Josh Abbott Band 5/28/16

Josh Abbott Band 5/28/16

Casey Donahew Band, John Baumann, Mike Ryan

Sat May 28, 2016

Doors: 7:00 pm / Show: 7:00 pm (event ends at 12:30 am)

$22.63 - $1,034.64

This event is all ages

Josh Abbott Band 5/28/16
Josh Abbott Band 5/28/16
Weeks before its Valentine's Day release on iTunes, the Josh Abbott Band's "Touch" was already well on its way toward being one of the most talked-about songs in Texas music of 2012. Granted, the hot-streak momentum of Abbott's career had a lot to do with that. In the wake of the breakout success of "Oh, Tonight" (which climbed to No. 44 on Billboard's country chart) and the title track from 2010's regional smash "She's Like Texas," created a stir that reached all the way to music executives in Nashville and New York City. That set up pretty much any track that the 31-year-old singer-songwriter picked to be the lead single from his band's much-anticipated third album nicely, ensuring it was bound to garner a fair amount of attention. But from the very first time it was played in concert or over the airwaves, it was clear that "Touch" had a lot more going for it than just good timing. From the erotic tension and release of its slow-burning verses and soaring chorus to the dramatic crescendo of fiddle and guitars at the outro, it's a song that captures every ounce of the passion, talent, and vision that's propelled the Josh Abbott Band to the forefront of the Texas music scene in record time. And as the rest of Small Town Family Dream proves convincingly, they're here to stay.
Truth is, that's been pretty evident for a while now — even though the Josh Abbott Band has only been recording and touring for half a decade. Abbott didn't even begin writing songs until around 2004, when he was still in grad school at Texas Tech in Lubbock. A diehard Texas country fan, he'd picked up guitar a few years earlier, mainly to strum along to his favorite Pat Green songs. He vividly recalls the epiphany he had at a concert one night at Lubbock's Blue Light when the notion of writing and playing his own music — maybe even for a living — first took root.
"It happened to be the Randy Rogers Band playing that night, but it could have been Pat or Wade Bowen or Cory Morrow, any of those guys that I saw over the years," Abbott explains. "I always had this fascination with what they were doing. I'd go to their concerts and there'd be hundreds if not thousands of college kids singing along.
That night at the Blue Light, I just remember watching the band and thinking, I want to do this…I think I can do this."
"Maybe that was a little naïve at the time," he admits with a laugh, "but the truth is, I guess I've always felt like if I'm going to do something, then I just can." And so he did. Together with his banjo-playing fraternity brother, Austin Davis, Abbott began putting that confidence to the test at open mic nights. A year and a half later, fiddle player Preston Wait and drummer Edward Villanueva came onboard, and the fledgling Josh Abbott Band was off and running — slowly, at first, but not for long. "We didn't record a demo until 2007, which was 'Taste,' and then we didn't even get a booking agent and start touring outside of Lubbock until 2008," says Abbott. "But after that, everything started happening so fast for us that we really weren't ready for it at first. We'd start showing up at venues and there'd be a lot of people there, and we didn't even have enough originals to play 90 minutes. And it was kind of a weird deal for us because there were a lot of bands on the scene that were a lot more tenured, and they went from not even knowing who we were to all of a sudden playing these co-bills with us within like a two-year span. I mean, we definitely paid our dues, but it all came together a lot faster than we'd anticipated. For that, we're so grateful."
Abbott, though, was too focused on building his band's loyal and ever-growing fan base to fret too much about critics or skeptics. Booked to play towns like Waco where they could barely draw a 100 paying customers early on, he'd once gave away 100 more tickets through the local radio station — figuring that if even half those people showed up, they'd bring along friends, every one of them a potential new fan. At one particularly memorable show at the Wormy Dog in Oklahoma, he thanked the crowd of some 300 people by inviting every one of them to hit the merch booth for a free CD and T-shirt.
"We probably gave away thousands of dollars of merch that night, but ever since, we've done really well in Oklahoma City," says Abbott. "Another night, I think I bought the entire bar a round of shots, and my bar tab was like $1,000. But it was my way of showing everyone there, 'I'm just thanking you for coming to our show tonight, because you didn't have to, and I want you to know I appreciate it.' We have so much gratitude for our fans and the people that come to our shows. You want to thank every single person. When you do that, you don't just create fans, you create friends — people who are gonna then go out and pitch your album and who you are to every single person they know."
