General Info

River Roots Live is the Quad-Cities' premiere music festival featuring top national bands and award winning BBQ right on the Mississippi Riverfront.

Date: August 15 & 16,2014

Location: LeClaire Park (400 Biederbecke Drive, Davenport, IA)
Click here for info regarding the Centennial Bridge Closing

Friday: 11AM Rib Vendors Open for Lunch; Music
 5PM – Midnight

Saturday: Music and Ribs from 11AM – Midnight

Ticket Info

Price: FREE before 5PM & $10 per person after 5PM

Kids: Ages 10 and under get in for FREE

The purchaser and/or bearer of this ticket understands and acknowledges that he/she is purchasing this ticket to River Roots Live and not a particular artists performance. River Roots Live is an outdoor festival and weather conditions will affect the performance of all entertainers and there is a possibility that a particular performer or multiple performers may not be able to perform due to weather conditions. Thus, the purchaser and/or bearer of this ticket understands and acknowledges and will not expect a refund of the ticket for any talent cancellations.


There are numerous parking ramps offering event parking for $5 in the immediate vicinity of the festival – don’t park a mile away and walk. The ramps are cheap and easy to use! FREE on street parking is available throughout downtown.

For more information visit the parking page on


Los Lonely Boys

Saturday, August 16th, 2014 — 9:30–11:00

North Mississippi Allstars

Friday, August 15th, 2014 — 8:45–10:00

Robert Randolph & The Family Band

Friday, August 15th, 2014 — 10:15–11:45

Ben Kweller

Saturday, August 16th, 2014 — 8:00–9:15


Friday, August 15th, 2014 — 7:20–8:35

ZZ Ward

Saturday, August 16th, 2014 — 5:20-6:35

Foxy Shazam

Saturday, August 16th, 2014 — 6:45-7:50

The Ballroom Thieves

Friday, August 15th, 2014 — 6:10-7:10

Robert Jon & The Wreck

Saturday, August 16th, 2014 — 11:00-Midnight

Mr. Baber's Neighbors

Saturday, August 16th, 2014 — 2:35-3:45

The Dawn

Friday, August 15th, 2014 — 5:00-6:00

The Jayhawks

Saturday, August 16th, 2014 — 3:55-5:10


Saturday, August 16th, 2014 — 1:15-2:25

One Night Standards

Saturday, August 16th, 2014 — Noon-1:05


Video Games Etc.

Open Gaming hosted by Video Games Etc. 
Details to be announced.

Living Lands & Waters

Living Lands and Waters, founded by Quad City native, Chad Pregracke, will be present promoting the protection, preservation, and restoration of the Mississippi River, whose musically historic waters serve as the backdrop of River Roots Live.

Floatzilla 2014

The Quad Cities fourth annual paddle sports festival. This is another great event happening River Roots Live weekend along the Mississippi! River Action is the event coordinator. For more information visit or call 563-322-2969.

Junior Jam

Sponsored by West Music & RME. 
The Jr. Jam Tent, located at the east end of the park, will feature hands-on music workshops and performances for local youth coordinated by the Quad Cities finest musicians. Bounce houses and additional family fun will also be nearby, so stop by and support the future of music in the Quad Cities.

Friday, August 15

6:00 p.m. – 7:00 p.m.                          Anamalia

7:00 p.m. – 8:00 p.m.                          Songulated Pig

8:00 p.m. – 9:00 p.m.                          Cactus Body Slam

Saturday, August 16

Noon- 12:30 p.m.                                Sing and Play “Drumming for Tykes”

12:45 p.m. – 1:15 p.m.                        Beth Eddy solo ukulele artist

1:15 p.m. – 1:45 p.m.                          Sing and Play “Drumming for Tykes”

2:00 p.m. – 2:30 p.m.                          Emmy Majetic solo acoustic set

2:45 p.m. -  3:30 p.m.                          QC Rock Academy Band

4:00 p.m. – 5:00 p.m.                          RME Winter Blues All-Stars

6:15 p.m. – 6:00 p.m.                          Final Jam & Wrap Up with RME & West Music


Q: How does admission work?

A: Admission is $10 after 5:00 p.m. or FREE from 11:00 a.m. – 5:00 p.m. both days.

Q: I heard the festival combined with Ribfest – what exactly does that mean?

A: Basically, it means the festival has absolutely amazing food. The main component of Ribfest being married to River Roots Live is the presence of award-winning national BBQ rib vendors. If you’re not from the Quad Cities Area, you have no idea who or what Ribfest is, trust us, you’re in for some of the best food you’ve ever laid hands on.

Q: How many years has this event been happening?

A: 2014 is the 10th anniversary of the event, and we’re excited this top-notch festival has grown significantly every single year!

Q: Will there be camping?

A: No.

Q: Is it possible to record this event?

A: Professional audio and video equipment is prohibited. Violations could result in confiscation of the devices and violators will be removed from the premises.

Q: Will you have local brew again this year?

A: Yes! In addition to Budweiser’s fine products, we will be serving outstanding local micro-brews!

Entrance Policy

Festival Rules

River Roots Live is presented by the Downtown Partnership, a division of Quad Cities Chamber. Quad Cities Chamber of Commerce/Downtown Partnership has obtained use of the festival area pursuant to a Special Event Permit issued by the City of Davenport. In the interest of maintaining a safe and enjoyable environment for all attendees, Quad Cities Chamber/Downtown Partnership reserves the right to enforce the following rules during the festival:


The hours of the festival are as follows:
Friday: 11AM Rib Vendors Open for Lunch; Music
 5PM – Midnight
Saturday: Music and Ribs from 11AM – Midnight


All vendors must hold a permit from the Quad Cities Chamber of Commerce/Downtown Partnership and comply with the rules and policies in their vendor contracts.


Purchasers of alcoholic beverages must be 21 years old under Iowa State law. A valid I.D. is required. Wristbands will be only issued to those of legal age.


Attendees shall not interfere with River Roots Live vendors, disrupt River Roots Live entertainment, or disturb the peaceable conduct of the River Roots Live activities. Coolers, alcoholic beverages, and pets are prohibited from the festival. No roller-skates, rollerblades, bicycles, or skateboards can be used inside the festival area. All purses and bags will be subject to a thorough search at the discretion of the Davenport Police Department.

Quad Cities Chamber of Commerce/Downtown Partnership reserves the right to exclude or remove anyone from River Roots Live who does not comply with these rules.


Parking will be available at all three downtown parking ramps for only $5 per day throughout the entire weekend. We highly recommend using the ramps as they are both convenient, and affordable. For more information on parking, please visit


Do NOT bring any food or beverage to the festival grounds. Food vendors will be on-site serving primarily BBQ; however, additional cuisine will available. Beverage tents will be selling bottled pop and water, domestic and micro-brewed beer, and other specialty alcoholic beverages.


We are making every effort to create a safe and secure environment on the festival grounds. On-site security will be provided by a professional security company, which will be assisted, as necessary, by the Davenport Police Department. Emergency medical staff will also be available on site. If you need any assistance, go to the medical services just outside of the main gate, or look for a festival staff member.

Special Access

The festival grounds are wheelchair-accessible. Special disabled designated parking is available in the parking ramps. The festival does not provide personal care, golf cart rides, or push service. Please bring attendants if needed. You must have a State issued placard to park in handicapped reserved spaces.

