Athcast - Athens Music!

Pnuma Trio Pnuma arrives at a time when the music scene is in need of something new, bringing with them a refreshing new sound. Pnuma's story began as a musical meeting in Virginia. There, through introduction by a mutual friend, the three founding members met, played together, and a week later became a band. The trio quickly discovered their sound and made the move to Memphis, Tennessee. Since the beginning, things have progressed naturally, and quickly. Pnuma's innovative brand of atmospheric soul trance is a captivating sound that meshes dance music elements with traditional jazz and funk sensibilities. Riding on the cusp of futuristic innovation while remaining in tune with their past influences, Pnuma allows their musicianship to speak for itself, offering beat-driven, precise compositions that still allow ample space for free thought and movement. It's instrumental, improvisational dance music for a new era in the live electronic realm, appealing to jam fans, hip-hop heads, and electronic dance party fanatics alike.

Pnuma Trio Pnuma arrives at a time when the music scene is in need of something new, bringing with them a refreshing new sound. Pnuma's story began as a musical meeting in Virginia. There, through introduction by a mutual friend, the three founding members met, played together, and a week later became a band. The trio quickly discovered their sound and made the move to Memphis, Tennessee. Since the beginning, things have progressed naturally, and quickly. Pnuma's innovative brand of atmospheric soul trance is a captivating sound that meshes dance music elements with traditional jazz and funk sensibilities. Riding on the cusp of futuristic innovation while remaining in tune with their past influences, Pnuma allows their musicianship to speak for itself, offering beat-driven, precise compositions that still allow ample space for free thought and movement. It's instrumental, improvisational dance music for a new era in the live electronic realm, appealing to jam fans, hip-hop heads, and electronic dance party fanatics alike.

Jon Harris and the Sin Hounds are a three piece band conjuring up quite a buzz in the heavily populated Atlanta music scene. They are an eclectic sound of blues, rock, and folk with a firm grip on the pulse of Americana. Taking their que from groups like Derek and the Dominoes, the Band, Led Zeppelin, the Rolling Stones, and the Allman Brothers, they have been described as blue-to-the bone with the balls of 70s vinyl. Front man Jon Harris is an Atlanta native who has served time in a variety of groups before deciding to step up and front his own band. His soulful voice and engaging presence on stage connect him to his audience in a passionate and electrifying way. Inspired by the guitar techniques of Eric Clapton, Freddie King, and Duane Allman, Harris plays as his own mixing boards, constantly tweaking the tempo and viciousness of his output with each and every song. Laying down the wall of power on the kit is drummer and Huntsville, Alabama native Brad Fowler. Whether it's taking the bridge of a song to a thunderous second level or laying down a soft canvas for Harris to paint over, Fowler's chops are powerful yet graceful and provide that perfectly needed balance of melody and intensity. Rounding out the trio is the bands newest member, bassist Ray Dombrowski from Marietta, Georgia. Ray recently graduated from the Atlanta Institute of Music with a musicianship degree. While at A.I.M., Dombrowski studied everything from blues, jazz, and rock to R&B and has added new depth to the trio. Rays skills and knowledge of the bass have given the band a cohesive core and helped round out the Sin Hounds. JHSH recently recorded a live album Story to Tell, which was released on March 18th 2006. The live album was recorded at Blind Willies in Atlanta where the band currently considers their home base. JHSH believe the live album will give unfamiliar listeners an insight to the energy and dynamics of their live performance. With the release of their first studio album Last Days of Chattanooga, JHSH have been met with praise from both critics and fans. Last Days has been described as greasy listening and hip enough for Fat Possum collectors and sweet enough for the Van Morrison recollectors. Last Days is an edgy mix of down-and-dirty rockers, moody acoustic numbers, and original blues-based stompers. JHSH have been busy writing new material. With approximately 10 new songs already written and being played live, JHSH plan on going back into the studio in late summer or early fall of 2006 to record their sophomore album. The Sin Hounds are not your run-of-the-mill "white boy blues band," peppering their shows with obscure and crowd-favorite covers. They are a melting pot of sound that can move you to your feet one moment and then hush you for the next. They don't adhere to a certain genre, but they bring out the true essence of every style they address. Southern rockers will be in awe of them. Dancers will twirl to the medleys. Blues fans will respect them. Their music and vigor truly know no boundaries.

