Cat's Cradle

Haw River Ballroom


Nov
29 Thu
Image for Richard Thompson Electric Trio, with Joan Shelley

Richard Thompson Electric Trio, with Joan Shelley

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
VIP: $99.00
ADVANCED: $33.00
DAY OF: $36.00

TICKET SALE DATES
VIP Public Onsale: October 5, 2018 10:00 AM to November 22, 2018 8:00 PM
ADVANCED Public Onsale: October 29, 2018 1:23 PM to November 29, 2018 12:00 AM
DAY OF Public Onsale: November 29, 2018 12:00 AM to November 29, 2018 11:59 PM

PERFORMANCE DESCRIPTION
13 Rivers Tour Package Presale begins 10/3. General admission tickets on sale 10/5.

Richard Thompson - 13 Rivers Tour Package includes:

  • One premium reserved ticket or GA where applicable

  • Collectible 13 Rivers tour poster autographed by Richard Thompson (limited print)

  • Specially designed Richard Thompson embroidered hat

  • Richard Thompson tote bag

  • Commemorative tour laminate

  • Commemorative ticket

  • Limited availability


$33.00 - $99.00
Nov
30 Fri
Image for The Mountain Goats, with Dead Rider

The Mountain Goats, with Dead Rider

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information

PERFORMANCE DESCRIPTION
$1 from every ticket goes to support P:EAR Mentor and their work building positive relationships with homeless and transitional youth through art, education, and recreation. www.pearmentor.org
Links: Website | Twitter | Facebook
Off Sale Online
Dec
1 Sat
Image for The Mountain Goats, with Dead Rider

The Mountain Goats, with Dead Rider

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
INDIVIDUAL: $31.00

TICKET SALE DATES
INDIVIDUAL Public Onsale: October 29, 2018 1:26 PM to December 1, 2018 11:59 PM

PERFORMANCE DESCRIPTION
$1 from every ticket goes to support P:EAR Mentor and their work building positive relationships with homeless and transitional youth through art, education, and recreation. www.pearmentor.org
Links: Website | Twitter | Facebook
Jan
16 Wed
Image for The Devil Makes Three

The Devil Makes Three

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
INDIVIDUAL: $27.50
DAY OF: $30.00

TICKET SALE DATES
INDIVIDUAL Public Onsale: October 31, 2018 11:53 AM to January 15, 2019 11:59 PM
DAY OF Public Onsale: January 16, 2019 12:00 AM to January 16, 2019 8:00 PM

PERFORMANCE DESCRIPTION
The power of words isn’t lost on longstanding Americana triumvirate The Devil Makes Three— Pete Bernhard, Lucia Turino, and Cooper McBean. For as much as they remain rooted in troubadour traditions of wandering folk, Delta blues, whiskey-soaked ragtime, and reckless rock ‘n’ roll, the band nods to the revolutionary unrest of author James Baldwin, the no-holds barred disillusionment of Ernest Hemingway, and Southern Gothic malaise of Flannery O’Connor.

In that respect, their sixth full-length and first of original material since 2013, Chains Are Broken [New West], resembles a dusty leather bound book of short stories from some bygone era.

“I always want our songs to unfold like short stories,” affirms Bernhard. “You could think of them like the chapters of a book. Of course, they’re shorter and maybe more poetic. This was a much more personal album about what it takes to be an artist or writer of any kind—and what you have to do to make your dream possible. It was really the headspace I was in. It might have something to do with getting older. You start reflecting on life and the people around you. I was doing that in these songs. That’s what makes the record more personal. I’m pulling from these things. Some of it is about drug addiction. Some of it is about the things you sacrifice. Some of it is about the detrimental things we do for inspiration. Nevertheless, they all have some sort of narrative.”

The Devil Makes Three’s journey up to this point could be deemed worthy of a novel. Their self- titled 2002 debut yielded the now-classic “Old Number Seven,” “Graveyard,” “The Plank,” and more as they organically attracted a diehard following through constant touring. Longjohns, Boots and a Belt arrived in 2003 followed by 2009’s Do Wrong Write between a pair of live recordings, namely A Little Bit Faster and a Little Bit Worse and Stomp and Smash.

