including a duo of electric gigs in Glasgow (Royal Concert Hall and Barrowlands) as part of Celtic Connections, as well as her own headline show at London’s iconic Royal Albert Hall on June 23rd - her 50th birthday. A starstudded celebration, the highly praised show featured special guest appearances from Sir Roger Daltrey, Jools Holland, Mel C, Natalie Imbruglia and Rick Astley. KT has also written the music for the acclaimed stage musical of classic 90’s movie “Clueless”, which opened in London’s West End in February 2025 and will tour in 2026 as well as several other forthcoming theatre projects, to be announced. KT toured Australia and New Zealand earlier this year, and had a run at UK and European summer festivals, including opening for Robbie Williams’ 30,000 fans in Florence, Italy. In August, she headlined the Opening Ceremonies of the 2026 Commonwealth Games, broadcast live from Glasgow,Scotland. KT is currently on tour across the U.S. with O.A.R. and Gavin DeGraw. She will then continue her tour in March and April of 2027 in the UK and Europe, performing in arenas alongside Brandi Carlile.
8:00 – 10:00 PM
95.9 Texas Country Presents Cory Morrow with special guest Jordan Whitmore
The 04 Center
After nearly three decades on the road, veteran Texas Red Dirt mainstay Cory Morrow is poised to release his most vulnerable and unflinching record to date. “The Letting Go” is a collection of songs that offers an intimate glimpse into the life of the seasoned songwriter. It features compositions reminiscent of the early days – “That Song” and “Cocaine & Jesus” – alongside grown-up philosophical musings – “Every Moment” and “The Stuff”. Like a Cory Morrow live show, the album gracefully meanders from deep introspection to spontaneous dance, tongue-in-cheek to life altering truth, heart piercing ballad to tambourine shaking rock-n-roll. It’s Morrow at his best – the ringleader of an unpredictable circus calling willing listeners to the front of the stage. Amidst the diverse collection of tunes there is an undercurrent best understood through the lyrics of the title track. And while the truth embodied in “The Letting Go” has universal application, it seems very specific to Morrow. As evidenced in his discography – and in some cases, the news – Cory has navigated his way from frat boy to family man, addiction to sobriety, and from believing in himself to believing in something much larger. “The Letting Go”, cowritten with Dalton Domino, captures the desperation, fear, and exhilaration of taking a leap into the great unknown and finding the next version of yourself, something Morrow continues to do in his personal and professional life. Perhaps the most touching sentiment of the project is found in the one outside cut on the record, written by long-time collaborator, producer, and dear friend to Cory, Keith Gattis, who passed away in April of 2023. The inclusion of “Big Hat”, alongside “That Song” – the last cowrite for the two – serves as a fitting memorial to the music they created and time spent together on their musical journey. It stands as a reminder that music can carry both loss and legacy in the same breath.
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
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
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
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.
8:00 – 10:00 PM
Hayes Carll / Grateful For Christmas Tour with special guest Calder Allen (Night Three)
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
Ian Moore’s Acoustic Family Christmas Show with Bukka Allen & Warren Hood
The 04 Center
“You should be playing stadiums!”. Ian laughs while hearing this after another blazing performance at the 2024 SXSW music festival. Is he laughing because he has played his fair share already, from shows with some of the most influential musicians of all time, from the Rolling Stones to Bob Dylan, to a long line of headline festival performances, or because he knows the folly of the music business? “I’m always aiming for the fences,” he says, but you can tell he’s also motivated by something deeper. Ian is a triple threat and an artist’s artist. He came up in Austin, mentored by the greats. Stevie Ray Vaughan famously gave him his first guitar, and you can hear the lineage in his fingers, but then you hear that voice...” I was obsessed with the soul singers as a kid,” he says, and you can hear those influences in his silky falsetto and his soulful phrasing. Spin magazine described him as a cross between Aaron Neville and Jimi Hendrix, and that duality sets him apart from so many other guitarists. There is a sensitivity within the fire and an economy in his playing that came from years and years playing with the greats as a young man, sharing stages with Willie Nelson, Albert King, Jimmie Vaughan, Albert Collins, Doug Sahm, and many others while still in his teens and early twenties. At the same time, Ian is always searching for new ways to expand and refine his music, working with groundbreaking producers like Mark Howard/Daniel Lanois(Bob Dylan, U2), Joe Chicarelli(White Stripes, Elton John), and more recently, Adrian Quesada, whose band ‘the Black Pumas’ was starting to hit as they were making Ian’s ‘Strange Days.’ He looks at songwriting through a lens just as serious as Guy Clark or John Prine, but through a scope that includes influences from country blues to brit pop and back. “Man, many people don’t even listen to lyrics anymore, but to me, it is the core of a great song, and if the core is hollow, the rest of it will echo that.” That solid foundation has led to four top 20 rock radio hits, countless TV appearances, and even a feature role In the film Slingblade, Billy Bob Thornton’s southern gothic masterpiece. With such a rich history, it would be easy to rest on his accomplishments, but Ian doesn’t see it that way. “When we pull into a town, nobody cares what we’ve done in the past; they want to be electrified, and our focus is to be the best thing they have ever seen.” Watching him play to yet another capacity crowd and leave them screaming long after he’s left the stage, you can see his dedication and hunger are just where they need to be. He’s staring down another touring season filled with festivals and marquee shows and gearing up to record later this year in what will be his twelfth release. It’s a dizzying pace, and you have to wonder how anyone can keep their focus and integrity with that much action and movement.“I have to speak from the heart.” He says. “It’s the only thing you have and the only thing that matters. Trends come and go. When you speak from the heart, you never go wrong.” Looking across the field and seeing thousands of fans completely immersed in his music, you can see a lifetime of soul smiling back at him.