Great Lake Swimmers Live show reviews "Making good use of the quiet vibe and the audience's rapt attention, a slightly anxious-looking Dekker (dressed in a jacket and tie) went for the soft sell, too, opting for a slow, steady build that showcased his lofty voice and gave his backing band a chance to shine..." - Jered Stuffco, "Quiet riot", review of Toronto CD release show, NOW Toronto, 7 April 2005 (link to complete review). "They had the cover story in this week’s edition of local alternative paper eye, so the room was packed. But they’ve developed enough of a following that it might’ve been packed anyway. All of the guys onstage look like they might have been recently released from some sort of institution, which is to say painfully shy, a little off-kilter and completely internal. None more so than frontman Tony Dekker, whose energy is akin to that of Tony Perkins/David Byrne/Charlie Salmon, and who physically is wearing Sarah Harmer’s face on Don Kerr’s body. The Swimmers play thoughtful, quietly beautiful and entirely original music about heartbreak and transcendence. At one point, in 'I Will Never See The Sun,' Dekker charmingly rhymes off subway stops along the Bloor line in Toronto, in their actual order. Their rear-projected films of flowers, clouds and insects added to the vibe as well. Captivating, mesmerizing stuff. 9/10" - Howard Druckman, UmbrellaMusic.com, 10 March 2005 (re. 4 March, El Mocambo, CMW 2005) "Displaying some Nick Drake soul, Dekker and his players managed to combine naked and intimate songs with some catchy pop-rock — and rocking with banjo, wurlitzer and Sandro "Polmo Polpo" Perri on lap steel, no less. And in the middle of this fragile heart-pouring, mostly from the new Swimmers album Bodies And Minds, is a song that has "Toronto classic" written all over it..." - Brian Wong, ChartAttack.com, 5 March 2005 (re. 5 March CMW show at El Mocambo) Samantha Grice, "Songs for Swimming Upstream," National Post, 12 June 2003, re. NXNE 2003. Click here to read "How fitting, my last show of NXNE quite easily turned out to be the best surprise of the festival. Great Lake Swimmers' Tony Dekker sang intimate - instantly relatable songs offering the crowd a direct window into his world. Dekker's amazingly delicate and truthful voice was reminiscent of a Nick Drake at his most revealing - with a shy Elliot Smith style of delivery. Adding to the stunning vocals was the subtle layering of bass, drums, lap steel guitar and the accordion, complimenting each other perfectly in the creation of the bands folk, folk-country sound. The reception of the crowd after the GLS's set was so overwhelmingly positive that the band was allowed an encore - extremely rare for the strictly timed festival. GLS definitely ended the evening - and NXNE on a high note. " - Jeff Cann, Spill magazine, re. NXNE 2003 *http://www.weewerk.com/greatlakeswimmers.html

Lake City Athens, GA, five-piece Lake City is a rock band. Sure, there's a lot more going on than just that, but first and foremost, Lake City is a rock band. Frontman Matt Stossel has kept himself busy providing guitar and pedal steel assistance to half a dozen Athens bands, including Summer Hymns and Don Chambers, and he's a member of the Centro-matic spin-off band South San Gabriel. Somehow he's managed to find the time to start his own project with the help of his former Grand Fury cohorts Bill Rhoton (Guitar, Keys) and Dave Whitling (Drums). Drafting token Midwesterner Fritz Gibson on bass, and piano-pop wunderkind Jojo Glidewell of Athens's Modern Skirts, the band has already attracted a great deal of attention in a town chock full of impressive bands. Lake City has shared the stage with such like-minded artists as Centro-matic, Varnaline's Anders Parker, former V-Roys and Superdrag guitarist Mic Harrison, and Magnolia Electric Co.