2014’s I’m a Stranger Here marked their first debut on the Billboard Top 200 as the 2016 “hero worship homage” Redemption & Ruin heralded the group’s second #1 bow on the Billboard Top Bluegrass Albums Chart and fourth consecutive top five debut on the respective chart. The latter garnered widespread acclaim from the likes of Entertainment Weekly, American Songwriter, The Boston Globe, and more. Over the years, they casted an unbreakable spell on audiences everywhere from Lollapalooza and Bonnaroo to Hardly Strictly Bluegrass, Hangout Fest, and Shaky Knees.

As the band began writing ideas for Chains Are Broken, they veered off the proverbial path creatively. Instead of their typical revolving cast of collaborators, The Devil Makes Three stuck
to its signature power trio—with one addition. This time, they invited touring drummer Stefan Amidon to power the bulk of the percussion. The presence of a drummer remains most amplified as the band seamlessly translated the spirit of the live show into a studio recording and busted the rules even more. And for the first time, they retreated to Sonic Ranch Studios in El Paso, TX a stone’s throw from the Mexican border to record with producer Ted Hutt [Gaslight Anthem, Dropkick Murphys].

“We broke a lot of rules in making this record,” smiles Bernhard. “We’ve always done whatever we wanted to, but there were still some things we wouldn’t try. Those fears went out the window. Ted was a big part of that. He stayed with us throughout the whole process from pre-production until the final moment of recording. He pushed us outside of our comfort zone. We’ve never had this experience. So, we got really creative under pressure, which ended up being super fun.”
Feb
1 Fri
Image for Yonder Mountain String Band, with Handmade Moments

Yonder Mountain String Band, with Handmade Moments

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 8:00 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
INDIVIDUAL: $25.00
DAY OF: $30.00

TICKET SALE DATES
INDIVIDUAL Public Onsale: November 9, 2018 11:00 AM to February 1, 2019 12:00 AM
DAY OF Public Onsale: February 1, 2019 12:00 AM to February 1, 2019 8:00 PM

PERFORMANCE DESCRIPTION
Yonder Mountain String Band’s first new album in two years, LOVE. AIN’T LOVE is undeniably the Colorado-based progressive bluegrass outfit’s most surprising, creative, and yes, energetic studio excursion to date. Songs like “Chasing My Tail” and “Alison” are rooted in tradition but as current as tomorrow, animated by electrifying performance, vivid production, and the modernist power that has made Yonder one of the most popular live bands of their generation. Melding sophisticated songcraft, irrepressible spirit, and remarkable instrumental ability, LOVE. AIN’T LOVE is a testament to Yonder Mountain String Band’s organic, dynamic, and intensely personal brand of contemporary bluegrass-fueled Americana.

“I think this is our best album yet,” says Adam Aijala, guitarist.

Yonder founding members Aijala, banjo player Dave Johnston, and bassist Ben Kaufmann reconfigured Yonder Mountain String Band as a traditional bluegrass instrumental five-piece in 2014 with the recruitment of new players Allie Kral (violin) and Jacob Jolliff (mandolin). The reconstituted group debuted with 2015’s acclaimed BLACK SHEEP, but truly gelled as they toured, the new players’ personalities seamlessly blending and elevating the intrinsically tight Yonder sound. Yonder made certain to show off the current roster’s growing strength with the 2017 release of MOUNTAIN TRACKS: VOLUME 6, the first installment in their hugely popular live recording series since 2008.

“This lineup just keeps getting better,” Aijala says. “The more gigs you get under your belt, the better you get. Obviously. But the confidence I have in these individual musicians, I’m amazed at some of the places we go together on stage.”

LOVE. AIN’T LOVE is produced by Yonder Mountain String Band and longtime collaborator John McVey, with the majority of the album recorded at Coupe Studios in Yonder’s home base of Boulder, CO. Aijala and McVey handled all of the album’s mix and engineering at their respective home studios and while Yonder was on the road – the second time a Yonder member has taken on the technical task.

“John taught me a lot when we worked together on our last album,” Aijala says. “So this time around, I felt a lot more confident.”

Like virtually all aspects of Yonder Mountain String Band’s unlikely artistic methodology, LOVE. AIN’T LOVE is a fully collaborative effort, its original songs credited to the core founding trio of Aijala, Johnston, and Kaufmann, regardless of combination or specific input.

“I think it removes the jockeying for songs on a record,” says Aijala. “We’re all of the mind that even if one of us wrote a great song, if not for Yonder, would anyone get a chance to hear it? It works better this way. All three of us grew up playing team sports so we’re team players – everyone wants what’s best for the band.”

