Wyatt Flores w/ Evan Honer + Nathaniel Riley (Night 2)
Globe Hall Presents Wyatt Flores with Evan Honer and Nathaniel Riley (Night 2) on Sunday, November 26th. . Wyatt Flores was raised on the outskirts of a small Oklahoma college town with a rich music history spanning from the likes of Garth Brooks, All American Rejects, Cross Canadian Ragweed, Colour Music and The Great Divide. There’s something unique about growing up in a town riddled with musical giants. Embracing this musical energy, and further inspired by stories from his father’s stint as a seasoned drummer in the Red Dirt music scene, Wyatt wrote and released his debut acoustic single “Travelin’ Kid” in the Spring of 2021. Shows around campfires and in small bars throughout Northeast Oklahoma followed soon after. In the summer of 2022, Wyatt left Stillwater, OK and moved to Nashville, TN to pursue his career full-time. He released fan-favorite “Losing Sleep” in February of 2022, as well as a series of stand-alone singles in the second half of the year, each showcasing new facets of the stories and sounds Flores creates. Wyatt’s sound is somewhere between Jason Isbell, Sturgill Simpson and Caamp — he tells his stories in his own way and craves authenticity in his lyrics, collaboration and sound. This wide-ranging field of influences captivates listeners of multiple genres, as his fans have tallied up more than 3-million total streams across platforms. Having dedicated the past few months to transforming new lived experiences into songs, Wyatt is in the process of recording his first full album, planned for a September 2023 release: “Losing Sleep, the album, is a time and place in my heart. I learned that sometimes not everyone can be loved. It’s homegrown and Oklahoma made and I hope folks see the originality behind it. I hope this project helps people get through the rough times in their life” Be good to one another. See you soon. — WF- 16+, under 16 admitted with a ticketed parent or guardian
97.3 KBCO Presents Vincent Neil Emerson w/ Zephaniah Ohora (Night 1)
97.3 KBCO Presents Vincent Neil Emerson with Zephaniah Ohora (Night 1) on Friday, October 27 — Vincent Neil Emerson is a torchbearer of the Texas songwriter tradition. He channels the straightforward truth-telling and resonance of his songwriting heroes in Townes Van Zandt, Guy Clark, and Steve Earle into something fresh and distinctly his own. Where his 2019 debut Fried Chicken and Evil Women proved himself as one of the most reverent students of country and western musical traditions, his follow-up LP, the masterful Rodney Crowell-produced Vincent Neil Emerson, which is out June 25 via La Honda Records/Thirty Tigers, is a brave step forward that solidifies his place as one of music’s most compelling and emotionally clarifying storytellers. His songs are cathartic and bluntly honest, never mincing words or dancing around uncomfortable truths. Raised in Van Zandt County in East Texas by a single mother of Choctaw-Apache descent, Emerson’s world changed when he first heard Townes Van Zandt’s music. “To hear a guy from Fort Worth say those kinds of things and make those songs was pretty eye opening,” the now 29-year-old songwriter says. “I had never heard songwriting like that before.” He’s spent the better part of the past decade honing his songwriting and performance chops playing bars, honky-tonks, and BBQs joint across the Fort Worth area. His first album Fried Chicken and Evil Women, which he wrote in his mid-twenties and came out on La Honda Records, the label he cofounded that now includes a roster of Colter Wall, Local Honeys, and Riddy Arman, is a snapshot of his growth as a songwriter and stage-tested charm with songs like “Willie Nelson’s Wall” and “25 and Wastin’ Time” expertly combining humor and tragedy. These marathon gigs and the undeniable songs on his debut introduced Emerson to Canadian songwriter Colter Wall, who quickly became a close friend and took him on tour. With Wall’s audience and sold-out theater shows on runs with Charley Crockett, Turnpike Troubadours, and many others, Emerson found his niche. “It took a guy from Canada bringing me on tour for people to actually start paying attention,” says Emerson. “Before that it was a grind like anything else just trying to make a living.” Crockett is another staunch early supporter of Emerson’s and covered Fried Chicken highlight “7 Come 11” on his 2019 LP The Valley. Like every working musician, 2020 pulled the rug out from under Emerson. With the pandemic shuttering live music and cancelling promising tours, he processed the upheaval the only way he knew how: by writing his ass off. “At the beginning of quarantine, I was really