Allowed Items

You MAY bring in the following items: 
Non-professional Photo-Camera Equipment 
Umbrellas (must not be more than 6-ft high and 4-ft. wide, or stuck in-ground), 
Baby Strollers, 
Lawn chairs, 

Lost and Found

During the festival, there will be a lost & found area located in the merch tent. Items will be held for 30 days. The Downtown Partnership will not be held liable for any unclaimed. This is the central location for any lost children as well.

Prohibited Items

Guests and their belongings are subject to search. You can help keep the lines moving quickly by leaving large bags at home. The following items WILL NOT be allowed:

Video equipment: No video recording will be allowed of musical acts or festival entertainment.

Professional still camera equipment (no tripods, no cameras with detachable lens)

Professional audio and video recording equipment is prohibited. Violations could result in confiscation of such devices and violators will be removed from the premises.

In-ground poles
Weapons of any kind
Illegal substances (including narcotics)
Alcohol (alcohol will be sold at the festival)
Glass containers
Food or beverages
Skateboards or scooters
Bicycles inside festival grounds
Large umbrellas
Pets (except service dogs)


Downtown Davenport Partnership

Downtown Davenport Partnership, a division of the Quad Cities Chamber of Commerce, is a non-profit organization focused on the strategic growth and beautification of historic downtown Davenport.

As administrators of the Self Supporting Municipal Improvement District (SSMID), the Downtown Davenport Partnership provides leadership and advocacy for downtown economic development, planning, cultural vitality, events, marketing, and clean-and-safe initiatives. Whether you're here to live, work, or play, check out our website for more information.

River Music Experience

The River Music Experience (RME) is a non-profit performing arts center dedicated to preserving and building on the Quad Cities’ musical heritage by creating a wide range of opportunities for our residents and visitors to listen, learn, and play music.

The purpose of the RME is to provide educational programming and live music performances that would not otherwise by available in the Quad Cities. There is no other organization in the area that consistently provides the volume and quality of musical opportunities that the RME delivers to our community and the region.

Since the RME’s inception, dozens of top-tier national acts who had previously never toured through the area have played in the Quad Cities. Unique educational programs that never existed are now available to our residents, guests, and visitors. Musicians young and old have performed for a wide range of audiences on RME stages and have grown as musicians and citizens of our community.

The impact of the RME on the Quad Cities community and the region is immeasurable, though absolutely tangible and profound. Throughout its growth and myriad changes, the RME has focused consistently on learning and sharing meaningful music together, enriching the lives of those within its unique community.

Living Lands & Waters

Headquartered in East Moline, Illinois, Living Lands & Waters is a 501 ©(3) environmental organization that was established by Chad Pregracke in 1998. Since the organization was founded, Living Lands & Waters has grown to be the only “industrial strength” river cleanup organization like us in the world.

Spending up to 9 months a year living and traveling on our barge, the Living Lands & Water crew hosts river cleanups, workshops, tree plantings and other key conservation efforts.

Our Mission

To aid in the protection, preservation and restoration of the natural environment of the nations’ major rivers and their watersheds.
To expand awareness of environmental issues and responsibility encompassing the river.
To create a desire and an opportunity for stewardship and responsibility for a cleaner river environment.


We couldn’t even begin to organize this festival without our community partners and sponsors. We encourage everyone at the festival to support our sponsors too!

US Cellular Logo Riverboat Development Authority Downtown Davenport Logo

River Music Experience Logo Living Lands and Waters Logo

7G Logo Barkley Photography Logo City of Davenport Logo 97x Logo Davenport Levee Improvement Commission Logo DuTrac Community Credit Union Logo Electronic Engineering Logo KLJB Fox 18 Logo Happy Joes Logo Hupp Toyota Lift Logo Hy-Vee Logo Iowa American Water Logo Jim Hawk Truck Trailers Logo Kimberly Car City Logo Lloyd’s Plan, Inc. Logo Mediacom Logo Mickle Communications Logo Molo Petroleum Logo MVP Auto Center Logo Nerdwerx Logo One Step Printing Logo Pepsi Logo Per Mar Security Services Logo Quad City Times Logo Ragged Records Logo Rexroat Sound Logo River Center Logo Sears Manfacturing Logo Stoney Creek Inn Logo Sunbelt Rentals Logo Terry Frazer’s RV Center Logo Victory Store Logo Video Games, Etc. Logo West Music Logo Zimmerman Honda Logo Locals Love Us Logo


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Centennial Bridge Closing

Per the Davenport Police Department- the Illinois Department of Transportation will be completing construction work on the US 67 Centennial Bridge starting July 28. The entire bridge will be closed to allow for various construction assignments to take place.

The closure will be for 35 days (July 28 - September 6), but please note that timing is dependent on the manufacture of the steel components and the availability of specialized equipment needed to complete the work. During the month of September, there will be lane closure while finalized improvements are made. All work is scheduled to be completed by early October.


The seasoned Roots Rock/Jam Band based out of the Quad Cities, IL has been blending the harmonious sounds of electrifying jam-rock with the pedal steel bending twang of Americana for over eight years. Their live show experience is tightly gripped in spacious jams, roaring guitar and soulful harmonies that keep their dedicated and growing fanbase coming back all throughout the Midwest. They are currently working on their fourth studio album at Real Trax Recording in Davenport, IA. The album is being produced by Rob Cimmarusti (Tripmaster Monkey, Einstein’s Sister). The Dawn has played alongside such renowned bands as Lukas Nelson (Son of Willie Nelson), Miles Nielson, JC Brooks & The Uptown Sound and Family Groove Company. Their first three albums are available on iTunes, Amazon and

5:00PM Friday, 8/15/14

The Dawn

The room is dark, as feet shuffle and people slowly mill about the open space in front of the barely-lit stage. The hiss as beer cans are cracked open mixes in with the swilling of whiskey and the dropping of ice in glasses and throwaway cups. It’s a lively, talkative crowd that starts moving closer and closer to the stage as the room lights dim and the stage lights come on. All of a sudden, the simple, lightly-strummed chords of “Coward’s Son” echo over that intimate room, and as Martin Earley’s vocals come into play, the melody continues to build, adding layer after layer. The low end of Calin Peters’ cello adds a haunting, echoing rhythm to the bright chime of Earley’s guitar part, while the accents of cymbal hits, djembe, and floor tom from Devin Mauch introduce the heartbeat of the group, their soaring three-part harmonies, with a bang. As the song grows, the band transforms from a folk three-piece in a small room into an arena-filling orchestra of soul, spilling their raw emotions into every microphone and corner. Audiotree said of the performance, “Three unique voices separate and intertwine to emit one call, channeling sounds from the Delta and bits of old Gospel guises and transcends this Boston trio’s urban roots.”

Truly a high-energy rock trio performing under the guise of well-crafted, emotionally sincere folk, the Thieves have released two well-received EPs since getting their start three years ago. With a strong presence in the Boston area and New England, they have received press from local blog luminaries such as Allston Pudding, who said of the Thieves live performance, “The intensity and passion The Ballroom Thieves had for the songs they delivered- it was hard to believe it was just three of them.” The Thieves have begun to branch out from New England, touring around the country with well-known stalwarts such as The Lone Bellow, Dispatch, Railroad Earth and Houndmouth, among others.

