The requirements below have been requested by the artist and are fully supported by the venue and promoter.
For entry and attendance to this show, the following are required:
Proof of COVID-19 vaccination
- or -
Proof of a negative PCR COVID-19 test within 72 hrs of showtime
Long Time Coming Tour
With her spellbinding voice and time-bending sensibilities, Sierra Ferrell makes music that's as fantastically vagabond as the artist herself. Growing up in small-town West Virginia, the singer/songwriter/multi-instrumentalist left home in her early 20s to journey across the country with a troupe of nomadic musicians, playing everywhere from truck stops to alleyways to freight-train boxcars speeding down the railroad tracks. After years of living in her van and busking on the streets of New Orleans and Seattle, she moved to Nashville and soon landed a deal with Rounder Records on the strength of her magnetic live show. Now, on her highly anticipated label debut Long Time Coming, Ferrell shares a dozen songs beautifully unbound by genre or era, instantly transporting her audience to an infinitely more enchanted world. Co-produced by Stu Hibberd and 10-time Grammy Award-winner Gary Paczosa (Alison Krauss, Dolly Parton, Gillian Welch), Long Time Coming embodies a delicate eclecticism fitting for a musician who utterly defies categorization. "I want my music to be like my mind is -- all over the place," says Ferrell, who recorded the album at Southern Ground and Minutia studios in Nashville. "I listen to everything from bluegrass to techno to goth metal, and it all inspires me in different ways that I try to incorporate into my songs and make people really feel something." In sculpting the album's chameleonic sound, Ferrell joined forces with a knockout lineup of guest musicians (including Jerry Douglas, Tim O'Brien, Chris Scruggs, Sarah Jarosz, Billy Strings, and Dennis Crouch), adding entirely new texture to each of her gracefully crafted and undeniably heartfelt songs. Sprung from her self-described "country heart but a jazz mind," Long Time Coming opens on the unearthly reverie of "The Sea," a haunting and hypnotic tale of scorned love. Its bewitching arrangement is adorned with sublime details like Ferrell's tender toy-piano melodies and Scruggs's woozy steel-guitar work. In a striking sonic shift emblematic of the whole album, Ferrell then veers into the galloping beat and classic bluegrass storytelling of "Jeremiah," a heavy-hearted but sweetly hopeful romp featuring Jarosz on banjo and octave mandolin. Another impossibly charming bluegrass gem, "Bells of Every Chapel" sustains that wistful mood as Ferrell muses on the exquisite pain of "loving someone unconditionally with all your heart, but they don't receive your love the way you want them to." Graced with Strings's nimble acoustic-guitar work and the heavenly harmonies of O'Brien and Julie Lee, "Bells of Every Chapel" reaches its breathtaking crescendo as Ferrell belts out the song's closing lyrics, effectively twisting that heartache into something strangely glorious. One of the most enthralling moments on Long Time Coming, "Far Away Across the Sea" finds Ferrell serenading her tragically distant beloved, channeling the track's ardent longing in wildly cascading guitar lines and the fiery trumpet work of Nadje Noordhuis. "Since I'm singing about the ocean in that song, I wanted it to have a calypso vibe -- but then there's also a bit of a tango feel to it, and some Spanish influence too," Ferrell points out. Noting that she first became fascinated with island music while touring with blues singer/songwriter C.W. Stoneking, Ferrell also infuses an element of calypso into "Why'd Ya Do It" -- a beguiling and bittersweet lament whose lyrics perform a sort of poetic love spell ("My love for you's a deep blue ocean, baby/I just wanna swim inside"). In her elegant blurring of musical boundaries, Ferrell brought her vast imagination to the reworking of two signature fan favorites, including "In Dreams" -- a song previously glimpsed in a viral video that's now amassed nearly four million views on YouTube. A bold departure from the rugged simplicity of that rendition, the album version of "In Dreams" unfolds with an unbridled splendor that wholly intensifies the impact of Ferrell's outpouring. Meanwhile, in reimagining the self-reflective "Made Like That," Ferrell introduces unexpected flourishes like loping percussion and luminous piano tones, ultimately building an even more immersive atmosphere around the song's softly devastating confession. "When I wrote 'Made Like That,' I was thinking about where I am now compared to what my life was like in West Virginia," she says. "It was hell for me to be stuck in a small town, but I got out and finally realized what the world had to offer. Now I'm here, and I'm so much healthier and happier." Despite its endless wandering into new sonic terrain, Long Time Coming is indelibly rooted in Ferrell's ravishing vocal presence, revealing her extraordinary ability to draw enormous feeling from just one single note. A lifelong singer, she got her start performing covers in a local bar at the young age of seven. "There was this little dead-end bar nearby that my mom and I would go hang out at during the day, and I'd get up and sing Shania Twain songs," she recalls. "There'd be hardly anyone in there, so I'd have free rein of the place." Later on, while living in a trailer park, Ferrell had a chance encounter that would soon turn out to be life-changing. "I met all these homeless kids who were traveling all over the place and playing amazing old songs, and I wanted to be a part of that," says Ferrell. "The music they were making was so honest, so pure. It seemed important to bring that kind of music back, and it's been with me ever since." Though her years of traveling proved immensely formative, Ferrell eventually settled in Nashville in her late 20s. Soon after her arrival, she began taking the stage at major festivals like The Avett Brothers at the Beach, AmericanaFest, and Out on The Weekend and touring with the likes of Parker Millsap and Charley Crockett, immediately captivating crowds with her joyful and spirited live set. A consummate musician's musician, Ferrell found an easy camaraderie with the many luminaries who accompanied her on Long Time Coming. To that end, her most cherished moments in the album's production include the recording of the soul-stirring choir-like harmonies of "West Virginia Waltz," as well as Rory Hoffman's impromptu whistling on "Bells of Every Chapel." ("Rory's got one heck of a whistle on him," she marvels). At the same time, the making of Long Time Coming fully affirmed her affinity for lifers like Strings. "Billy's in it for the music, which is something we have in common," she says. "We're just gonna keep playing till we're not on this Earth anymore." While the wayward sound of Long Time Coming is in many ways a perfect echo of Ferrell's free-spirited nature, there's also a much deeper intention at play: a desire to expand her listeners' capacity for wonder, so that they might uncover some enchantment in their own lives. "A lot of us are taught to wake up, go to work, make money, eat, sleep, rinse, repeat," says Ferrell. "It's so easy to get caught up in that nine-to-five routine, and end up numb and dulled-down to everything. I want my music to help people break away from that -- to get lost in their imagination, and start seeing how magical the world can be if you just pay attention."