frustrated with everything else going on,” says Emerson. “Everything was falling apart around me, and I didn’t know what to do.” He took to his writing shed and came up with the single “High On Getting By,” a gorgeous song full of self-reflection and resilience: the most autobiographical thing he’s ever written. He sings, “I got my first child on the way / And the bills are all unpaid / I should have finished high school / Got a job and learned to save / But the words keep on fallin’ / And the highway keeps on callin’ / To my pen.” That song proved to be a turning point for Emerson. “After I wrote it, the floodgates opened up for me in my songwriting and emotionally,” he says. “Songwriting has always been a therapeutic thing for me. So, I just started writing more from the heart. – 16+, under 16 admitted with a ticketed parent or guardian
97.3 KBCO Presents Vincent Neil Emerson w/ Zephaniah Ohora (Night 2)
97.3 KBCO Presents Vincent Neil Emerson (Night 2) on Saturday, October 28 — Vincent Neil Emerson is a torchbearer of the Texas songwriter tradition. He channels the straightforward truth-telling and resonance of his songwriting heroes in Townes Van Zandt, Guy Clark, and Steve Earle into something fresh and distinctly his own. Where his 2019 debut Fried Chicken and Evil Women proved himself as one of the most reverent students of country and western musical traditions, his follow-up LP, the masterful Rodney Crowell-produced Vincent Neil Emerson, which is out June 25 via La Honda Records/Thirty Tigers, is a brave step forward that solidifies his place as one of music’s most compelling and emotionally clarifying storytellers. His songs are cathartic and bluntly honest, never mincing words or dancing around uncomfortable truths. Raised in Van Zandt County in East Texas by a single mother of Choctaw-Apache descent, Emerson’s world changed when he first heard Townes Van Zandt’s music. “To hear a guy from Fort Worth say those kinds of things and make those songs was pretty eye opening,” the now 29-year-old songwriter says. “I had never heard songwriting like that before.” He’s spent the better part of the past decade honing his songwriting and performance chops playing bars, honky-tonks, and BBQs joint across the Fort Worth area. His first album Fried Chicken and Evil Women, which he wrote in his mid-twenties and came out on La Honda Records, the label he cofounded that now includes a roster of Colter Wall, Local Honeys, and Riddy Arman, is a snapshot of his growth as a songwriter and stage-tested charm with songs like “Willie Nelson’s Wall” and “25 and Wastin’ Time” expertly combining humor and tragedy. These marathon gigs and the undeniable songs on his debut introduced Emerson to Canadian songwriter Colter Wall, who quickly became a close friend and took him on tour. With Wall’s audience and sold-out theater shows on runs with Charley Crockett, Turnpike Troubadours, and many others, Emerson found his niche. “It took a guy from Canada bringing me on tour for people to actually start paying attention,” says Emerson. “Before that it was a grind like anything else just trying to make a living.” Crockett is another staunch early supporter of Emerson’s and covered Fried Chicken highlight “7 Come 11” on his 2019 LP The Valley. Like every working musician, 2020 pulled the rug out from under Emerson. With the pandemic shuttering live music and cancelling promising tours, he processed the upheaval the only way he knew how: by writing his ass off. “At the beginning of quarantine, I was really frustrated with everything else going on,” says Emerson. “Everything was falling apart around me, and I didn’t know what to do.” He took to his writing shed and came up with the single “High On Getting By,” a gorgeous song full of self-reflection and resilience: the most autobiographical thing he’s ever written. He sings, “I got my first child on the way / And the bills are all unpaid / I should have finished high school / Got a job and learned to save / But the words keep on fallin’ / And the highway keeps on callin’ / To my pen.” That song proved to be a turning point for Emerson. “After I wrote it, the floodgates opened up for me in my songwriting and emotionally,” he says. “Songwriting has always been a therapeutic thing for me. So, I just started writing more from the heart. – 16+, under 16 admitted with a ticketed parent or guardian
Tyler Childers Merch Pop Up (FREE EVENT 11:00 AM – 3:00 PM)
Globe Hall Presents a Tyler Childers Merch Pop Up (FREE EVENT 11:00 AM-3:00PM) on Friday, August 16.Featuring: – DJ set by Charlie Brown Superstar – Photobooth – BBQ food and beverages available for purchase All ages, first come, first-served.