Centromatic Centro-Matic is an indie rock band based in Denton, Texas. It started in 1995 as a side-project for Will Johnson. It released a few singles that year and grew into a full-fledged group in 1997. The initial 60 songs recorded in a Millstadt, Illinois studio supplied the matierial for the quieter, more emotional Navigational on Idol Records and the louder, lo-fi The Static vs. the Strings, Vol. 1 on Quality Park Records. Throughout his career, Johnson has had a reputation for being prolific and dynamic. So much so, that he built an entirely separate band, the much quieter side-project, South San Gabriel, named after the San Gabriel river fork north of Austin, Texas. The group consists of the same players from Centro-matic with the inclusion of guests, but focuses on more introspective and subdued offerings from Johnson's repetoire. Will has alternated between the two projects, while also releasing solo albums. Centro-matic released Distance and Clime on Idol in 2001 and "Love You Just the Same" on Misra in 2003. South San Gabriel released Welcome, Convalescense and The Carlton Chronicles in 2003 and 2005, respectively. Johnson's solo albums, Murder of Tides and Vultures Await, appeared in 2002 and 2004. Centro-matic followed up Love You Just the Same with Fort Recovery in March 2006. “What makes (Will Johnson) such a phenomenal lyricist is that he opts for the simplest language when painting an abstract picture.” -- Ben Gibbard of Death Cab for Cutie in the New York Times "It's unforgettable in a Neil Young or Jeff Tweedy kind of way… As multifarious as the indie rock canon it's practically everything: from the South, in the basement, smoking pot, on the porch, plugging in, plucking soft and clocking out. It's a hootenanny of sweetly weathered proportions, free-wheeling clap-alongs and perfectly boozy balladry - not to mention ass kicking pop songs about rotary wheels and shotgun shells. Love You Just the Same is what a trucker cap would sound like if it could sing. Oh, and play violin." -- Magnet "HOT LIST! Oct 2003 - Country twang with a pinch of emo, held together by Will Johnson's raspy, searching voice. It's hearty, stick-to-your-ribs fare that makes you proud to be an American." -- Rolling Stone "These resonant fables of half-loved underdogs, essentially preposterous scenarios reported with apocalyptic seriousness, call to mind the last two Flaming Lips discs... the band hugely rawks here in an unprecedented approximation of their live show, often summoning the moldy hearts of Mould and Hart. Hell, a harnessed Cobain twang even surfaces..." -- Pitchfork "I like Love You… just the same as Icky Mettle or Harmacy or Mag Earwhig!... Which is what's kind of great about it: Johnson's just this guy banging out heartfelt rock songs with his friends down in Texas for a devoted audience who eat them up.” -- Seattle Weekly "Johnson's yearning voice is even reminiscent of Doug Martsch, but more soulful, tender and ragged. Centro-matic do more than nod at their classic rock affection -- notably Neil Young -- but with a natural, instinctive knack of melody that so many of today's bands lack, particularly those currently sprinkling Americana seeds over their indie rock roots – imagine Grandaddy throwing away their Casio keyboards and replacing their technology fetish with good-ol' fashioned desert heartache and a shot or two of whiskey-drenched bar room rock... the key here is Johnson's songs, 13 tracks and each one memorable and heartfelt as the one before." -- Other Music "Like a flannel shirt that's lost its shape and clings to you with a welcoming familiarity, there's something gloriously lived-in about Will Johnson's songs… Will Johnson is a genuine freak-pop genius." (8/10) -- NME