The results speak for themselves. "Josh Abbott has ascended to that A-list level of the Texas country scene faster than anyone I've ever seen coming from an upstart position," says Chris Mosser, the morning host of Austin's 98.1 KVET-FM who also programs the station's popular Texas country "Roadhouse" program. "And it seems to me that for a lot of the younger Texas country fans, he's definitely the gravitational center of the current scene. His impact with the kids is remarkable."
Nevertheless, with great impact comes great responsibility — specifically, the responsibility, as an artist, to continue to reward those fans not with free T-shirts and shots, but with new music worthy of their continued support. To that end, Abbott knew there was a lot riding on his band's third album. Fans in Texas, Oklahoma, New Mexico, Arizona, Colorado and beyond helped the independently released She's Like Texas climb all the way to No. 28 on the national country chart, and following it up was going to be a tall order.
"My main objective for this album was for it to be cohesive," says Abbott. "I think at least half of the songs on our first album [2009's Scapegoat] were really good, but it wasn't our best effort. But we really hit a home run with She's Like Texas in terms of creating a big fan base and a little bit of radio success and even a bit more national success than I thought we were maybe ready for or even going for at the time. So when we went to record this one, I thought, 'I don't know that we'll have another song go national like 'Oh, Tonight,' but I do want it to keep the consistency of the last album.' But at the same time, we tried to take it in a different direction, too."
To wit: whereas Abbott's songs on She's Like Texas for the most part paralleled the timeline of a romantic relationship, Small Town Family Dream finds him celebrating the independent spirit of the people who make his beloved Lone Star State well, his kind of Texas. "Dallas and Houston and Austin and San Antonio, they're all great, but the backbone of what makes Texas really Texas is the rural communities," explains Abbott, who now lives in Austin but still thinks of West Texas as home — specifically, the small town of Idalou, right outside of Lubbock. "The farmers and ranchers and all the other people who work their asses off while living in small towns all across the state … this whole album is really an ode to them, and I really wanted that theme to come through in the songs."
And it does — from the opening, hometown salute of "Idalou" and all the way through to the closing title track. He also salutes the brave fire fighters and the communities affected by the statewide 2011 wildfires in the raging "Hell's Gates on Fire," and the plight of Texas farmers battling the recent drought in "Rain Finally Coming Down." Meanwhile, the Adam Hood/Brian Keane song "I'll Sing About Mine" — one of the first covers the band has ever recorded. While songs like the aforementioned "Touch," "She Will Be Free," "Dallas Love" and "Hotty Toddy" all prove that Abbott is still a natural when it comes to flattering and celebrating the fairer sex in song.
But just as importantly, Small Town Family Dream, recorded in Denton and released, like the first two albums, on Abbott's own Pretty Damn Tough label, is also an ode to the music of Texas — a rich legacy that has spawned not only populist icons like Willie Nelson, George Strait, and Abbott's college hero Pat Green, but such underground mavericks as Lubbock's acclaimed Flatlanders and songwriter's songwriter Terry Allen. Abbott and band actually cover two songs ("FFA" and "Flatland Farmer") from Allen's legendary 1979 album, Lubbock on Everything, on Small Town Family Dream, while Green himself guests on Abbott's own "My Texas."
"That was a pretty big moment for me," says Abbott, who has since shared a number of stages with Green. Co-written with Thom Shepherd in Nashville, "My Texas" is Abbott's unabashed salute to not just Green but all of the Texas country artists that provided the soundtrack to his college days not so long ago. A lot of those artists are still very much still around today, just as the Texas country scene still thrives. "I just thought that it was time to pay homage to the entire reason why I fell in love with Texas country in the first place. I want people to hear 'My Texas' and go, 'Man, I feel like I'm in 1999 again, listening to this song.'"
It's also his hope that people listening to Small Town Family Dream take note of the impressive, muscular instrumental chops on full display throughout the album. The Josh Abbott Band has undergone a few personnel changes in its short lifespan, but the current lineup — comprised of longtime members Wait (fiddle) and Villanueva (drums) along with lead guitarist Caleb Keeter, bassist James Hertless, and Abbott's old college friend Davis back in the mix on electric banjo after a few seasons pursuing other interests — has now played hundreds of shows together across Texas and beyond, resulting in what is easily the band's best sounding recording to date. On ballads like "Touch" and "Dallas Love," the young players display the polished finesse of seasoned Nashville session pros, but on tracks like the anthemic "Idalou," the saucy "Hotty Toddy" and especially the aforementioned Terry Allen covers, they sound fit to tear the roof off and go head to head with any other take-no-prisoners roots-rocking band on either the modern Country or Americana scene.