Jason Isbell Garage Sale and BBQ (FREE EVENT 11:30AM-3:30PM)
Globe Hall Presents a Jason Isbell Garage Sale and BBQ (FREE EVENT 11:30AM-3:30PM) on Friday, May 3.Please note – Jason Isbell will not be at the event.16+
Shane Smith & The Saints Merch Pop Up (FREE EVENT 12:30-2:30PM)
Globe Hall Presents a Shane Smith & The Saints Merch Pop Up (FREE EVENT 12:30-2:30PM) on Monday, May 6.Stop by to greet the band and get your Red Rocks merch in advance! Find merch items that won’t be available at the the show on Tuesday (like custom Turtleboxes, guitars and coolers!) Enter Red Rocks giveaway – win tickets, VIP upgrades and merch!Also stick around to enjoy some tasty BBQ and refreshing beverages!All ages, first come, first-served.
Dale Hollow w/ Sarah Adams
Globe Hall Presents Dale Hollow with Sarah Adams on Tuesday, November 7th. “Stupid is as stupid does / does that make me the dumbest one of all time?” — Dale Hollow, “Hack of the Year”A bit Andy Kaufman, a little Orville Peck, a hint of Father John Misty, Dale Hollow possesses “a fascinating combination of performance and purveyed authenticity,” as the lifestyle magazine Mundane once posited, while also noting that “no other country music artist has ever claimed to be the best, except for Dale Hollow.”Legend has it that Dale actually tried to trademark the phrase “The Country Music Superstar,” so every time someone like Luke Bryan, Loretta Lynn, Jessica Simpson or Darius Rucker attached that phrase to their names, Dale gets some cash.And while Hollow can be purposely self-elevating, that seemingly tall tale is true. “I sent $150 to the copyright office…and I got denied instantly,” he says. “That’s why I use that parenthetical justification (trademark pending).”A mysterious figure in the country music world, here’s what we do know: Hollow, who hails from Nashville and is named after the Kentucky reservoir, had an inauspicious start to his music career. The future country legend was just trying to pay off $35,000 in back taxes. “I was tryingto get cash fast,” he admits. “One day, sitting in an internet cafe, I read this article that detailed how Luke Bryan was the most profitable artist in streaming. So I just thought, ‘I’ll do what he does.’”Thankfully, that odd inspiration has led to some not-so-seriously good music. Dale’s new record, Hack of the Year, is a hoot, full of crooning, shuffling beats, yelps and plenty of self-effacing singalongs. “Don’t Wanna Do Anything” is a legit slacker anthem, while “I’m a Lover” serves as a rollickin’ love song with a hint of Roadhouse menace. Several moments here, including the title track and “Dead End Job,” possess a real sense of melancholy.There’s also a stream of consciousness at work on the album, most notably with “Cowboys on TV,” a hootenanny take on listicle songs (akin to “It’s the End of the World As We Know It”). “It’s such a dumb idea,” says Hollow, almost proudly. “It started as a story about wanting to be a cowboy, and it ended up with me Google-ing performers who had played cowboys on screen and reading off the list. Maybe Google gets a co write on that one.”Dig a little deeper into Hack of the Year and you’ll find fun little details: The record features several verbal monologues (h/t to Ray Price’s honky tonk classic Night Life), some country music Easter eggs (including a Gary LaVox/Rascal Flatts shoutout) and even some influences from outside of the country music world. Including, surprise, Childish Gambino. Says Dale: “I love his sense of borderline unnecessary oversaturation of pop culture references” (and those are in abundance on Hack, be it Forrest Gump, Cincinnati Bengals QB Joe Burrow or NFTs).- 16+, under 16 admitted with a ticketed parent or guardian
Kyle Moon & The Misled w/ Stephen Lear Band + Tensas
Globe Hall Presents Kyle Moon & The Misled with Stephen Lear Band and Tensas on Saturday, September 16th. – 16+, under 16 admitted with a ticketed parent or guardian
Wyatt Flores w/ Evan Honer + Nathaniel Riley (Night 1)
Globe Hall Presents Wyatt Flores with Evan Honer and Nathaniel Riley (Night 1) on Saturday, November 25th. Wyatt Flores was raised on the outskirts of a small Oklahoma college town with a rich music history spanning from the likes of Garth Brooks, All American Rejects, Cross Canadian Ragweed, Colour Music and The Great Divide. There’s something unique about growing up in a town riddled with musical giants. Embracing this musical energy, and further inspired by stories from his father’s stint as a seasoned drummer in the Red Dirt music scene, Wyatt wrote and released his debut acoustic single “Travelin’ Kid” in the Spring of 2021. Shows around campfires and in small bars throughout Northeast Oklahoma followed soon after. In the summer of 2022, Wyatt left Stillwater, OK and moved to Nashville, TN to pursue his career full-time. He released fan-favorite “Losing Sleep” in