Their first EP, The Devil and the Deep, placed a heavy emphasis on experimentation and finding the identity of the band’s sound. Tracks range from uptempo rock beats (“Loose Lips,” “Vampires”), to slower, more soulful tunes (“Save Me,” “Delia”). “Wait for the Water” is is a homey, folk classic in the making, with a slow single-guitar buildup making way for a boot-stomping finale, complete with banjos and those trademark soaring three-part harmonies.

On their follow up, self-titled EP, the Thieves showcase a much more coherent sound, reflecting a much grittier, frenetic energy that could easily be mistaken for a whiskey-filled revival tent setting. The stomp of opening track, “Down By the River” reflects this intent to make a record that best captures their live performances. While “Armada” and “Droves” still reflect this intent, the slower dynamic of “Coward’s Son” provides a haunting contrast to the other three swampier, low-end-driven drinking songs. With deeply personal lyrics and a gradual, lit-fuse-like build, Earley showcases his ability to work in the context of an established genre and make it his own. The sound of the Thieves is one of an impassioned brand of folk music that combines deft instrumentation and expressive lyricism with an emotionality that seems to be missing in lots of folk music today. In a recent interview with Grateful Web, the Thieves said of their new EP, “we made a conscious choice of including songs that hit hard. We think our show is a lively mix of upbeat songs and slower, more introspective tunes, so these four songs are meant to give the listener a good idea of what to expect when he or she makes it to a Ballroom Thieves show.”

6:10PM Friday, 8/15/14

The Ballroom Thieves

Cracker, the group that veritably introduced brash irreverence and irony into alt-rock, are back and in top form on their 429 Records debut, Sunrise In The Land Of Milk And Honey. This rich new trove of sharp-witted songs showcases a bristling, late 70’s – early 80’s power pop punk aesthetic which hits as hard as it did at the band’s formation 17 years ago. Eight albums (one platinum and three gold) and a barrel full of anthemic hit songs later, Cracker endures, using their ability to weave decades of influences into an album that is seamlessly riveting.

In Sunrise…, long-time partners David Lowery and Johnny Hickman, 12-year Cracker drummer Frank Funaro and bassist Sal Maida (since 2006), train a watchful eye on the current socio-musical landscape as they weave an eerie yet strangely soothing story of escapism, apocalypse and renewal. Friends John Doe, Patterson Hood and Adam Duritz (whose mega-band Counting Crows was once produced by Lowery) make spirited guest appearances. The recording was helmed by Athens, GA-based producer/engineer David Barbe, a longtime friend of Lowery who has manned consoles for the likes of Son Volt and the alt-Southern rock band Drive-By Truckers.

The explosive title track that wraps the 11-song collection is thematic, belying its seemingly cheery title to take a tough-edged look at the precarious times we live in. Ever the observant storyteller, Lowery calls it like he sees it: the affluence and wealth America seemed to have these past decades was built on a mirage. The sun shines a harsh light on a landscape of decay. The golden age, the promised land, the land of milk and honey, never materialized.

For Sunrise…, Lowery and Hickman took a new approach to their creative process, joining Funaro and Maida to write most songs from scratch. (Whereas on previous albums, Lowery and Hickman would bring near-finished tracks to the rest of the band.) Cracker were self-disciplined— writing together one week every two months, between tours, for a year. The goal was to work on two songs per day—and somehow, the combined force of their distinctive and mutual influences gave rise to a crackling, raw musical factory of sorts.

Says Lowery, “The coolest part of making the new album was the self-imposed time structure we created, the fact that we all gathered to write these songs like it was an actual job. At one point, when we had four songs that needed lyrics, Johnny and I went to the legendary punk studio, The Blasting Room, in Ft. Collins CO, and rented the B room, where we stayed until we had the right words. It was refreshing to do it this way, to challenge ourselves to write with the clock ticking. It was like starting a band and committing to a rehearsal time. We weren’t kicking back on an island in the Caribbean, waiting for the muse to hit us. We got down to work, found the punk and glam rock in our blood and woke up to Sunrise In The Land Of Milk And Honey.”

Considering drummer Funaro’s background playing with The Dictators and Joey Ramone, and bassist Maida’s background with Roxy Music and Sparks, it was inevitable that the new album would acquire its own unique edge.
“It was a little different involving Frank and Sal’s musical tastes and their background from the get-go,” says Lowery, “but this led us to realize the common element we all share. We all came of age playing power pop-punk and that early new wave stuff. Once we got on this path, it started surfacing in so many songs that it became a thematic element for the whole project. We all started playing music in that era so we weren’t surprised when those sounds started rising up. Sunrise…isn’t the ‘Cracker punk record’ but it’s definitely got that time stamp, the ’78-’83 flavors, all over it. The other thing we did differently was actually playing all the songs in concert before ever committing them to digital. Most bands do the album first, then take the tunes on the road.”

“In a lot of ways, the methodology behind this album brought us all back to when we all started our early bands, when the opportunity to write and record albums came after playing tons of live shows,” adds the Richmond, VA-based singer. “I think one of the reasons Cracker has survived this long when so many of the bands that started in the early 90s faded is that we’ve always made the record we want to hear right now. We’ve always had the belief and confidence that others will feel like we do. Eclecticism was the norm for bands in the 60’s, 70’s and into the 80’s, and that freedom leads to great bursts of creativity and the potential to make classic albums that stand the test of time.”

The first album track explodes with a slicing guitar riff from Hickman. “Yalla Yalla” is a colorful rumination on an Arabic phrase meaning, “Let’s go.” Lowery heard U.S. soldiers greeting each other this way at the Atlanta airport. “Like rock musicians, soldiers in every era have their own language of bravado and machismo,” he says. The band dives deep into the punk on the frenetic “Show Me How This Thing Works,” a song inspired by Lowery helping a friend with a quantitative finance problem; the singer is proud that he was once a budding mathematician.

“Turn On Tune In Drop Out With Me” is a lilting pop/rock reminder that in these precarious times, many may feel like returning to the bold escapism of the 60s, of the hippies who left the rat race behind to “drop out” into spiritual refuge. The blistering “Hand Me My Inhaler” finds its hapless protagonist blustering at an ex-girlfriend’s door, “gonna reform the band without you.” Hickman says of the blues-funk “I Could Be Wrong, I Could Be Right,” “When I hand David a melody like this one, I have no idea where he’s going to take it, and I love that. Suddenly the devil and members of the Lewis and Clark expedition were caught up together in some sort of a psychedelic love conspiracy.”

“Time Machine,” a black-booted, Celtic-riffed, early-punk kick to the jaw of any pretenders, was inspired by a conversation Hickman had with Black Flag and Descendants drummer Bill Stevenson (who co-founded The Blasting Room studios). Hickman and Stevenson both realized that they had been caught up in the same early 80s punk rock riot at a legendary Dead Kennedys show. It’s a message to today’s punks that they perhaps couldn’t have survived what the previous generation endured. “I took a couple of billy club hits that night,” Hickman says, “I got off easy.”

Punk-and-now-Americana legend John Doe harmonizes on the throbbing, surf guitar driven, “We All Shine a Light.” This swarming, Buzzcocks-like rocker is a comment on multicuturalism and tolerance, by way of an ode to Pakistan’s cricket team, the Peshawar Panthers. Patterson Hood of the Drive-By Truckers duets with Lowery on the swampy, folk-Americana of “Friends,” a drunken tale of dysfunctional but loving friendship. One of the album’s more poignant moments arrives when Adam Duritz guests, singing alongside Lowery on the romantically selfless “Darling One.”