"I really feel like this is the band I've always wanted," Abbott says with matter of fact pride. And it couldn't come together at a better time, either. Looking back over his career, Abbott recalls one of the first times he ever dared to not only dream out loud, but dream big.
"I did an interview for a Lubbock news station in late 2007, back when we first started hitting the road, and the reporter asked me, 'Where do you want to be in five years?' And I just looked at him and said, 'I want to be one of the biggest bands in Texas music.'
"Everyone at the time was like, 'Dude, that was one of the most arrogant things ever — it's never going to happen,'" Abbott admits with a self-effacing chuckle. "But if you ask any sports team that starts out with rookies where they want to be in five years, if they don't say 'winning championships,' then those are not the kind of guys you want on your team. From day one, my goal was, if I'm going to commit to doing this, then I'm going to do it, and I'm going to be as successful as I possibly can."
Five years later, right on schedule, he's close enough to that once seemingly far-fetched goal to reach out and touch it. But not surprisingly, he's long since raised the stakes.
"The main objective now is to make sure that the bell curve stays in our favor," Abbott says when asked where he wants his band to be in the next five years. "For me, the goal is for us to be able to not just maintain, but consistently get bigger. I feel like Texas has really done well for us, but I'll never be satisfied. I'll never be like, 'we've got Texas locked down,' because that's our base and we've got to keep growing, but I think our biggest objective right now is to get bigger in markets outside of Texas. That's why you'll see our emphasis continue to be on touring the West Coast, along with New Mexico, Denver, Kansas, Nebraska, Chicago, and even going East … I think that's really important to do."
And yet, even as he expands his horizons beyond the Lone Star State, Abbott's independent Texas spirit is stronger than ever. Among his goals "from the get-go," he says, was for his band to distinguish itself as one of the "most successful independent country bands" of its era. And if there's a difference between that and what most people consider "megastardom," well, he's quite OK with that, because "success" in his book isn't defined by the all-or-nothing fantasy of platinum-selling records and sold-out arena tours.
"I'm sure that would be fun, and damn right we would enjoy that ride," Abbott admits. "But if that doesn't happen, that doesn't mean we still can't sell 100,000-plus records, tour across the country and play to crowds of 500-1,000 a night just like we do in Texas. We want to impact fans that really care about our music and that are willing to drive up to two hours to come and see us play. To me, that's success, right there."
And so far, the Josh Abbott Band has achieved that success without having to sign a deal with an outside record label. "We've had offers" Abbott explains. "I'm not turning a blind eye to them, but if we ever sign one, it's going to have to be a really good deal and one that makes sense for us."
"People who do sign with record labels shouldn't be crucified," Abbott continues thoughtfully. "I mean, there's a real science to it, and I have a lot of admiration for the guys that have made that system work for them. But there really is another way. Being indie right now is working for our band and has worked for many other bands in the past. It's too soon to know if we'll sign or if we won't. For now, we're happy making music and connecting with our fans."
Casey Donahew Band
Casey Donahew Band
If you build it, they will come. This might be the mantra of one of the greatest baseball movies of all time, '"Field Of Dreams," but it's also a pretty accurate description of the career of Texas music sensation Casey Donahew.
The Burleson native, (with the help of his wife Melinda,) has painstakingly carved out an impressive niche for himself on the country music scene over the past decade, attracting a solid base of loyal fans who flock to his legendary live shows. Building his career from the ground up one show at a time, he's managed to perform on countless stages night after night in front of thousands, topped the Texas music charts several times, released four albums independently to critical acclaim, and forged a path all his own through the music scene without the aid or muscle of a major record label or power-suit management company. And the release of his latest CD, "Double Wide Dream," may just push him to heights he never could have imagined when he first plugged in on stage at the Thirsty Armadillo bar back in Fort Worth's Stockyards in the Fall of 2002, and began constructing his own field of musical dreams.
Though he seems like a born natural when it comes to performing, Casey actually fell into music gradually. He grew up on a farm the first few years of his life and quickly grew to love riding and team roping, a sport he still enjoys today. His grandfather, who loved to play and sing, gave Casey his first guitar growing up, but it wasn't until college at Texas A&M that he first began to teach himself to play and really focused on writing songs. A big fan of 80's and 90's country, Casey had always admired the storytelling in the songs of that period, and when a wild-eyed Oklahoma boy named Garth Brooks began swinging from the rafters and employing all sorts of crazy, rock show antics during his concerts, Casey was immediately hooked.