Laced with interstitial dialogue, music, sound effects, and other overlapping ephemera, LOVE. AIN’T LOVE is by design Yonder’s most ingenious studio collection thus far. Songs like “Take A Chance On Me” and the heavy metal-inspired breakdown, “Fall Outta Line,” see the quintet touching upon FM pop, country rock, funk, world music, and so much more; adopting traditional sonic and lyrical idioms to mask deeper and darker personal truths.

“It’s a little more eclectic,” Aijala says. “None of us grew up with bluegrass so there are always other influences in there. I think this record is a bit more reminiscent of our live show, with different genres and different types of songs.”
Mar
18 Mon
Image for Teenage Fanclub

Teenage Fanclub

Saxapahaw, NC
United States
Doors at 7:00 PM, Show at 7:30 PM
 More Information
TICKET PRICES CURRENTLY AVAILABLE
ADVANCED: $25.00
DAY OF: $30.00

TICKET SALE DATES
DAY OF Public Onsale: March 18, 2019 12:00 AM to March 18, 2019 11:59 PM
DAY OF Public Onsale: March 18, 2019 12:00 AM to March 18, 2019 7:30 PM
ADVANCED Public Onsale: October 29, 2018 1:29 PM to March 18, 2019 12:00 AM

PERFORMANCE DESCRIPTION
The first Teenage Fanclub single, 1990’s “Everything Flows,” was all about getting older and finding your way: Right from the beginning, the Scottish band somehow inherently understood the joy and confusion of forging a creative path. Even with that knowledge, the band’s three equally proficient and prodigious songwriters—Norman Blake, Raymond McGinley, and Gerard Love—probably wouldn’t have predicted that this path would still be unfolding nearly 30 years later.

Steadily—and, if we’re being honest, sort of slowly—Teenage Fanclub have built an incredible catalog of gleaming pop songs. It’s been a relatively straight line in pursuit of pop perfection, from the snarlier early days to the highly vaunted Bandwagonesque to the grand Songs from Northern Britain to their more measured, contemplative latest, 2016’s Here. Consistency has been a virtue, never a handicap.

They spent a decent chunk of 2018 looking back, something they’re not inclined to do, but duty called: Five classic albums originally released between 1991 through 2000 were remastered at Abbey Road and lovingly reissued, and Teenage Fanclub took that as a challenge to relearn nearly every song from that era and plan a special series of three-night stands in the UK during which to play them.

“We don’t spend a lot of time listening to the things we’ve done. Actually, we don’t spend any time,” says McGinley. “Sometimes you live with your own imagined version of a song in your head, and what you play is different than the records. Memories can be unreliable. It’s an interesting process to be forced to listen to the reality.”

“As a musician you never listen to your own music—it’s masochistic!” laughs Blake. “Back at the start I wasn’t too clever on the guitar. And you can hear the change in the tone of your voice through aging. We sound like young men on the early records, full of optimism! Lots of these songs we have never, ever played live before. It’s exciting.”

A big plus to relearning the oldies: They’d have a bigger pool of songs to choose from live, something they still cherish. A trip around the world was planned, starting with Japan, Australia, and New Zealand. It turned out, though, that Love’s enthusiasm for touring far-off places had waned, while the rest of the band consider touring to be crucial fuel for creativity. That impasse led to Love’s amicable departure from the band: He’ll play the back-catalog shows in the UK in October and November, and then turn in his Fanclub membership.

McGinley and Blake have nothing but praise for their bandmate; they’ll miss his contributions, but they’re more excited than ever to make songs together—including, sooner than later, brand-new ones. “The good part of any change is that it forces you to not be complacent about things,” says McGinley. “There’s always something exciting about any kind of change.”

“The three of us have spread the burden of songwriting over the years, so there will be a bit more work involved creatively,” says Blake. “We don’t feel pressure to get somebody in as a songwriter to replace Gerry. We could collaborate with other people, we could write together… I’m not worrying about it too much. Whatever happens, I know that we’ll create something that we’ll be happy to put our name behind.”

One of the most recent Teenage Fanclub songs, “Live in the Moment,” goes like this: “Feel good not knowing / What tomorrow and what’s following may bring / Need only think about today.” It applies to the band circa 2018—the past is an unshakeable foundation to be acknowledged and honored, but their minds are still on what happens right now. There are a lot more songs to be written and played, starting today. Everything flows.

Haw River Ballroom

1711 Saxapahaw-bethlehem Church Rd
Saxapahaw, NC
United States