The stomping, harmonica-laden “Hey Brett, You Know What Time It Is” came from a sardonic line uttered to Lowery by Built To Spill’s Brett Netson, during an exchange of ever-escalating shockeries. Lowery recalls, “He walked into our dressing room and joked, ‘Will we know when it’s time to start dragging rich people from their cars and killin’ em’?’ For Frank and me, it grew into a text message exchange and later a song.”

A brief rundown of Cracker’s history: Lowery, in the mid-80s, in Santa Cruz, California, formed Camper Van Beethoven, and their “Take the Skinheads Bowling” became an instant college radio staple. When CVB disbanded on tour in Sweden, following their second major label release, Lowery formed Cracker with his longtime friend Johnny Hickman. (The pair had met on the local music scene as teenagers in Redlands, CA.) Cracker’s emergent sound had less in common with Camper’s exotic excursions and was more in synch with the Kinks and Southern roots music. They released their self-titled debut on Virgin, and following the #1 Modern Rock hit “Teen Angst (What The World Needs Now),” the band became a minor commercial sensation (complete with then-significant MTV exposure). The platinum-selling Kerosene Hat contained the enormous, era-defining hit single “Low,” as well as “Get Off This,” and “Eurotrash Girl.” When the dust settled, Cracker found themselves with an ever-growing, devoted following both in the U.S. (where fans refer to themselves as Crumbs) and throughout Europe. Today the band stays well connected to yet another generation of fans via internet, many of whom were kids when these alt-rock godfathers were first ruling rock radio.

7:20PM Friday, 8/15/14


North Mississippi Allstars formed in 1996; the product of a special time for modern Mississippi country blues. Brothers Luther and Cody Dickinson soaked up the music of their father, Memphis legend Jim Dickinson, and absorbed the North Mississippi legacy while playing and shaking it down in the juke joints with their blues ancestors. R.L. Burnside, Junior Kimbrough, Otha Turner and their musical families were at their peak, making classic records and touring the world. Eventually, Luther (guitar, vocals) and Cody (drums, vocals) formed the North Mississippi Allstars and pioneered their own brand of blues-infused rock and roll.

The North Mississippi Allstars released their debut album, Shake Hands With Shorty, in the spring of 2000. Their debut proved to be a success and earned them a Grammy nomination for ‘Best Contemporary Blues Album’. After earning 2 more Grammy nominations in the same category for 51 Phantom (2001) and Electric Blue Watermelon (2005), the North Mississippi Allstars earned the reputation as one of the most intriguing acts to emerge from the loam of Southern blues and roots rock.

In 2008, after five studio albums and more than a decade touring together, the Dickinsons decided to branch out and pursue other projects. That same year Luther started recording and touring with the Black Crowes. He went on to form the South Memphis String Band with Alvin Youngblood Hart and Jimbo Mathus, touring across the country and releasing two albums with them. In 2012, Luther formed The Wandering, a five-piece folk band featuring Shannon McNally, Amy LaVere, Valerie June and Sharde Thomas (Otha Turner’s granddaughter), and released their debut record Go On Now, You Can’t Stay Here. He also recorded and released a solo acoustic album, Hambone’s Meditations, which received a 2013 Grammy nomination for ‘Best Folk Album’.

Meanwhile, Cody formed his own group, Hill Country Revue, which released its debut, Make A Move, in 2009 and the follow-up Zebra Ranch in 2010. The band toured heavily behind the releases and shared the stage with a number of notable acts, including the Dave Matthews Band, Gov’t Mule and Big Head Todd and The Monsters. Cody also honed his producing chops, working with artists like Lucero, Cisco Adler, Anders Osborne and Ian Siegal.

The brothers reunited in 2010 to record Keys to the Kingdom after the passing of their father. Jim had always told them, “You need to be playing music together. You are better together than you will ever be apart.” Inspired by his words, Luther and Cody went into the family’s home recording studio Zebra Ranch, to create a record that could help them cope with the loss and rejoice in his honor.

Most recently, Luther and Cody have toured extensively with Robert Plant & The Band of Joy, headlined major festivals and toured internationally as a headliner and with Ian Siegal as part of The Mississippi Mudbloods. They also released two live bootleg records, 2011’s Live in the Hills and 2012’s Live in the Hills Volume II, both recorded at the annual North Mississippi Hill Country Picnic in Potts Camp, MS.

The North Mississippi Allstars are at times joined by Lightnin’ Malcolm, Alvin Youngblood Hart, previous member Chris Chew, and a host of other talented musicians.

8:45PM Friday, 8/15/14

North Mississippi Allstars

When Robert Randolph talks about his new album, Lickety Split, a few words come up over and over—”joy,” “freedom,” “energy.” Which is no surprise, really, because those are the same things that immediately spring into a listener’s mind when these twelve tracks from the virtuoso pedal steel guitarist and his longtime accompanists, the Family Band, explode out of the speakers.

“My thing is really upbeat, uptempo, with great guitar riffs,” says Randolph, summarizing his musical ambitions, “but also catchy choruses and lyrics that someday will make this music into classic tunes.”

“Robert Randolph is an American Original,” says Don Was, President of Randolph’s new label, Blue Note Records. “He has mastered what is, arguably, the most complex instrument in the world and developed a unique voice that is equal parts street-‐corner church and Bonnaroo. This album finally captures the energy and excitement of his legendary live performances.”

But for Randolph, the road to Lickety Split—his first studio recording in three years—wasn’t an easy path. Though his distinctive mix of rock, funk, and rhythm & blues continued to earn a rapturous response from a fervent, international audience, he felt that he had lost some of the enthusiasm and
intensity that had driven him to make music in the first place. “We just weren’t being creative musically,” he says. “Being on the road 280 days a year, you wind up playing too much and it isn’t fun anymore. Soon, you stop being that concerned about how good you can be, how important it is to create and write. You kind of lose sight of that, of being focused on your craft and spending time with your instrument. I’ve become more in love with my guitar now, and staying relaxed and practicing and trying to create different sounds.”

The new album showcases the unique chemistry of the Family Band—comprised of the guitarist’s actual family members Marcus Randolph, Danyel Morgan, and Lenesha Randolph, together with guitarist Brett Haas. The eleven original compositions, plus a stomping cover of “Love Rollercoaster” by the Ohio Players, were produced by Robert Randolph & The Family Band, Danyel Morgan, Marcus Randolph, Tommy Sims, Drew Ramsey, and Shannon Sanders; engineered by the legendary Eddie Kramer (Jimi Hendrix, Led Zeppelin); and feature special guest appearances from Trombone Shorty and Carlos Santana.

Randolph notes that the title track of Lickety Split (on which his sister sings the hook) is one of his favorites. “What’s great about that one is that it’s something we actually played in church, just like that,” he says. “There’s a section in the service called the ‘Jubilee Jam Session Time,’ and I can show you video where we played that very same riff.”

But if there’s one track on the album that captures the band’s new spirit, it’s one that started as a jam session in a Nashville studio during a break in recording, and later came to be titled “Born Again.” “It’s about finding the joy again,” says Randolph.

