This year the Lineup contains both traditional and Indie Blues artists! Which reflects the diversity of music that comes from the Roots of the Blues. No matter what your flavor of Blues and Roots Music you will find something to love in this lineup!
In Addition to great music on the main stage there will be an “Education Stage” where you will be able to learn Blues Dancing, Zydeco Dancing and participate in a Blues Harmonica workshop! This is a great event geared towards the whole family!
Starting off with the Headliner ..
Carl Weathersby was born in 1953, in Jackson, Mississippi and moved to East Chicago, Indiana with his family when he was eight. When he started playing guitar as a teen he said his father always had musician friends stopping by the house. One that used to come by often was this big guy that Carl only knew as Albert, the mechanic. Albert happened to be watching the young Weathersby practicing some Albert King songs on guitar one day. Carl said he had been practicing this one song called ‘Cross Cut Saw,’ playing it over and over until he said, ‘I think I got it. So I started playing it and this guy said, ‘man, that ain’t the way that song goes, that ain’t the way I played it.’ It turned out to be Albert King who proceeded to show an amazed Weathersby just how it was supposed to be played. King offered some welcome encouragement to Carl and took a liking to the young lad.
After his tour of duty in Viet Nam, Carl found employment as a steel mill worker, as a prison guard and even a police officer. Weathersby was Albert King’s rhythm guitarist between 1979 and 1982, and then spent some 15 years with Billy Branch’s Sons of Blues as lead guitarist before striking out on his own. His debut solo album on Evidence Records, ‘Don’t Lay Your Blues On Me’, was nominated for the W.C. Handy ‘Blues Album of the Year’ award. His latest release ‘Hold On’ is available online at Cdbaby.com.
Mixing Southern charm, soulful vocals, and fierce guitar-playing, Carl plays the blues, from down-and-dirty to scintillating Albert King influenced chops. This is one powerful blues performer that will leave you amazed and thoroughly entertained.
Up All Night.” It’s an apt title for Albert Castiglia’s seventh album: nobody sleeps when this man is in town. After 27 years of house-rocking studio albums and smack-in-the-mouth live shows, the Florida bandleader is the acknowledged master of red-raw, sweat-and-hair blues that gives it to you straight. Now, the visceral riffs and bruised soul of Up All Night make everything else sound like a lullaby. “I’d describe the musical vibe of this new album,” says Castiglia simply, “as heavy.”
Being released October 6, 2017 on Ruf Records, Up All Night finds Castiglia in a creative swagger after last year’s acclaimed Big Dog. What wasn’t broke then hasn’t been fixed now, with the bluesman once again recording at Dockside Studios, Louisiana, and capturing a warts-and-all mix alongside producer Mike Zito. “I figured since the Big Dog session went so well there, why change studios?” he reasons. “I’ll probably record there for the rest of my life.”
Dockside might be home-turf, but any notion of a comfort zone was dispelled by an edgy new lineup who pushed their bandleader to the wire. “Putting my new band together was a pivotal moment and this recent incarnation has really upped my game,” says Castiglia. “My drummer, Brian Menendez, is very dynamic and gives me that extra spark. He’s along the lines of a Ginger Baker or Mitch Mitchell. Jimmy Pritchard is my bass player and he’s solid as a rock. His tone is fat and he’s right on time. When I hear him, I think of Bill Wyman or Calvin ‘Fuzz’ Jones. It’s a power trio with no boundaries or restrictions. It’s a pretty amazing sound to me and it’s reflective in Up All Night.”
Up All Night is what happens when fist-tight chemistry meets a songwriter firing on all cylinders. Flying out of the blocks and bottling ten songs on the first day, Castiglia shook the Dockside walls with the most powerful songs of his career. There’s the stinging “Hoodoo On Me.” The strutting garage-band vibe and scream-it-back chorus of “Three Legged Dog.” The punchy call-and-response bar-room brawler that is “Knocked Down Loaded.” “That song was written with my frequent collaborator, Graham Wood Drout,” says Castiglia, “and it brings me back to when I was a young musician and felt like I was ten feet tall and bulletproof.”
Other high-velocity cuts include “95 South”‘s travelogue, decorated by the inimitable slide-guitar fairydust of Sonny Landreth (“That’s about having to drive from Washington D.C. to my home in South Florida in the middle of a tropical storm”), while “Chase Her Around The House” splices an early rock ‘n’ roll vibe with an age-old male need (“It’s about coming home and wanting to devour your significant other after being on the road for a long time”).