Jeff & Vida Band Formed: in New Orleans in 1997 at a Mermaid Lounge jam Jeff: raised in the rolling hills of New Jersey on classic Rock & Roll Vida: raised all over on Bob Dylan, Dinah Washington & Merle Haggard Sound: Bluegrass-Rockabilly-Country Performing original material spanning from Appalachian bluegrass to alternative country. Their live performances showcase Vidas powerful voice, Jeffs superb picking on mandolin, guitar and banjo, Mike Kerwins slap-you-in-the-face bass playing and tight well arranged harmonies. With ballads that sound like they could have been written fifty years ago and raucous barnstorming numbers that keep your feet tapping their live shows are exciting and unique, full of humor, good music and unforgettable songs. True to the American song writing tradition Jeff and Vida keep their songs simple and sincere. Their material draws from most everything except modern day hits. You can tell after hearing their songs that they probably turned the radio off a long time ago. While Jeff & Vida extend their grizzled tales of murder (The Laws Best Friend), revengeful spite (Dont leave the Lights On), downtrodden luck(Have Mercy) and rollicking rockabilly (Dollar Stops) to their fullest, they also shade plenty of twisty turns into the arrangements. -Dan Willging, Dirty Linen

Avett Brothers When people ask Scott and Seth Avett how long they've been playing music they'll usually say, "forever." Though, under the name The Avett Brothers, they've only been playing for a relatively short amount of time. Yet, the Avett's sound is indicative of a lifetime of development and an implicit partnership. In 1998, during the time of the Avett's rock band, Nemo, Scott began getting together with some friends and other flat-pickers on Tuesday nights in Greenville, NC to drink liquor, play acoustic bluegrass and country music, and occasionally perform on the street. Having gained an interest in acoustic music after meeting Doc Watson at an early age, Seth joined in and they called the gatherings "The Back Porch Project" or "Nemo Downstairs." During this time, Seth and Scott started writing originals over the phone and would throw them in during the get-togethers. As time passed and 2000 rolled around, the Avetts, with friend and fellow Nemo guitarist, John Twomey, compiled a 6-song, self-titled record under the moniker The Avett Brothers. The three also began playing sporadic acoustic shows in their off time from Nemo. Around Halloween in 2001, Nemo fell apart. At first, Scott, Seth and long-time friend Kenny Graham wanted to carry on, but they soon came to the realization it was time to move forward. Scott and Seth fell back on the acoustic music they had been crafting, realizing that it was more accessible than Nemo's brazen, rock sound. During this time, the Avetts also parted ways with Twomey. Seth testified, "John is a great guitarist, we just knew it was right to part ways at the time." In January of 2002, after several months of songwriting and a few performances with various players, The Avett Brothers entered Pat Gauthier's studio in Marshville, NC to record their first album, Country Was. It was during that time that the Avetts realized the music they were making was special, more natural and truthful than anything they'd created before. It was also during that time that stand-up bassist Bob Crawford became a permanent member of The Avett Brothers. After a self-booked, 11-state, 2-month summer tour, endless amounts of regional shows, and traveling to promote the Country Was album, the boys took a break in late 2002 to prepare to record the follow-up. To kick off 2003, The Avett Brothers returned to the Gauthier's Marshville, NC recording studio to begin work on their new material. However, this time the Avetts were prepared for the job. Unlike the past, where the songs were written and recorded without being toured on or played in a live setting, the majority of the new songs were thoroughly worked through and developed. With this confidence, the Avetts aimed to nail the intensity of their infamous live shows. As the Avetts stated, "we went in, more than ever, knowing exactly what we wanted to do. There were no questions or fogginess, which can show insecurity in the musician and in the band." Seth, Scott and Bob knew the exact purpose of each song and understood through and through the meaning behind each lyric. After 70 hours in the studio, The Avett Brothers emerged with A Carolina Jubilee, a paramount representation of the Avett's journey so far. The album, like The Avett Brothers, is a mixture of old-time country, bluegrass, pop melodies, folk, rock n' roll, honky-tonk and ragtime. Listeners merely need one spin through the album to realize the breadth and depth of the Avett's music. The infectious "Love Like The Movies," the get-up-and-go of the opener, "The Traveling Song," the heartache of "Pretty Girl From Annapolis", and the somber "Smoke In Our Lights" show the range of emotion and conviction within the songwriting. The overall sound is without the need of a label, because frankly none would do the music the justice. It's simply left up to each person to extract his or her own account from the Avett's music.

