Event Calendar

Award-winning violinist and dancer Lindsey Stirling will hit the road this summer in support of her ARTEMIS album. Produced by Live Nation, the 36-city tour kicks off on Thursday, June 25th in Minneapolis, MN and ends on August 14th in Toronto, ON. Stirling will bring an all new production to audiences throughout North America in iconic venues including Red Rocks in Denver, CO on July 8th and her inaugural appearance at New York’s Radio City Music Hall on August 3rd, which will feature surprise special guests. 

Lindsey Stirling with special guest Kiesza to bring “The Artemis Tour” to Red Hat Amphitheater Raleigh on July 29.  Tickets go on sale Friday March 6 at 10am at LiveNation.com & via the Live Nation app.  

“After taking the Artemis tour all over the world, I can't wait to FINALLY bring it home to the states,” Stirling said. “I never know how to describe my shows but they are theatrical, full of choreography, costumes, and a light show that would make a DJ feel quite at home. This Artemis tour is my biggest and boldest show yet and it’s a joy to perform. I hope you love it.”

Fans can gain access to a special pre-sale by signing up on her website today: lindseystirling.com. Pre-sale begins Wednesday, March 4th at 10am local. Tickets will be available to the public Friday, March 6th at 10am local.

Special VIP packages will be available on the North American Tour, including limited Meet & Greet Experiences, an invitation to Lindsey’s World - a pre-show party where Lindsey will share her experiences in life and music - a chance to see an exhibit of Lindsey’s costumes and memorabilia, and much more. VIP details here.

Stirling’s fourth studio album, ARTEMIS, was released in fall of 2019 and made an appearance on the Billboard Top 200 chart as well as topping the Billboard Independent and Electronic Charts. Lindsey’s recent TV appearances include the Champions finale of America’s Got Talent and appearances on NBC’s The Kelly Clarkson Show and ABC’s Kelly and Ryan in addition to filming several new videos and working on her accompanying Artemis-inspired Comic book series.

Sign up for pre-sale access and get ticket info: https://found.ee/Lindsey_touring

VIP details: https://found.ee/NA_Artemis_VIP_2020

Tickets available to the public Friday, March 6th at 10am local.

About Lindsey Stirling

Lindsey Stirling remains fearless enough to always dream big.  Since the release of her 2012 self-titled debut, the electronic music impresario, violinist, dancer, and artist quietly and humbly became one of the 21st century’s most innovative stars by clinging to her groundbreaking vision of cinematic violin-driven electronic music. After bowing at #2 on the Billboard Top 200 and #1 on the Dance/Electronic Album Chart, holding #1 on the Classical Album Chart for 21 consecutive weeks, and receiving a Billboard Music Award for “Top Dance/Electronic Album,” her sophomore opus Shatter Me would not only garner an RIAA Gold certification, but it would rank as the #2 Dance/Electronic Album and #1 Classical Album on Billboard’s 2015 Year-End charts. Attracting over 12 million subscribers and 2.8 billion-plus views on YouTube, in 2015 Forbes placed Lindsey at #4 on its yearly YouTube artists list, making her the highest-ranked female. Her headline tours would play to a cumulative audience of over 800,000 people worldwide, and her literary debut The Only Pirate at the Party, co-written with her sister Brook S. Passey became a New York Times Bestseller.  Lindsey’s third-studio album Brave Enough, debuted at #5 on Billboard’s Top 200 Album Chart, went on to score the #1 spot on Billboard’s year-end Top Dance/Electronic Album list and earned Stirling a 2017 Billboard Music Award for “Top Dance/Electronic Album”. In 2017 Lindsey released her first ever holiday album titled Warmer in the Winter featuring classic and original songs.  This album was the #1 new Christmas album of 2017, ahead of pop music heavyweights such as Gwen Stefani and Sia.  It was also the best-selling new holiday album and the best performing holiday album on Pandora with over 40 million spins.   With such insistent demand coming from her fans, the Christmas Album marked another special release in 2018 with a few new songs as well as some Christmas classics.   Lindsey’s musical talent and success on YouTube with over a Billion Views also launched a successful career into Television.  Driven by a strong International Fan base, Lindsey was runner-up on Season 25 of ABC’s hit show “Dancing with the Stars” with her partner Mark Ballas and did a stint on NBC’s “America’s Got Talent” as well.  She has continued to build an impressive fan base that stretched across all demographics forging her own path for future young Artists to emulate.  Amongst her numerous achievements, Stirling co-headed the US tour with Evanescence which was named as one of Live Nation’s 10 best-selling amphitheater tours of the 2018 Summer in addition to winning several coveted Music Awards and numerous appearances on the top Billboard Charts.  Lindsey Stirling embodies the true spirit of today’s independent recording artist whose symbiotic relationship with her fans has led to a Worldwide audience filled with positivity.  By using her own story to show young adults that confidence in the very thing that makes you unique is the key to success, she continues to be a light in today’s Entertainment Scene and bring her own brand of ‘Magic’ to the many lives she has touched. 