“At first it was more of a love song, the sense you get when you find the right person, but then as we were recording this new music with a whole new sense of direction, and feeling free again, that all came into it. It’s not a religious thing, it’s just new energy—which is really the old energy that I had at the beginning of my career.”

Robert Randolph & The Family Band first gained national attention with the release of the album Live at the Wetlands in 2002. The band followed with three studio recordings over the next eight years—Unclassified, Colorblind, and We Walk This Road—which, together with tireless touring and unforgettable performances at such festivals as Bonnaroo, Austin City Limits, and the New Orleans Jazz and Heritage Festival, won them an expanding and passionate fan base. Randolph’s unprecedented prowess on his instrument garnered him a spot on Rolling Stone’s “100 Greatest Guitarists of All Time” list, and also attracted the attention of such giants as Eric Clapton and Carlos Santana, who have collaborated with him on stage and in the studio.

“What I’ve learned from being around those guys—and you never really notice it until the moment is away from you—is that it’s really important to them that someone keeps original music going, that you’re not just trying to be like everybody else,” he says. “Eric really wants to know what’s going on now, he’s always going ‘Show me that lick again!’—they’re like little kids, and that’s really the great part about it. It makes me think that I need to keep getting better, to stay excited and keep trying to be innovative and keep growing.”

Most recently, Randolph has attempted to amplify the tradition from which he came by executive producing the Robert Randolph Presents the Slide Brothers album, a recording which features some of the older “sacred steel” players from the House of God church who inspired him to pick up an instrument. “This is part of my whole story, which a lot of people don’t understand,” he says. “In our church organization, playing lap steel in church has been going on since the 1920s. These guys were my mentors, my Muddy Waters and B.B. Kings. Thinking that I started this style is like saying Stevie Ray Vaughan was the first guy to play the blues. I wanted to do this record so that everybody could understand the story and start connecting the dots.”

He is also taking a bold new step by remodeling an abandoned school building in his hometown of Irvington, New Jersey and opening the Robert Randolph Music and Arts Program. “There hasn’t been any arts in the schools, period, since I was in high school,” he says. “So my whole motivation changed to a full-‐on effort to get these kids into music, and also find out what other passions they have and try to offer that. These kids don’t have anything to do, they don’t have any hope.”

With a new label, a new dedication to his craft, and a new sense of responsibility in his life off-‐stage, it seems like Lickety Splitmight also represent the urgency Robert Randolph is bringing to all of his efforts these days. “I’m still undiscovered, and that’s really the best thing about it,” he says. “Now we have the chance to present the music right, and have the story told right, and for me to be focused on being an ambassador for inner-‐city kids and a role model, and also an ambassador for my instrument and as an artist. As all these things happened, it got fun again.”

10:15PM Friday, 8/15/14

Robert Randolph & the Family Band

Out of the shadows of a bygone era, where teenage rebellion showed it’s face in the form of drag racing muscle cars, bikini beach parties, and daredevil surfers riding the pipeline for their lives, This Quad Cities trio have been burning up the road for a better part of 12 years belting out a blistering and genuine repertoire of Surf, Rockabilly, Blues, and…. Spaghetti Western Music???

The One Night Standards continue to wow their audiences in every scenario thrown at them, at Retro Fairs, Vintage Car Shows, The Middle of The Street, and Drag Races all over the midwest, and do it All Instrumental! Take a ride down Memory Lane with The One Night Standards, and they’ll surely have you holding on for dear life by the seat of your pants!

12:00PM Saturday, 8/16/14

One Night Standards

From the bowels of the pop universe a band of true misfits rise from the ash of the rock and roll tradition. Guided by the ghosts of Lennon & McCartney, Chilton & Bell and the Davies Brothers, this group has taken it upon themselves to stand as the torchbearers of the teenage wasteland, the point men of power pop, the pied piper’s of the entire guitar rock and roll institution!! Here are TWINS

TWINS released their first album in October of 2012, its called “Funny Faces”! It features Cedar Valley Smash Hits and Regional Dance Favorites “MY OLD WAYS”, “PENTAGRAM LANE” & “IMAGINARY PEOPLE”!! Its available for curious folks at all the major on line retailers like Amazon!, Spotify!, iTunes!!!
TWINS new record ‘TOMBOYS ON PARADE’ out April 1st, 2014 on Maximum Ames Records. TWINS worked tirelessly on every gloriously sweet detail of their follow-up to 2012’s Funny Faces. The band self-produced Tomboys on Parade while recording at Jealous Dog Studios in Cedar Falls, Iowa. Studio maven Al Eacret engineered the recording sessions, and he mixed the album along with TWINS lead vocalist and guitarist, Joel Sires.

Joel isn’t the only member of the amazingly talented Sires family that comprises TWINS. Luke Sires is the man behind the band’s steady, thunderous drums, and Harper Sires adds his incredible guitar work to their arsenal. While his last name isn’t Sires, Devin Ferguson feels every bit an essential part of the TWINS family as his bass guitar shores up the band’s muscular rhythm section. Each contributes to the band’s trademark vocals — sugary, but with an attitude.

It’s only fitting that TWINS hail from deep in the heart of the Midwest. The Waterloo, Iowa, foursome grew up on records from the likes of fellow Midwesterners Cheap Trick (Rockford, Illinois), Raspberries (Cleveland, Ohio), Shoes (Zion, Illinois), Luxury (Des Moines, Iowa) and Poison Control Center (Ames, Iowa), and they take their job of carrying the Midwestern power pop torch very seriously.

Of course, their music is also steeped in sounds from all other parts of the world. Their sharp guitar pop will undoubtedly evoke memories of The Beatles, The Kinks, Big Star, The Beach Boys and The Who. They’ve also gotten to hit the road with their hero and self-proclaimed “King of Power Pop,” Paul Collins’ Beat.
But you can’t take the grit or the inherent inventiveness out of a Midwesterner. While Tomboys on Parade continues the region’s traditions, TWINS carve out their own niche and break new ground in each of the gorgeous pop gems that are primed to appeal to listeners across the USA and beyond.
And they do it in an incredibly efficient fashion: Tomboys on Parade clocks in at a lean and mean running time of just over 30 minutes, with not a second wasted on anything but achingly beautiful, guitar driven power pop.

It wouldn’t really be surprising for a listener to pick any one of the 10 tracks from Tomboys on Parade as his or her favorite. It’s the type of album that never stops delivering bursts of pop satisfaction via each of its well-crafted tunes.

Songs like the lead single “Babe City,” album opener “Teach Each Other” and straight-up rocker “Runaway” beg for the volume knob to be cranked up as TWINS flex their songwriting muscle.
“Ardsley Lane” — the longest track from Tomboys on Parade — highlights a deeper, but no less powerful, side to TWINS. Its bright acoustic guitar lines weave into breathtaking vocal harmonies as the band melts away the cold winter and reintroduces you to the warmth of springtime.

Some of the most interesting and groundbreaking moments from Tomboys on Parade can be experienced in the songs “Big Boots” and the album’s closer (and almost-title-track), “Tomboy.” These tunes boast a unique blend of power paired with TWINS’ undeniable pop sensibility — and even the occasional synth.