It’s been said that not all who wander are lost. Some of our greatest treasures have come from wandering hearts, those who are not afraid to take risks and experience what our world has to offer. On March 19th, singer/songwriter, upright bassist, and lifelong wayfarer Melissa Carper will unveil her new solo effort, Daddy’s Country Gold. This shimmering 12-song collection of original gems about love and a desire for the simple life mixes melancholy and humor and creates an irresistible pull between laughter and heartache. Having been compared by her listeners to a bluegrass Billie Holiday and a country Janis Joplin, Carper’s distinct and pure voice has reached a new strength and maturity in Daddy's Country Gold. As a child, Carper, who acquired the nickname “Daddy” years ago from her bandmates for always knowing how to “take care of ‘bidness’,” would lay her head underneath the family record player as she listened to Hank Williams, Patsy Cline, Johnny Cash, and other greats from her parents’ collection. After a childhood spent in her family’s country band, Carper attended the University of Nebraska on a music scholarship, spending much of her time in the library devouring every Billie Holiday, Ella Fitzgerald, Frank Sinatra, and Nat King Cole album she could find. Around this time, Carper’s father gifted her a full collection of Jimmie Rodgers’ recordings, which was a pivotal moment in finding her unique style of song craft. After two years of college, wanderlust spirited her away in an inherited 1980 Dodge Maxi-Van, to the historic little town of Eureka Springs, Arkansas, where she saw street performers for the very first time. Busking seemed a very free and appealing endeavor, so Carper diligently learned all the old country songs she loved as a child. As she belted out the lyrics to “Ramblin’ Man” on the Eureka Springs street corners, life began to imitate art; Carper relocated to music hubs like New Orleans, New York City, Austin, and eventually Nashville, oftentimes busking to make ends meet until gigs would come along. In each hub, she immersed herself in the regions’ musical styles and added them to her arsenal of influences. Along the way, she founded award-winning bands like power trio The Carper Family, the perfect outlet for her unique skills and style. The band brought her original work to life in a simple yet dynamic fashion that also served her inspirations - country, bluegrass, western swing, and old-style jazz, playing festivals and shows across the globe, and on shows like “A Prairie Home Companion.” Carper also holds a spot in award-winning Arkansas foursome Sad Daddy, and founded roots duo Buffalo Gals with Sad Daddy bandmate and girlfriend Rebecca Patek. Wanderlust and kismet collided during a stint in Nashville, where she knew she wanted to record her old-time country-tinged, western swing-infused solo album. Having befriended fellow Arkansan and bassist Dennis Crouch (Time Jumpers), Carper sought his advice in putting together the crew that could bring her vision to fruition. Armed with an impeccable lineup of Nashville’s finest session players - Chris Scruggs on rhythm guitar and pedal steel, Jeff Taylor on keys, Matty Meyer on drums, Billy Contreras on fiddle, guest appearances from Lloyd Green, Brennen Leigh, and Sierra Ferrell - the foundation was set. With Crouch and producer/engineer Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff) at the helm, the all-in-one-room performances were captured live to tape at Tokic’s studio The Bomb Shelter. With Crouch on bass duties, Carper was free to focus on delivering her vocal magic, and the raw, early 20th-century vintage sound she desired came to life. Daddy's Country Gold is just that - 12 glittering Carper originals of the country, western swing, and jazz variety. From the first notes of album opener “Makin’ Memories,” to the whimsical “Would You Like To Get Some Goats” and the heart-wrenching tenderness of album closer “The Stars Are Aligned,” this lifetime of work, experience, and wanderlust culminates in a beautiful portrait of heartfelt music, written by a road-lovin’ gal who has lived these songs and spent her life playing music for folks that still love the real thing.