"I've just always liked the country songs from the 80's," says Casey. "It seems like a time when there was a lot of great songwriting going on, and I just enjoy people who can tell a story with a song. And I've always been a big Garth Brooks fan, since the beginning. First there was George Strait, and then here came this guy from Oklahoma, Garth Brooks. And you'd see George standing there playing guitar, but then Garth comes along running all over the stage, playing guitar and singing all these songs that he wrote. And the thing I was always most enamored with about Garth was that he wrote most of those songs. He was just one of those guys who did it all. And he started in Stillwater, not too far from the Red Dirt scene. You could really take a lot of Garth Brooks songs and put 'em on a record of mine, and I think it would fit right in."
It was during his college days that Casey also discovered another rowdy artist who was forging his own path across the Lonestar state in a big way, Pat Green. When his fraternity hired Pat to play one of their parties back in those early days, Casey was instantly inspired by Pat's way with a song and his ability to connect with an audience. "Pat Green was really the guy who started it all for me in college. He just did a great job connecting with fans, and later on when we started playing, we really tried to mirror how he did that. He was one of those guys who I thought was a great entertainer, and really told stories that people wanted to hear and could relate to, and I think that's what made him so popular."
Transferring to the University of Texas/Arlington, Casey began traveling around with his girlfriend/future wife Melinda to catch shows by Pat, Randy Rogers, Cross Canadian Ragweed, and other acts who were bubbling up just above the surface on the burgeoning Texas music scene at the time. And it wasn't long before he was testing the waters himself, playing a regular acoustic gig at Fort Worth bar the Thirsty Armadillo, trying out the songs he'd been writing since high school.
"I had moved back and was going to UTA, and just started following some of those guys around," he recalls. "We'd go see guys like Randy play at the Thirsty Armadillo when he was just starting out and the scene was just barely beginning to go anywhere out here. Pat was selling Billy Bob's out, and we'd go see him, and Ragweed was just starting to break in that timeframe too.
I had also discovered Matchbox 20 during that time, and I don't know what it was exactly, maybe the timing of that first CD when it came out it, but that whole record just speaks to me. It's one of those records I still listen to...something about the way he writes songs translates to the way I felt in life at the time, and it still does. And that's something you try to capture and recreate and hopefully through your writing you help people through hard times or get people through situations in life. I don't know if there was ever a specific point where I said, 'Hey I'm gonna do this for a living,' but I just enjoyed writing songs and playing. It was a way to get my feet wet -- and I learned a lot playing at the Armadillo. And it was a way into the industry and to see how other people did it, and we learned a lot of stuff in those first couple of years."
Within a few years Casey had conquered the small club circuit and was packing out larger places like the Fort Worth Horseman's Club. He released his first independent CD, "Lost Days," (which included the autobiographical nod to his home turf, "Stockyards,") and the song quickly became a huge hit for the new band, even among fans who had never visited the Texas city. "Stockyards is one of those songs we started out with. I've been to a lot of places, and I've never been anywhere quite like the North side of Fort Worth. Its just one of those places…I grew up in all those bars, and there's such a history down there and it's something I think everyone can relate to. It's weird, it seems like we go far from Fort Worth and people still sing that song, it's one of those things people relate to -- everyone's got their own Stockyards if you will, their own place they grew up that they remember going to the bars and running the streets and getting into trouble, I guess."
Around this time, with his wife Melinda spearheading management and booking for the band, Casey impressed the owners of Billy Bob's enough to land a gig playing the legendary club where he'd attended so many shows as a fan himself. Within two years of his first show there, Casey was drawing nearly 4000 eager fans, and he's never looked back since.
In 2006 he released a second self-titled CD that included "White Trash Story," a raucous, redneck story tune that instantly became a fan favorite. He followed that up with a live CD recorded at Bostock's, (the Stephenville bar that gave Casey one of his first big breaks), then returned to the studio in 2009 to make, "Moving On," a project described as "rattling, rolling and rumbling like a youthful Robert Earl Keen fronting Reckless Kelly. That project sold an impressive 32,000 copies thanks to his growing legion of fans, as word spread like wildfire among the college crowd about this underground indie sensation. The fans have always been foremost on Casey's mind as he built his career, and he makes his music with them in mind. For Casey, it's never been about accolades, or awards, or even major label attention or fawning. It's simply about the music. And his fans recognize and appreciate that. Taking a page from the live performance playbook of one of his heroes, Pat Green, Casey fuses genuine, honest lyrics with a contagious, take-no-prisoners energy onstage, making sure everyone is along for the ride -- which, more often than not, is a wild one.