February of 2022, as well as a series of stand-alone singles in the second half of the year, each showcasing new facets of the stories and sounds Flores creates. Wyatt’s sound is somewhere between Jason Isbell, Sturgill Simpson and Caamp — he tells his stories in his own way and craves authenticity in his lyrics, collaboration and sound. This wide-ranging field of influences captivates listeners of multiple genres, as his fans have tallied up more than 3-million total streams across platforms. Having dedicated the past few months to transforming new lived experiences into songs, Wyatt is in the process of recording his first full album, planned for a September 2023 release: “Losing Sleep, the album, is a time and place in my heart. I learned that sometimes not everyone can be loved. It’s homegrown and Oklahoma made and I hope folks see the originality behind it. I hope this project helps people get through the rough times in their life” Be good to one another. See you soon. — WF- 16+, under 16 admitted with a ticketed parent or guardian
Jess Williamson w/ Snakes + Patrick Dethlefs
Globe Hall Presents Jess Williamson with Snakes and Patrick Dethlefs on Sunday, August 20th. Endless prairies and ocean waves; long drives and highway expanse; dancing, smoke, sex, and physical desire – the core images of Jess Williamson’s new album Time Ain’t Accidental revel in the earthly and the carnal. After a protracted breakup with a romantic partner and longtime musical collaborator who left Williamson and their home in Los Angeles at the start of the pandemic, the album’s reckoning with loss, isolation, romance, and personal reclamation signals a tectonic shift for Williamson as a person and as an artist: from someone who once accommodated and made herself small to a woman emboldened by her power as an individual. A daringly personal but inevitable evolution for the Texas-born, Los Angeles-based singer, songwriter, and multi-instrumentalist, Time Ain’t Accidental is evocative of iconic Western landscapes, tear-in-beer anthems, and a wholly modern take on country music that is completely her own. Above everything, sonically and thematically, this album is about Williamson’s voice, crystalline and acrobatic in its range, standing front and center. Think Linda Rondstadt turned minimalist, The Chicks gone indie or even Emmylou Harris’ work with Daniel Lanois. Ringing boldly and unobscured, it’s the sound of a woman running into her life and art head-on, unambiguously, and on her own terms for the first time. Last year, Williamson and Katie Crutchfield of Waxahatchee released I Walked With You A Ways under the name Plains; a critically acclaimed record filled to the whiskey-barreled brim with feminine confidence, camaraderie, and straight-up country bangers and ballads. After past records Cosmic Wink (2018) and Sorceress (2020), both released on Mexican Summer, Williamson felt primed to shift in a new direction. Revisiting what she loved growing up, simplifying her process, and making music with a friend proved to be the best step forward for Williamson. Amidst the uncertainty of the pandemic, Williamson began dating in Los Angeles and tracking demos centered on the realness of those experiences, filled with excitement, anxiety, and disappointment. The drum machine stuck around (this time in the form of an iPhone app), as did her determination to forge a new path as a truly solo singer and songwriter; as a woman finding the sound of herself without anyone else’s input. It was a lonely, but revelatory, period. In the album liner notes, Williamson too included a quote from Carl Jung that was sent to her by a close friend during this era of uncertainty and upheaval. It reads: “To this day God is the name by which I designate all things which cross my willful path violently and recklessly, all things which upset my subjective views, plans, and intentions, and change the course of my life for better or worse.” Williamson now splits her time between Marfa, Texas and Los Angeles. Time Ain’t Accidental, with its synthesis of traditional country instrumentation with digital effects and modern sounds, unequivocally embodies the energy of the two very different places that she calls home. The album’s artwork, subtly menacing and neon in awareness and strength, displays, in Williamson’s words, “that supernatural forces are acting all around us, that we can trust that we will be in the right place at the right time.” While Time Ain’t Accidental is remarkable for its bare confidence born of searching and longing for something real, Williamson also recognizes the mysterious whims of time that bricked her path (and she memorialized them on the title track). Ultimately, these unseen forces lured the singer back into her own. The timing was, indeed, no accident. – 16+, under 16 admitted with a ticketed parent or guardian