1:15PM Saturday, 8/16/14


Mr. Baber’s Neighbors: The Solar String Band has been bringing the sounds of both traditional American folk music along with their own brand of original music to Iowa and the Midwest for more than a decade, and have gained a loyal fan base known affectionately as ‘The Baberhood’.  Influences range from the high lonesome sounds of bluegrass’ founding fathers, to traditional country,  to contemporary folk and, at times, even from some of today’s most popular artists.  These influences meld with the generation gap closing songsmithery of MBN:TSSB and they love nothing more than sharing their passion for timeless music with audiences all over the Midwest.  The current lineup offers Dobro, Banjo, Guitar, and Bass Fiddle, along with harmonic singing reminiscent of classic ‘Brother Duets’ of days gone by.

MBN:TSSB has had the privilege and honor to play at Wakarusa Music and Camping Festival, Camp Euforia, Schwagstock, the Iowa State Fair, various college campuses, Des Moines’ Temple of Performing Arts, Simon Estes Ampitheater, the historic Hoyt Sherman Place Theater, Iowa City Mill Restaruant, and the 80/35 Music Festival while sharing the stage with The Grascals, Crooked Still, Railroad Earth, Drew Emmitt, Cornmeal, Hot Buttered Rum String Band, Vince Herman, Bob Black, Split Lip Rayfield, Emmitt-Nershi Band, The Breakfast, Great American Taxi, Tony Furtado, Special Consensus, Ekoostic Hookah, Blue Turtle Seduction, Chuck Prophet and David Zollo to name a few. This year will be no different with shows at the Iowa State Fair, 80/35, SummerCamp, and Indianola Bluegrass Tuesday along with various other offerings throughout the Heartland.

2:35PM Saturday, 8/16/14

Mr. Baber’s Neighbors

The Jayhawks were definitely swimming against the tide when they emerged from a crowded Minneapolis music scene halfway through the 1980s – a memorable decade that saw the likes of the Replacements, Soul Asylum, Husker Du and Prince put Minnesota on the musical map in a big way. Forging a rootsy sound that wasn’t quite rock or country – “Hank Williams on speed” somebody once memorably called it – The Jayhawks quickly turned into one of the most important bands of the post-punk era. Over the course of two decades, several albums, countless memorable live shows and enough personal drama to fill a couple of Behind the Music episodes, this beloved band soared to heights few ever achieve while wining the hearts and minds of numerous critics, fans and peers in the process. Named after “The Hawks” – as in “Levon and the Hawks,” the name of Dylan’s backing band in the 60s before they became known as “The Band” – The Jayhawks and their fellow travelers even helped make the world safe again for artists who weren’t afraid to fuse traditional rock, country and folk influences into something that was both timeless and modern, just like the best American bands always have.

Formed by Mark Olson, Gary Louris, Marc Perlman and Norm Rogers in early 1985, The Jayhawks original members all came from a variety of Minneapolis bands toiling away in the hyperactive local club scene at the time. Prolific and highly motivated, the band amassed a staggering number of original songs in a very short time, culminating with a self-released eponymous debut album in 1986. After a tumultuous period that found the band actively seeking a recording contract, The Jayhawks finally landed with Twin/Tone Records, the seminal Minneapolis indie label that released early records by the Replacements and Soul Asylum. Blue Earth, released in 1989, was a quantum leap forward from the first album and garnered widespread positive reviews. It also caught the ear of Def American producer/A&R rep George Drakoulias, who legendarily heard Blue Earth playing in the background during a call to the Twin/Tone offices.

Drakoulias’ interest eventually led to a contract with Def American and the release of the band’s two best known albums, Hollywood Town Hall (1992) and Tomorrow the Green Grass (1995). Supplemented by new members Karen Grotberg on keyboards and drummer/vocalist Tim O’Reagan, the Jayhawks toured steadily during this time and developed a solid reputation as an ace live band and a force to be reckoned with in the burgeoning “Americana” scene, an association the band has always viewed with mixed feelings. During this “golden age,” it seemed that The Jayhawks were always a break or two away from major stardom; their potential was as limitless as the pile of classic songs they were cranking out apparently at will.

Frustrated by the major label rat race, founding member Mark Olson suddenly quit the band in late 1995, shocking fans and fellow band members alike. Olson packed up and headed to the Mojave Desert with his new wife, singer Victoria Williams, to embark on a solo career unencumbered by the restrictions inherent to the corporate music business. Louris and the rest of the band laid low for a while and then surprised nearly everyone by continuing on without Olson while keeping the band name. Augmented by Kraig Johnson (Run Westy Run) and Jessy Greene (Geraldine Fibbers), and paying little heed to their previous playbook, The Jayhawks released Sound of Lies in 1997, a dark, moody modern pop masterpiece that evoked fond memories of everything from Big Star to The Beatles.

To prove that they really had wiped the old slate clean, the band enlisted flamboyant uber-producer Bob Ezrin for their next album, Smile (2000). Teeming with an adventurous spirit and some of the best songs Louris had written to date, Smile boldly charted new territory for the band (even incorporating drum machines into a Technicolor soundscape that included everything from hard rock to psychedelia), effectively providing a clean break with their supposed traditional roots. Many long time fans were befuddled but the New York Times called Smile “a classic.” The band’s live shows during this period (with Jen Gunderman replacing Grotberg, who left to raise a family) found the band at the top of their game, with shows routinely running over 2 hours and featuring a healthy dose of Olson-era material, pleasing new and old fans alike.

After a revelatory acoustic tour in 2003 with the core trio of Louris, Perlman and O’Reagan, the next chapter in The Jayhawks Saga found them retrenching somewhat to the “classic” sound of their earlier albums. Sparingly produced by Ethan Johns, Rainy Day Music was chock full of catchy songs that tied together sounds and influences from every chapter of the band’s career. The band – now reduced to a trio with the addition of touring member Stephen McCarthy, a veteran roots rocker and guitar slinger – mounted the heaviest touring schedule and promotional blitz of their career, resulting in their highest charting album ever.

Sadly, the momentum couldn’t be sustained and one of the most exciting American bands in recent history quietly went on hiatus in 2004. The ensuing years found Louris, Perlman and O’Reagan embarking on a variety of projects; all three have released solo albums in recent years. Louris also kept busy with numerous songwriting collaborations, production work, soundtracks and even the revival of longtime side-project, Golden Smog, a proverbial “supergroup” featuring members of Soul Asylum and Big Star, as well as Jayhawkers Perlman and Johnson. Significantly, after years of estrangement, Olson and Louris finally reunited for a couple of well-received tours, followed by Ready For the Flood in 2009, their first full length studio project together in 15 years.

Even though the door to the future was never officially closed, long time fans were still surprised – and overjoyed – with the news in 2008 that the Tomorrow the Green Grass-era lineup of the band with Mark Olson would be reuniting for some summer festival shows in Europe. The good news kept on coming in 2009 with more reunion shows and the release of the band’s first retrospective, Music From the North Country, a multi-disc collection personally supervised by Louris that featured key tracks from all phases of the bands career, a disc of rarities and a DVD. 2010 saw the long awaited re-release of the bands long out-of-print, highly collectable first album, as well as the launch of a massive reissue project of all the band’s major label albums. During June 2010, the “classic” lineup of the band performed a three night stand at Minneapolis’ legendary First Ave. club, the scene of so many great Jayhawks memories over the last quarter century. In 2011, deluxe editions of the esteemed Hollywood Town Hall and Tomorrow the Green Grass albums were reissued, followed by Mockingbird Time, the first release of new material by The Jayhawks with Mark Olson in 16 years. From 2009-2012 this version of the band played over 100 shows to large crowds and received numerous rave reviews.
The second phase of The Jayhawks reissue project is slated to commence in 2014 with the reissue of the Sound of Lies, Smile and Rainy Day Music albums. Most of the 1997 touring lineup (Gary Louris, Marc Perlman, Tim O’Reagan, Karen Grotberg and Kraig Johnson) will be hitting the road in Summer 2014 to reacquaint audiences with these crucial albums plus selected material from other periods in the band’s long history. The Jayhawks have made music in 4 different decades and are as vital now as they were in 1985. They definitely have earned their reputation as a true American treasure.