HERE FOR NOW TOUR 2020

WITH SPECIAL GUESTS JAI WOLF & EVAN GIIA

Charlotte Metro Credit Union Amphitheatre – Friday May 1

Red Hat Amphitheater Raleigh – May 14

Tickets on sale Friday January 24 at LiveNation.com

Louis The Child have partnered with PLUS1 so that $1 from every ticket will go to organizations bringing dignity, equity, and access to communities who need it. www.plus1.org

Blackberry Smoke will kick off their extensive “Spirit Of The South Tour: A Celebration of Southern Rock and Roll” this summer with special guests The Allman Betts Band and The Wild Feathers.

Spirit of the South: A Celebration of Southern Rock and Roll featuring Blackberry Smoke, with special guests The Allman Betts Band and The Wild Feathers to play Charlotte Metro Credit Union Amphitheatre on Friday August 14, Red Hat Amphitheater Raleigh on Saturday August 15, and CCNB Amphitheatre at Heritage Park Simpsonville on Sunday August 16.  Tickets go on sale Friday March 6 at 10am at LiveNation.com and via the Live Nation app. 

Created in celebration of the various roots and influences within Southern music, every show will conclude with a unique collaborative finale, which will feature Blackberry Smoke, The Allman Betts Band and The Wild Feathers and additional surprise guests showcasing the inspirations of Rock, Blues, Gospel and Soul music. Additionally, for the first time ever, Blackberry Smoke is partnering with The Allman Brothers Band Museum At The Big House—located in Macon, GA—to bring the band’s storied history on the road with a new mobile set up. The museum will feature never-before-seen archival items including original hand-written lyrics, awards, rare family photographs, iconic pieces of clothing and jewelry, one-of-a-kind instruments played by the band and more. All “Spirit Of The South Tour” ticket holders will be granted free access to the museum with $1 of each ticket donated to The Allman Brothers Museum at the Big House to help preserve its history and heritage.

Of the collaboration, The Big House Museum director Richard Brent shares, “We feel privileged to have this opportunity to get out on the road and bring some of these unique items to the fans. The museum has become such an amazing place for people to gather, but it comes with a big price to maintain and expand. If you haven’t been able to get down to Macon, GA, this exhibit will give you a great visual of what we are about. You will not only get to see what we have brought out, but you also will get to learn some great stories from the songs, albums and images of The Allman Brothers Band. We know that by showing a small portion of what the ABB museum has to offer, it will inspire folks to stop by the Big House the next time they are in the Macon area.”  