He’ll pummel you with the rough stuff, but Castiglia can also shift gears to more contemplative moments, whether that’s the rolling and contented acoustic blues of “You Got Me To That Place,” or its thematic opposite-man, “Unhappy House Of Blues.” “That song was co-written with Cyril Neville,” he explains. “Cyril wrote the lyrics but I completely relate to them, because they bring me back to unhappier times when I was a struggling musician and I had no support from who I was with. I think anyone can relate to these tunes.”
This isn’t Castiglia’s first time around. Born on August 12th, 1969, in New York – before moving to Florida aged five – he made his professional debut in 1990 with Miami Blues Authority, but truly hit the international radar when Junior Wells invited him into his solo band for several world tours. “It was an incredible adventure,” recalls Castiglia. “Ever since I was a kid, I wanted to be a Chicago bluesman. Junior opened the door for me to do that. He recorded his last studio album, Come On In This House, at Dockside. What a sign!”
The gig was a shop-window, and though Wells died in 1998, there was no stopping Castiglia, whether he was joining the great Atlanta vocalist Sandra Hall for national tours in the late-’90s, or holding his own in onstage jams with everyone from Pinetop Perkins to John Primer. Nobody’s sideman, his own burgeoning solo career began with 2002’s Burn, followed up by 2006’s A Stone’s Throw, 2010’s Keepin On and 2012’s Living The Dream. In 2014, Ruf debut Solid Ground was declared “smouldering and intense” by The Blues Magazine, while last year’s Big Dog was the thrilling culmination of a lifetime’s craft, championed by Blues Blast’s Kim Derr as “the best album I’ve listened to this year”.
That back catalogue is a high bar, but Up All Night raises it, defying you to sleep until you’ve worn out its 11 magnetic tracks. “You’ll rock out and dance like nobody’s watching,” concludes Albert. “If you’re sad, this record will lift you up. If you’re already happy, this album will make you happier. You can listen to this album anywhere, anytime…”
They bear the torch of their predecessors with the knowledge that Blues and rock ‘n roll can move a new generation. They’ve played in front of thousands at festivals like Outside Lands and Voodoo Fest, they’ve headlined the legendary Fillmore Theater in their hometown and they have supported acts like The Black Keys, Cage the Elephant and ZZ Top. Now, with the release of their fourth album, Twelve Spells, they have solidified a place in their City’s rich rock ‘n roll history.
Founded by brothers Shannon (vocals/drums/harp) and Spence Koehler (guitar/vocals), who came from the Sierra Nevada foothills near Tollhouse CA, The Stone Foxes started back in the Koehlers’ SF State days in the Sunset District of San Francisco. Two weeks before they went on tour in 2011, they decided they needed a keyboard player and they added Elliott Peltzman from Fairfax, CA to play for a couple months…but he never left. They needed another drummer who could also play bass and guitar for tour in 2013, so Shannon called his high school friend Brian “The Buffalo” Bakalian…he never left either. Their old friend Vince Dewald came in to jam one day later on that year, and after the Indiana kid started singing, playing his lefty guitar and his brother’s right handed bass upside down, it was a done deal. Finally in 2014, after convincing (basically begging) Vince’s old bandmate to move back from his home town of Boston, Ben Andrews came out to play guitar and violin. After their first practice with Ben, the circle was finally complete and they had beers at the Lone Star tavern on Harrison Street to celebrate their new-found brotherhood.
The Stone Foxes are an experience to dive into, to get wild with, to sweat with. “The Stone Foxes have an energetic style that’s rooted in swampy, foot-stomping rock… ambitious arrangements with diverse moods ranging from acoustic twang to thunderous electric-guitar riffs.” – NPR/WXPN “WORLD CAFE”
Invoking the audience with their commanding stage presence, even jumping down into the crowd if the mood strikes. Their fans know they are in for something action packed and they light a fire in the band, just as the band spreads fire back into them. Guitarists digging in, lead vocals changing between two unique voices with impassioned nuance, and keyboard and organ sounds that fill the space with smoke and burning embers. There are crunchy drum tones, wailing harmonica draws and violin cries that can silence even the most raucous of rooms. But this is not a sit-down-and-watch kind of event. Like Elvis once said about rock n roll, “If you feel it, you can’t help but move to it.” The Stone Foxes’ live show brandishes this kind of dynamic passion on stage. It’s impossible not to feel it.
With the release of Twelve Spells, the band has chronicled their new beginning. The sounds they are creating are new with tinges of western darkness, punk, surf, and americana, but are strongly tied together by their everlasting rock ‘n roll core. Lyrics about gentrification, income inequality, romance, and heart surgeries pour out of their stream of consciousness. It’s a fresh rock ‘n roll album that chronicles the years of their unification, taking on the issues of their lives and our times.