3:55PM Saturday, 8/16/14

The Jayhawks

ZZ Ward has roots in rural Oregon, but her accomplishments have led her far beyond that. She burst onto the scene in early 2012 with an eclectic mixtape, Eleven Roses, setting the tone for her unique blues-meets-hip-hop artistry and the reaction was palpable. ZZ’s debut album, Til The Casket Drops, featuring guests Kendrick Lamar, Fitz of Fitz and the Tantrums, and Freddie Gibbs, further solidified her musical artistry and songwriting prowess.

Live ZZ’s smoky vocals and deliberate, varied arrangements make her one not to miss. Last year, she toured with Fitz and the Tantrums, Grace Potter, Gary Clark, Jr. and Allen Stone and this year launched multiple near sell-out U.S. headline tours.

Appearances on The Tonight Show, Jimmy Kimmel Live, Conan, VH1’s Big Morning Buzz Live, Good Morning America, The View and Last Call with Carson Daly have kept her in the public eye, while her current single, “365 Days” is quickly rising at multiple radio formats. Ward’s songs have also been featured on Nashville, The Voice, Pretty Little Liars, The Good Wife, The Client List, Awkward, Mob Wives and prominently in the feature film We’re The Millers.

5:20PM Saturday, 8/16/14

ZZ Ward

Foxy Shazam’s music is an unhinged, maniacal mix of piano, guitar, howling vocals, double-kickdrum percussion, and rock & roll theatrics. The quintet hails from Cincinnati, Ohio, where bandmates Eric Nally (vocals), Loren Turner (guitar), Daisy (bass), Sky White (piano), and Joe Halberstadt (drums) first joined forces in 2004. Recording sessions for The Flamingo Trigger began that year and stretched into early 2005, and Foxy Shazam supported the album’s June release with a series of headlining show dates. New Weatherman Records took an interest in the band’s rambunctious, genre-melding sound, and Foxy Shazam signed to the label before entering the studio for a second time. Released in partnership with Ferret Music, Introducing Foxy Shazam arrived in early 2008. The next year the band made the juimp to the big leagues, signing on with Sire Records and releasing its third album, the eponymous Foxy Shazam, in 2010. The album was well-received, and Foxy Shazam broke onto the Billboard charts for the first time at number 151. In 2012 the theatrical rockers released their fourth album, The Church of Rock and Roll. On April 2, 2014, Foxy Shazam released their first independent release since 2005, GONZO, self-produced and recorded with famed engineer Steve Albini.

6:45PM Saturday, 8/16/14

Foxy Shazam

Children are often raised in musical families, but few receive the same introduction to music as singer/songwriter Ben Kweller. Before he was old enough to enter kindergarten, a young Kweller emulated Nils Lofgren (who, during his time with Bruce Springsteen’s E Street Band, would hang out with Kweller’s father) by playing his toy version of the guitar. He also played piano, and by the age of eight, Kweller had begun penning his own songs. The following year, he received a nod of encouragement from Billboard magazine when it conferred an honorable mention on the youth for his entry into Billboard’s yearly songwriting competition. By the time he hit his teenage years, Kweller was an accomplished guitarist and had begun playing drums as well. He pulled together his first band, Mirage, and followed up with groups like Green Eggs & Ham and Foxglove. All the while, he honed the skills that would later launch his respected solo career.
With help from bassist Bryan Blur and drummer John Kent, Kweller established Radish in 1993. The group made its mark on the local Dallas scene, not far from Kweller’s hometown of Greenville, TX. In 1994, the musical wunderkind and his teenaged outfit released the Hello EP through Practice Amp Records. That same year, the label released the full-length album Dizzy, which convinced producer Roger Greenawalt to partner with the group. Under his wing, Radish produced another demo and inked a contract with Mercury Records during the summer of 1996. Ben Kweller was still a teenager at the time, having turned 15 years old that June.

Mercury Records released Restraining Bolt the following spring, and Kweller led Radish through European and American tours (as well as several late-night TV appearances, including The Conan O’Brian Show and Late Night with David Letterman). Despite scoring a Top 40 hit in the U.K. with “Little Pink Stars,” Radish failed to enjoy significant success at home, and changing tides at their label (Polygram, Mercury’s parent company, was absorbed into Universal Music Group in 1998) prevented them from releasing another album. When the group disbanded in 1999, Kweller headed east to Guilford, CT, where he stayed only a short time before relocating to Brooklyn, NY. Not yet 20 years old, he signed with Island Records as a solo artist.

Ben Kweller launched his solo career with a series of EPs, some of which reprised the material that Radish had written but not released. His heartland hooks and folksy flourishes made fans out of several artists, and Kweller soon found himself touring with the likes of Juliana Hatfield, Guster, Kristin Hersh, and Evan Dando. He inked a deal with ATO Records in 2001 and released one final EP before issuing Sha Sha, his solo full-length debut, in 2002. More touring followed, as did a collaboration with Ben Folds and Ben Lee known as the Bens. Kweller’s sophomore effort, the subdued On My Way, followed in spring 2004 and was supported by a co-headlining tour with Death Cab for Cutie. Two years later, he returned with his self-titled third album, on which he played all the instruments. Kweller furthered his experimentation with 2009′s Changing Horses, which saw the songwriter embracing country music and employing a pedal steel guitarist. The singer continued to explore pop music on 2012′s Go Fly a Kite, which found Kweller dabbling in everything from power pop to alt-country.

8:00PM Saturday, 8/16/14

Ben Kweller

Can anything even more magical happen in the already charmed career of Los Lonely Boys? You bet. It’s called Rockpango, their first self-produced long player on their own LonelyTone/Playing In Traffic Records. And yeah, it’s magical indeed.

At least as magical — and maybe more so — as debuting in 2003 with a multi-chart gold single, selling millions of albums, winning a Grammy, racking up reams of critical acclaim, opening for The Rolling Stones, and many more accomplishments for the Texican rock’n’roll trio of brothers. Plus playing and recording with such legends as Willie Nelson and Carlos Santana, associations that give a strong hint at what’s at work here on Rockpango.
After proving themselves one of the most stunning and wonderful musical success stories of the last decade, Los Lonely Boys are now carving out their legend with their fourth studio album. Even though the band has already shown they can “up the ante with greater musicianship and confidence” (People) every time out, on Rockpango they heighten the trajectory, open up their sound, and show what flourishing maturity feels like from these veteran yet still young and burgeoning musical talents.