Additionally, of the tour, Blackberry Smoke lead singer Charlie Starr shares, “We are beyond excited to bring our Spirit Of The South tour to fans this summer. If you think of this music as a genre and you step back far enough to see the scope of what a handful of bands from the South were able to accomplish, it’s pretty damn staggering. All without giving a damn about what was hip or trendy at the time. It’s music that is a part of the fabric of people’s lives…music that we all love and cherish deeply. On this tour we’d like to celebrate the musical freedom championed by those pioneers and maybe help tell the story. It’s not only what people think of as Southern Rock, but all the elements in Rock and Roll that make it Southern.  It’s blues, gospel, soul, jazz and bluegrass…everything that took root in the South and spread all over the world.  We feel this tour is going to give us all a unique opportunity for something really special. I think everyone will love the Celebration!”

The Allman Betts Band’s Devon Allman also comments, “I’ve been knowing the Blackberry cats a couple decades, we come up in the same circuit. This tour is going to be special, the sweet warm summer nights and the epic jams at the end. Can’t f***ing wait!”

The new tour adds to a landmark series of years for Blackberry Smoke, who recently returned to the studio with Grammy Award-winning producer Dave Cobb to begin work on their next album, including a new song with Jamey Johnson. They also recently spent time at Capricorn Sound Studios in Macon, GA creating new renditions of several songs with ties to the historic studio and the town. The new music follows the release of their latest full-length album, Find A Light, which debuted as the best-selling Country and Americana/Folk album in the country, entered at #3 on the Billboard Top Country Albums chart and #2 on the Billboard Americana/Folk Albums chart in 2018. Of the album, NPR Music praises, “pushes the envelope while providing that famous Blackberry Smoke autonomy, delivered with soulful vocals, haunting harmonies and kick ass songs.” After the release of Find A Light, Blackberry Smoke released two additional projects—a live album and concert film, Homecoming: Live In Atlanta (stream/purchase here)—which debuted at #1 on Billboard’s Americana/Folk Album Sales chart—and a 6-song acoustic EP, The Southern Ground Sessions (stream/purchase here).

Blackberry Smoke is Charlie Starr (vocals, guitar), Richard Turner (bass, vocals), Brit Turner (drums), Paul Jackson (guitar, vocals), and Brandon Still (keyboards). Since their debut in 2004, the band has independently released six full-length records and has toured relentlessly, building a strong and loyal community of fans. In addition to their work as musicians, Blackberry Smoke remains committed to charitable work and has raised nearly $400,000 benefiting children’s cancer research.

Primus will pay homage to prog-rock legends Rush this summer with A Tribute to Kings, a cross-country tour that will feature the Bay Area trio playing Rush's classic 1977 album A Farewell to Kings in its entirety, in addition to their own music.

"A little over one year ago, Ler Lalonde and I started kicking the idea around of Primus performing a series of shows featuring an iconic Rush album from our youth," says bandleader Les Claypool. "Being that A Farewell to Kings was the first Rush record I ever heard, and that it contains my all-time favorite Rush tune, "Cygnus X1," the choice narrowed quickly. Years ago I had done something similar with Colonel Claypool's Fearless Flying Frog Brigade, when we covered Pink Floyd's Animals in its entirety. It was an insane amount of work, but ended up being one of the most enjoyable live endeavors I've ever done. Dubbing the tour 'Primus: A Tribute to Kings,' it was originally scheduled to be performed in the Fall of 2019 but, when we were asked to support Slayer on their Final Campaign, the 'Tribute to Kings' tour was postponed. 

Geddy, Alex and Neil had been superheroes to Larry, Herb and I in our teens, so when we all became pals while touring together in the early '90s, we were pretty delighted; partially because of the musical geek-out factor but mostly because the three guys whom we had admired so much from afar, turned out to be truly great, down-to-earth humans, and like us, a tad eccentric. 

The 'Tribute to Kings' tour will be just as it is implied, a respectful and loving tribute to three spectacular musicians, songwriters, legends and friends."