Avett Brothers When people ask Scott and Seth Avett how long they've been playing music they'll usually say, "forever." Though, under the name The Avett Brothers, they've only been playing for a relatively short amount of time. Yet, the Avett's sound is indicative of a lifetime of development and an implicit partnership. In 1998, during the time of the Avett's rock band, Nemo, Scott began getting together with some friends and other flat-pickers on Tuesday nights in Greenville, NC to drink liquor, play acoustic bluegrass and country music, and occasionally perform on the street. Having gained an interest in acoustic music after meeting Doc Watson at an early age, Seth joined in and they called the gatherings "The Back Porch Project" or "Nemo Downstairs." During this time, Seth and Scott started writing originals over the phone and would throw them in during the get-togethers. As time passed and 2000 rolled around, the Avetts, with friend and fellow Nemo guitarist, John Twomey, compiled a 6-song, self-titled record under the moniker The Avett Brothers. The three also began playing sporadic acoustic shows in their off time from Nemo. Around Halloween in 2001, Nemo fell apart. At first, Scott, Seth and long-time friend Kenny Graham wanted to carry on, but they soon came to the realization it was time to move forward. Scott and Seth fell back on the acoustic music they had been crafting, realizing that it was more accessible than Nemo's brazen, rock sound. During this time, the Avetts also parted ways with Twomey. Seth testified, "John is a great guitarist, we just knew it was right to part ways at the time." In January of 2002, after several months of songwriting and a few performances with various players, The Avett Brothers entered Pat Gauthier's studio in Marshville, NC to record their first album, Country Was. It was during that time that the Avetts realized the music they were making was special, more natural and truthful than anything they'd created before. It was also during that time that stand-up bassist Bob Crawford became a permanent member of The Avett Brothers. After a self-booked, 11-state, 2-month summer tour, endless amounts of regional shows, and traveling to promote the Country Was album, the boys took a break in late 2002 to prepare to record the follow-up. To kick off 2003, The Avett Brothers returned to the Gauthier's Marshville, NC recording studio to begin work on their new material. However, this time the Avetts were prepared for the job. Unlike the past, where the songs were written and recorded without being toured on or played in a live setting, the majority of the new songs were thoroughly worked through and developed. With this confidence, the Avetts aimed to nail the intensity of their infamous live shows. As the Avetts stated, "we went in, more than ever, knowing exactly what we wanted to do. There were no questions or fogginess, which can show insecurity in the musician and in the band." Seth, Scott and Bob knew the exact purpose of each song and understood through and through the meaning behind each lyric. After 70 hours in the studio, The Avett Brothers emerged with A Carolina Jubilee, a paramount representation of the Avett's journey so far. The album, like The Avett Brothers, is a mixture of old-time country, bluegrass, pop melodies, folk, rock n' roll, honky-tonk and ragtime. Listeners merely need one spin through the album to realize the breadth and depth of the Avett's music. The infectious "Love Like The Movies," the get-up-and-go of the opener, "The Traveling Song," the heartache of "Pretty Girl From Annapolis", and the somber "Smoke In Our Lights" show the range of emotion and conviction within the songwriting. The overall sound is without the need of a label, because frankly none would do the music the justice. It's simply left up to each person to extract his or her own account from the Avett's music.