Rockpango is a spirit and sound coined by Los Lonely Boys that takes the next step from fandango (a beat of loving celebration) and then huapango (another infectious Latin rhythm that gets the fiesta cooking) to a full-scale Tex-Mex American roots rock party galore. Bursting out of the gate with the simmering and slinky “American Idle” that scans today’s tough economic times, and wrapping up 10 tracks later with the fierce and fiery assertion that love is the answer on “Believe,” Los Lonely Boys look at the big picture around us with the concerns and continuing faith that come with well-grounded adulthood.
Their ever-expanding musical vision fills the set with new facets that further reveal the group’s already notable artistic diversity. “16 Monkeys” is a delightfully funky slice of infectious neo-bohemian wit and wordplay, while orchestration by the Tosca String Quartet adds classic rock-pop sophistication on the achingly beautiful “Road To Nowhere” and the Beatle-esque gem “Smile.” And they fuse deep blues with a hip-hop twist on “Porn Star,” which includes a razor-sharp rap at the tail end by Kush, one of their Texas extended family relations.
They soar on “Fly Away,” rip it up to percolating Latin beats on “Love In My Veins” and “Baby Girl,” and reassert their mastery of the classic music that influences them as demonstrated on their recent 1969 EP. They deliver ‘60s style blues-rockers on the rousing title tune and powerfully loping “Change The World” — two more slices of their spot-on social commentary and consciousness.

The trademark Los Lonely Boys genetic vocal blend is deeper, richer, more fluent and confident than ever. The rhythms are utterly irresistible as well as flush with smart syncopation and muscular drive, abetted on some tracks by tour percussionist Carmelo “Melo” Torres. The brothers’ songwriting skills stamp indelibility on every winning number. And Henry Garza goes even beyond what Guitar World hails as being a “guitarist with chops out his ass who doesn’t care about chops [and] just opens up and plays.” Joined by veteran Austin player Riley Osbourn on keyboards, Los Lonely Boys deliver and more on Rockpango.

“I’m super proud of it,” says JoJo Garza, bassist and middle brother in the triumvirate. “It’s just progress, maturation and growth. Growing up, being older, seeing the world we’re living in. It’s also touching base with home.”

The Los Lonely Boys tale to date is already the stuff legends are made of: playing behind their father as kids in cantinas and honky-tonks. Moving to Nashville in their teens to try to win a record deal. Returning to their native Texas, where the brothers made their bones on the club scene as a live act. Releasing their self-titled debut, which goes double platinum, and penning a #1 radio hit in “Heaven.”

Two more stellar studio albums followed: Sacred (2006) and Forgiven (2008). In 2009, they cut 1969, an EP that leaps back four decades to reveal how the group’s roots extend well past their birthdates on songs by The Beatles, Santana, The Doors, Buddy Holly and Tony Joe White. 2010 brought about the release of Keep On Giving: Acoustic Live! a snapshot of their recent acoustic tour.

So after all that, what’s left but to meet the new decade with the great leap forward, upward, outward and onward of Rockpango? “It was just time to grow and change,” explains JoJo. “But not change too much. It’s kind of like a tree. A tree doesn’t actually change much as it grows. It gets taller, grows more branches, gets thicker and stronger.
“I think it’s one of our best if not our best,” he adds. “We took the ball and I think we scored a touchdown.”
And after eight years of championship seasons, Rockpango paves the way for Los Lonely Boys to enter the rock’n’roll pantheon of legendary musical artists while also remaining true to themselves. “We’re still Lonely Boys,” JoJo insists, chuckling in agreement that they are also now Los Lonely Men who have truly come of age on their latest. “We’re still family, we’re still three brothers, we’re still doing what the good Lord has blessed us with, and that’s singing and playing for people who really want to listen.”

9:30PM Saturday, 8/16/14

Los Lonely Boys

Southern California rockers, Robert Jon & the Wreck, live by three simple words… music, miles, and whiskey. This quintet began their musical journey together in February 2011. Within 6 months the band had not only embarked on a national tour, but also released their debut album, Fire Started. This full-length effort, which is blues-heavy with moments of soft country, tempered by down-beat driven classic rock nuance, earned them a nod from the 2012 Orange County Music Awards in the category of “Best Blues,” as well as a spot in the finals for that year’s “Best Live Band.”

Fueled by this success, the Wreck took the road again in the summer of 2012, drumming up fans from Seattle to Boston to South Carolina and everywhere in between, delivering fierce performances, emblazoned with commitment and dripping in a rawness that’s impossible to fake. Simply put, it is difficult to ignore when these five musicians take the stage. Little wonder they have made an impact on audiences across the country, where they’ve played a run of sold-out shows and proudly shared bills with talent the likes of Billy Sheehan (Steve Vai, David Lee Roth), Walk the Moon and Rival Sons.

They returned to the studio in early 2013 to record their sophomore project, produced by Warren Huart (The Fray, Aerosmith), engineered by Philip Allen (Adele), and mastered by Robert Vosgien (Smashing Pumpkins, No Doubt) at Swing House Studios in Hollywood. This new, and even edgier material has simply added more fuel to the fire that Robert Jon & the Wreck ignite while performing. Audiences nationwide have crammed venues, salivating over a band that is determined to not miss the mark. This sharpshooter like mentality was fully recognized when Robert Jon & the Wreck won the title of “Best Live Band” at the 2013 Orange County Music Awards, along with nominations in the categories of “Best Rock,” and “Best Blues.”

To take a line from a track off their new EP, Robert Jon & the Wreck have no plans to “let the fire burn out.” Orange County’s reigning “Best Live Band” kicked off a massive self-booked tour at last year’s SXSW and continued to wreck audiences across 14 states with over 50 shows in 6 months, including performances at Vans Warped Tour and Country Thunder headlined by Keith Urban & Brad Paisley.

This past October the guys took a break from the road to record a new EP at Red Bull Studios in Los Angeles, which they plan to release in the spring. The new material is explosive as ever, and can be heard live at any given show as the band continues to tirelessly tour throughout Southern California and beyond.
Consider this your fair warning America, and prepare yourselves to get wrecked by the lion-strength energy behind the ever-growing beast… ROBERT JON & THE WRECK.

11:00PM Saturday, 8/16/14

Robert Jon & the Wreck

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Friday & Saturday 11AM – Midnight | Aug 15 & 16, 2014

The Details

WAY BACK IN 2007, we had the brilliant idea to merge two of our best festivals into one big party. We’re happy to say that once again, Ribfest’s mouth-watering and award-winning ribs will be available at River Roots Live!

This isn’t your neighbors BBQ. Our vendors travel the nation and represent the top tier of professional BBQ cookers in the U.S. BBQ doesn’t get much better than this, folks!

So loosen your belt, because we suggest trying every single one of ‘em throughout the weekend, since each brings their own unique flavor to the table. Beside, you’ve got to try them all to give a fair vote for the People’s Choice Award! With music and food you have no excuse to miss River Roots Live 2014.

The Skinny

Friday – Open at 11:00 a.m. in the park. Don’t forget about lunch. We have more rib vendors this year to make sure nobody goes hungry! Saturday – Rib vendors open all day, 11:00 a.m. – Midnight.

Rib Vendors

A ballot will be provided to vote for your favorite rib vendor. Receive and return your ballots at the volunteer check-in tent.

National Rib Vendors:

Porky Chicks BBQ

Big Boned BBQ

Texas Thunder

Chicago BBQ

Carolina Rib King

Local Rib Vendors:

Steve’s Meat Shop

Uncle Jimmy's BBQ