Tune Prism Cover Artist Spotlight: Lord Huron and the Long Lost Sounds of Yore Words and Memories by Tubbs Tarbell

Friends,

I been thinkin' a lot about the past again. I guess if you know me, that's nothin' new. Yeah, I smell what you're sniffin' at: "Oh boy, here goes ol' Tubbs again, ramblin' about those good ol' bygone days of yore." Well, sure, I'll allow you that'n. Maybe I do tend to take a good hard glance into the rearview before I step my boot on the gas. But don't we all? Or shouldn't we, in any case?

It just seems to me that, these days, the past is everywhere you look. Hell, take another peek at that sentence again. The first time you read it is already in the past. Funny how time just keeps clickin' along. These days, anyway.

So, sometime in what's now the not-too distant past, I was sittin' in my usual seat inside Whispering Pines, cozied up to a glass of something cozy, when, from outta nowhere, this particular tune crept into my ear. It was a funny thing, because it immediately felt familiar to me, as a song that creeps into your ear usually has to be -- 'specially for somebody like me who don't write 'em...I just roll 'em. (You've heard me say that one more than a few times, no doubt.) But then the more I thought about it, and the more I listened to this little tune janglin' around upstairs, I realized that I couldn't place it as somethin' I'd ever heard before. (And take my word for it: the ol' upstairs is a titanium steel trap for tunes, even now.) It was a conundrum.

That little number stuck with me for more than a few days. I'd be doing something mindless -- scrubbin' my cup, combin' my hat -- when all of a sudden, here it came again: It's hard to make friends when you're half in the grave, but I ain't dead yet and I've got something to say. It was the loveliest thing, and dang me if it didn't keep sounding chummier and chummier. It was sublime -- that drivin' jangle of the guitar, the steady thump of the drums, those breezy, liltin' voices -- but I just couldn't place it. Could it have been that ol' Tubbs here had somehow tapped into that cosmic eternal and unwittingly written his first tune without even knowin' it?

A week (or was it a month?) went by and the tune never went too far from my head. There's a stranger in my eyes again... It almost got to where I was more used to the tune bein' there under my hat than my own face. ...I swear to God I don't know him. But then it happened, somethin' I'll never forget for as long as I live: My little tune came to life before my very eyes.

Now, be patient. I'll tell you how.

That day, one of my all-time favorite acts happened to be booked in Whispering Pines for a recordin' spell, those good-time bootscooters and rhythm rascals known as the Lord Huron. As always, the boys showed up early -- but not earlier than ol' Tubbs here -- and made haste toward the studio's live room.

"Howdy, fellers," says I. "Headed for the big room, I see." (If Whispering Pines was a church -- it ain't, mind you, but iffin' it were -- the live room would be the holy pulpit, I reckon.)

Ben (he's the singer) just looked at me, touched the brim of his hat, and nodded. "Thought we might try somethin' different this time, good buddy," says he.

So I just gave him my grandest grand welcome and stepped aside, happy to have them back. Those boys know what they're doin,' havin' made quite a few of their records with us. But the live room, this was gonna be a first, and a real treat. I tried my best to keep my grin to a simmer, sat down at the board, and watched as Mark, Miguel, Tom, and Ben started tunin' her up

If you've ever had the pleasure of recordin' at the Pines, then you know that nothin' in the place is off limits. Guitars, cymbals, pianos, pedal steel, mandolins, microphones, saxophones -- what's ours is ours, that's my motto. And as the Huron boys are basically my own brothers by now -- well, nephews, maybe, but who's countin' -- I was glad to see their hands on all of it. I even heard 'em talk about recordin' a gigantic string and woodwind orchestra in some dang place like Sweden or somewhat...those fellers really shoot the moon, I tell ya.

I'd barely had time to pour my coffee and hit the big red button when they settled into a dusky groove so quick I could hardly believe it. Must have been all that time playin' out on the road together -- even headlined that dang Bowl they got out in Hollywood since last I laid eyes. Hell, they've known each other since grade school so it don't surprise...that's the rumor, anyway.