Sarah Tollerson & The Big Fantastic “Sarah Tollerson reminded me of a young, extremely happy, Joni Mitchell. Sarah has the unique ability to exude simultaneous cheer and cynicism in the same song. In an industry that dishes out more of the latter, this is a girl to whom I have a feeling it just won't matter. She'll keep on getting better and better and writing the songs with which her fan base connects.” -Cindy Lou Harrington, President, Georgia Music Industry Association (2001-2004) Paying the rent on time might be accomplishment enough for most twenty somethings, forget a burgeoning music career. But not for Athens' own songstress Sarah Tollerson. Music is in her genes. Sarah, who has been compared to singers such as Fiona Apple, learned guitar from her father while she was still in middle school and it's been sweet music ever since. She counts Jump Little Children, Mike Willis and the Escape Artists, The Counting Crows, Will Hoge and No Doubt among the influences for her pop and blues driven acoustics. She’s graced the stages of countless venues across Georgia including The Georgia Theatre, Tasty World, Red Light Café, 106 West, Nuci’s Space, Buffington’s, Last Call, Wild Wing Café, DT’s Downunder, Washington Street Tavern, and Flicker Theater where she shared the stage with artists such as David Mead, Bain Mattox, and the Escape Artists. She was also awarded first place at the 2004 Athens MUSIC Project Open Mic Competition. Along with playing numerous venues, Sarah has also made several live radio appearances. First appearing on 99X Morning Show’s Your Big Break with Barnes, Leslie and Jimmy, Sarah performed her fast-paced and upbeat hit “Freaks Like Me.” She branched out a few years later, performing two originals, “This Old Jacket” and “Natural Star” for Z97’s Sunday ritual, Almost Famous—a gig that put her in frequent rotation on the Milledgeville station. If there’s one thing to be said about this songbird, it’s her ability to work a crowd. "Her song 'Natural Star' says it all... when Sarah is on stage, she grabs the attention and respect of everyone in the audience with her catchy riffs and lyrical stories,” says Athens Open Mic representative Alec Wooden. She already has a great fan base that just keeps growing. “I love my fans,” says Sarah, “they’re crazy, they’re loud, and they sing along.” After several years as a solo act, Sarah decided to take on a band: Trevor Wooden (guitar/vocals) Alec Wooden (bass/vocals) and Joe Bleakley (drums). Despite the band's highly successful three month run in Athens, Sarah has made the decision to attend the Berklee College of Music in Boston where she will relocate in January 2006. The road ahead looks promising for budding star Sarah Tollerson. Samantha Kirby

Maserati "I have never been one to steer clear of hyperbole, and so it is with great pride and conviction that I embark on this over- the-top endorsement of what may well be the greatest band to ever call Athens home. From their early days as post-emo-reformed-math experimenters, Maserati showed promise, but with last year's addition of dynamo Jerry Fuchs (who for my money is the greatest living rock drummer), the group embraced the misunderstood and oft-maligned universe of psychedelic rock, introducing a healthy dose of Pink Floyd and Can to their already compelling prog-punk mix. Drunk on the power of this newfound experimental freedom, Maserati continues to evolve in ways their built-in hipster audience might not fully appreciate but lovingly laps up all the same." - Ryan Lewis, Athens Banner-Herald

Lionz Lionz, which has been touring the east coast for more than six years, recently returned home after headlining a festival at the House of Blues in Myrtle Beach for the second year in a row. Lionz—coming off the recent release of its debut album, Stranger Things Have Happened—is continually writing new originals and adding works from new musical influences to its repertoire. The band members—who each boast 15 years of experience playing at large venues, festivals, and bars—have been playing music with each other for more than ten years in different conglomerations. The right mix finally came together and became what is now known as Lionz. Leading the way on drums are Mike Strickland (Field Trip/Soup Kitchen) and Nate Hale (Cosmic Charlie/SVA). On bass guitar is Clint Swords (Betsy Frank/Soul Kitchen). The already legendary Daniel Marler (Field Trip/Marler Brothers) and Damian Kapcala (Fiasco/Field Trip/Thelonious) share the instrumental leads on guitar and keyboards. The band is fronted by singer/lyricist Jefferson Taffet (Brother Boldt and The Shamans). Lionz is anxious to get back into the studio to work once again with producer David Barbe (Drive by Truckers/Blueground Undergrass/Sugar). Lionz has been featured on several radio programs during 2006 and has won two Athens Flagpole Music Awards. Recently Lionz was nominated for two other awards—best lead guitarist and best rhythm section—by Georgia radio station Z97. Previous well-known guests have included Reverend Jeff Mosier (Blueground Undergrass), Dave Blackmon (frequent Widespread Panic guest), and the late blues legend Neil Pattman. LIONZ is.... Nate Hale: Drums/Percussion Damian Kapcala: Keyboards/Vocals Daniel Marler: Lead Guitar/Vocals Mike Strickland: Drums Clint Swords: Bass/Vocals Jefferson Taffet: Lead Vocals