8:00 – 10:00 PM
Matt the Electrician & Southpaw Jones // Holiday Show
The 04 Center
Despite the name, Matt the Electrician is no longer an electrician, focusing instead on a music career that has spanned the course of two decades, a dozen records, and thousands of shows. His music, however, remains rooted in his blue collar beginnings, with lyricism that embraces the day-to-day, the mundane, the beauty of the ordinary. Before moving to Austin, TX and launching his career as a working-class folk musician, Matt Sever grew up on the West Coast. His parents played John Denver and Pete Seeger songs on the family record player, and Matt spent his earliest years surrounded by the things that would later fill his own music: acoustic guitars, timeless melodies, lyrics that celebrated the joys and heartaches of everyday life, and — above all else — a strong work ethic. That work ethic served him well in the mid-1990s, when he moved to Austin in search of new horizons and better opportunities. Matt was already playing music by then, and in need of a steady day job, he began working as an electrician, spending his days wiring houses in the Texas heat. Once quitting time came, he'd grab his guitar and drive himself to an evening show, usually taking the stage in his work boots and sweaty clothes. "Hi; I'm Matt the Electrician," he'd tell the crowd, hoping his occupation would help explain his appearance. The name stuck, even after his growing fan base at home, as well as abroad, allowed him to hang up his pliers for good. Matt’s most recent release, a double CD called The Doubles, is the culmination of a 2-year vinyl 45 collaborative project. — Here’s what we know about Southpaw Jones : • He makes music for open-minded folks who dig singable melodies and one-of-a-kind lyrics. • He can write a decent song about anything. • He is left-handed. • He plays a right-handed guitar upside down… • …without a high E string. • He treads lightly on the thin ice of irreverent honesty. • He has lived in Houston, Nashville, and Los Angeles. • He currently lives in Austin. • He performs solo if not with Matt the Electrician. • He has had the honor of opening for Dan Bern, Slaid Cleaves, Fred Eaglesmith, Terri Hendrix, Lisa Loeb, and James McMurtry. • He has performed with 5 instruments in 17 states during the past 20 years. • Critics say he has “that most amazing ability to be hilarious and heartbreaking at the same time.” • Author Spike Gillespie calls him “the left-handed Elvis Costello and the best songwriter in the land.” • He is a software engineer by day (and some nights). Visit LinkedIn for all that. • Southpaw calls himself “Slim” and sleeps in the fetal position.
8:00 – 10:00 PM
Madam Radar 10th Anniversary Concert // NYE 2027
The 04 Center
Americana’s First Family is turning 10: Celebrate New Years Eve Live at the 04 Center as Madam Radar performs their discography reaching all the way back to The Texas KGB days from Welcome Home to Motel! -- MADAM RADAR is an Americana rock band that punches hard with their explosive harmonies, soaring guitar solos, and eclectic original tunes. The band is a tangled web of family and friends; Jace Cadle (rhythm guitar/vocals) is married to Kelly Green (lead guitar/vocals) who is the sister of Kody Lee (drums/vocals) who is married to Violet Lea (bass/vocals). Welcome to the Family. Fronted by the trio of Kelly, Violet, and Jace, MADAM RADAR is a revolving door of high-energy singer-songwriters, each with their own perspective and style that magically seem to overlap like the layers of a kaleidoscope. With all four members of the band providing harmonies, MADAM RADAR is a wall of colorful sound that changes shape, demanding your undivided attention. MADAM RADAR has shared stages with renowned acts such as Bon Jovi, Arc Angels, Lukas Nelson, Candlebox, 3 Doors Down, Hayes Carll, Jack Ingram, Shinyribs, Jackie Venson, and Comedian Ron White. They are a two-time Sonic Guild (formerly Black Fret) Grant recipient and were the first Austin-based band to perform at the Moody Center in Austin, TX. MADAM RADAR released their first full length album under the name “The Texas KGB” in 2016 titled Songs in the Key of Pain. In 2017, they released their second full length album titled Welcome Home. Both were recorded at 512 Studios with Omar Vallejo. MADAM RADAR announced their name change after being awarded their second grant from Black Fret in December 2019 at The Black Ball at ACL Live at the Moody Theater. They then released their self-titled album Madam Radar in February of 2020. It was recorded at The Finishing School in Austin, Texas and produced by Gordy Quist of The Band of Heathens and engineered by Grammy award winning Steve Christensen. In October of 2021, MADAM RADAR went back into The Finishing School with Gordy Quist and Steve Christensen to record their studio album SPEAKS. It was released to a sold out show July 30th of 2022 at the 04 Center in Austin, TX. Kevin Conner of Austin’s Sun Radio called MADAM RADAR’s single Hands, “The best song to come out of Austin in 2022.” During summer of 2023 MADAM RADAR rolled into Escondido Sound, the home studio away from home for Austin staples The Bright Light Social Hour, to work with Curtis Roush on their single Hole in My Head. The track was released August 27th, 2023. After nearly three years on the road the band came home again to The Finishing School, this time with help from Grammy Award Winner Steve Berlin of Los Lobos and Grammy Award Winning engineer Michael Brauer. Together they created MOTEL, a love letter to the road and the people you meet on the long way home. MOTEL was released May 16th, 2025.