"I think we definitely make music for our fans…we don't worry about much else except making the fans happy and making ourselves happy, and we've been real lucky and fortunate in that I think we came along and started this band at a time when social media was really kind of starting to get some legs. And that really made it possible for a band that really didn't have a lot of radio support to thrive and succeed…you know we were able to keep people interested and with social media they were able to share it with their friends in such a fast way that it really spread the music to a large group of people quicker than it could have ever before."
His latest studio CD, "Double Wide Dream," is pretty much right in the wheelhouse of Casey's previous three…the songs contemplate all the highs and lows of real life, from the heartaches to the belly laughs and everything in between, and the CD is packed full of that unbridled, can-do indie spirit that has rocket-powered his entire career right from the start. From the straight-shooting, hilarity of the leadoff single, "Double Wide Dream," a redneck's declaration of love for his hot mess of a wife, to the heartfelt twist of "Give You A Ring," and the hotter-than-a-jalapeno, Texas-tinged smoker, "One Star Flag," the tunes on this new CD cover a broad range of material and emotions and showcase a maturity that can only be achieved through lots of living, loving, and losing -- things Casey has no doubt done his fair share of throughout his life and his budding career. And though he can work his way through a tearjerker with the best of 'em, for Casey, every song doesn't have to be brain surgery -- it's OK to laugh and have a good time and let your hair down, as in the case of the hilarious title track, or "White Trash Story II - The Deuce," a continuation of the tune that has become a fan sensation and instant singalong during his shows.
"Hopefully I've grown as a songwriter over the past few years, but I don't try to get too carried away with it, I don't want to try to be too serious about everything. "Double Wide Dream" is one of those songs that's just really fun. Those are songs that provide a little comic relief, and I want people to get out and jump up and down and have fun. Not every song has to change your life, there also has to be entertainment in the world. And I like to think we provide entertainment with those songs. And, I still think of myself as a redneck…I live in the country, I like to be outdoors, and shoot guns, and hunt, and drive trucks, so those are things we write about. This album is really not too far from what we've been doing from day one, just a continuation of it, really."
With the release of what will likely be his biggest album to date, Casey is gearing up for his biggest year ever, playing to packed houses throughout Texas and the Midwest. He's come a long, long way since those early days on that Armadillo stage, and he still loves to thrill crowds both big and small. But given the choice -- he'll take the flamethrower approach every time.
"I'm a Bon Jovi fan, and he's got a documentary called "When We Were Beautiful" that kind of captures Bon Jovi on a completely different level than anyone I even know. But a lot of the things he thinks about the music business translate, and it's crazy to see somebody who has the success he does have the same kind of anxieties and worries about his music that I think the common musician does. And he had a great quote in that. He's played lots of little intimate shows, but the shows he loves, are the huge ones. You know he says he'd like to play the desert and sell it out. That's always stuck with me…I don't want to play a small place, I want to play the desert and sell it out!"
And though his dream may soon grow much, much larger than a double wide, and reach heights even he couldn't have imagined, Casey is quite content with all he's accomplished thus far in this little career that could. "I don't see anyone coming to make a deal where we're gonna change what we do. I'm not sure how far we have left to go, hopefully forever, but you know nothing lasts forever, so I'm always mindful of that and prepared that one day this ride could be over. And I'm pretty proud of everything we've accomplished. I hope there's more, but if it were over tomorrow, I could look at my wife and say I was really proud of everything we've accomplished. I'm really excited about this record. I think the songs on here are great, and are a big step forward, and the fans, whatever their expectations are, I hope we blow em away!"
John Baumann
Quietly circumventing the myriad of artists and bands in the modern day dissemination of country music, John Baumann is emerging as one of his generation's next great true-blue songwriters.With a steadily building streak of positive responses from fans of good songwriting and a reputable live show, the trajectory of this up and comers speaks for itself.
Having independently released projects in 2012 and 2014, Baumann's evolution as a songwriter is in full swing. And with the upcoming release of 'Departures,' the new EP from John Baumann, there are already rumbles in some circles that this songwriter might be the next one to break out.
Venue Information:
Whitewater Amphitheater
11860 FM 306
New Braunfels, TX, 78133
http://www.whitewaterrocks.com/