G Love & Special Sauce G. Love, vox/guitar/harp Jimi Jazz, bass Houseman, drums Mark Boyce, keys

G Love & Special Sauce G. Love, vox/guitar/harp Jimi Jazz, bass Houseman, drums Mark Boyce, keys

Tea Leaf Green "Got a little bit of soul / Got a little bit of rock n' roll in my bones." Thus opens Taught to be Proud, the new studio album from San Francisco's bustling Tea Leaf Green, a band of youthful gypsies with an abundance of both rock & soul. You can feel it in their hair-raising live performances and you can hear it in the headlong rush of their latest release. Conjuring the spirit of '70s Bob Dylan, The Faces, and early Elton John, Tea Leaf Green takes classic sounds and remind us exactly why we lifted our lighters in the air in the first place. Singer-songwriter & keyboardist Trevor Garrod says, "Everything should be energetic. We're trying to get a response all the time. We have songs that start off with a coiling energy and that's us trying to interact with the crowd and get them involved." The compelling reach of Tea Leaf Green grabs you in the opening seconds of their latest release, and never lets go through the course of a sonic hayride that takes us away from our troubled towns and into a brighter countryside. "Taught to be Proud makes me feel like all the past years that the band has been playing were just practice. This album is TLG's missing piece," offers Garrod. Red hot guitarist Josh Clark adds, "Taught to be Proud seems to me to have captured the more eloquent and simply stated aspects of the band. It feels, dare I say, grown up." That growth spurt hasn't gone unnoticed. Tea Leaf opened shows in fall 2005 for Gov't Mule & Trey Anastasio, and they spent the summer gracing stages at high profile gatherings like the Bonnaroo, Wakarusa, and High Sierra festivals. The band tours relentlessly, headlining packed houses coast to coast. Every performance carries a kind of apostolic zeal, a belief in the innate power of music to deliver truth and pleasure. Facing down the dark tide they see on the horizon with honesty & infectious vigor, TLG make you believe in a future where the world can be made better if we open our eyes and just take someone's hand. What catches your ear about TLG is how they evoke the same feeling as classic bands without mimicking their ancestors. The vibe is timeless, but how they generate it is all their own making. "The thing about Tea Leaf Green is that we never sat down and talked about what kind of band we wanted to be," Garrod explains. "We didn't write up a manifesto, swap art rock tapes or list endless influences on CraigsList trying to find the players. We just started playing together and it's always felt right." Clark jumps in, "Making Rock and Roll is an art form best performed with an understanding of its tradition." One senses open-ended possibilities with Tea Leaf Green. The sheer range contained on Taught to be Proud testifies to their grasp of reflective songcraft, breezy pop, and expansive exploration, all laid on the rock solid foundation of bassist Ben Chambers and drummer Scott Rager. There's an embracing sweep to what this band does. They are bards for dispossessed ramblers, gamblers with no bankroll, and hobos waiting for the sunrise. The postmodern flower children sway to their beat - and the late night ravers sweat their way through TLG's garden. They are hope for disenchanted blue staters - and the best dance partner beer ever had in a red state. They make us remember our hips and that smiling isn't as hard as we usually make it. And they do it all without switching off deeper thoughts. In fact, they show us the wellspring of hope waiting inside the examined life. Smart and dynamic, it's a compelling combination that speaks to a bright future for this heart-strong quartet.