Now, I've loved all their hits -- "The Night We Met," "Time to Run," "When the Night is Over" -- but this new stuff they started in on just sounded...well, it just sounded like somethin' eerily familiar, as it were. Like somethin' from a past life I'd heard before, but brand new, all at once. Like a note plucked long ago that had moseyed through time to finally belly up to my bar once and for all. It was a conundrum.

The first number they called "The Moon Doesn't Mind," and I say it reminded me of one of those cowboy pictures where the lone horseman is singin' his heart out to the audience from atop his brave steed. But somethin' about the pang in Ben's voice made it seem like that feelin' was more lonesome than just simply lone -- or maybe it was just my view from the sidestage, as it were. Maybe the light catches a singer a little different when you're not starin' at him head-on, or even through a lens. I always did wonder if those cowboys were really as rootin' and tootin' as they looked on TV. I gave the boys a good round of applause before they launched into a real sunset of a song they called "Mine Forever," a swingin,' full-on heart-renderer with a bubbly sound. All of a sudden I heard handclaps and female voices -- I swear those ladies must have risen up outta the floorboards! Never saw 'em come in, and didn't see 'em leave. That's just the magic of the Pines, I suppose. Door knockin's for strangers.

The next one, "Love Me Like You Used To," brought to ear of one of those classic lovelorn country ballads, like one sung by Handsome Scott or even ol' Roy Casey himself. "Long Lost" and "I Lied" both slowed the tempo down a notch or two, but sounded no less grand. The boys were really firin' on all cylinders that day, I tell ya, fillin' the air of that grand live room -- and my own soul -- with those tales of hard luck, heartbreak, and redemption. It was as if the boys had become conduits for the spirits of the room and were usin' them to tap into that same cosmic eternal I've always felt -- known -- was hoverin' around inside Whispering Pines.

I was feelin' pretty fine. Our old pine clock on the wall had long stopped tickin' and the boys surely didn't need any help from little ol' me, so I helped myself to a little somethin' cozy and kicked my boots up on the board. And it was then, in that instant, that I heard it...my tune.

All messed up with nowhere to go, I stare at myself in the mirror alone... It's hard to make friends when you're half in the grave...

That drivin' guitar jangle, the steady drum thump, those breezy, liltin' voices...it was all unmistakable. My tune! It had somehow crept out from that titanium trap I keep under my hat and sneaked into the live room to serenade me from behind the glass studio wall. Time seemed to stand still, even more than it usually does around here. It was like some long, lost dream come to life, a forgotten classic from a parallel dimension, the echo of a memory that wasn't mine. But the feelin' was real.

"Say, boys, what's that one called?" I hollered into the talkback, trying to seem casual.

They looked at one another, laughed. "Well, I'm not sure," Ben replied. "What does it feel like it's called to you?"

As he spoke, I caught a glimpse of myself in the unpolished studio glass, and somethin' hit me, somethin' I've never been able to explain. "Well, I reckon it's called 'Not Dead Yet,'" I reckoned. And wouldn't you know it? Turned out, it was.

The Huron kept at it for a little while longer that day, but I must have drifted off peaceful-like in somethin' of a cosmic slumber, with my tune -- all of the tunes, in fact, as all of them were now mine -- janglin' heavy and happy in my heart. When I woke, the light from the next day was just startin' to ease into the Pines, and I was alone. I stood up, stretched my creaky back, scratched a little stubble. As I turned to grab my leavin' hat off its peg, somethin' caught my eye: A hand- scratched note bound to a faded vinyl record sleeve was layin' on the floor.

I bent down to snatch it up. The record was called "Long Lost," and it looked as if it had been layin' there on the floor since before Whispering Pines was even a whisper itself. I brushed the dust off the cover and saw that the artist was none other than the boys themselves -- Lord Huron.

"Say, Tubbs," the note read. "Time washes aways what man creates, but 'Long Lost' might convince you that a note can live on. Be good now. The Boys."

And just like that, they were gone.

As ever, friends, may you live until you die, Tubbs