Why wait for Nada Surf's new covers album, due out in June? Get it at their Pearl Street show on 3/31

Nada Surf’s spring tour kicks off in New York on March 25th with three sold-out New York shows, and concludes in late May with a performance at the 2010 Sasquatch Music Festival. They play Pearl Street in Northampton on Wednesday, March 31st. Tix here.

Their new covers album if i had a hi-fi (incidentally a palindrome) will initially only be available for purchase at shows. It comes out to the world on June 8th. To give fans a preview of the new album Nada Surf are making their take on Bill Fox’s “Electrocution” available for free download.

if i had a hi-fi is full of inspired, unexpected choices: from avant-pop Kate Bush to underground power-pop classicist Dwight Twilley. There are some intriguingly obscure numbers, like Spanish band Mercromina’s “Evolution” and under-documented Bill Fox’s “Electrocution.” The as yet little known Fox, of Cleveland cult band The Mice, inspired local groups like Guided by Voices and Death of Samantha. Doug Gillard, who was in both bands, lends his highly evolved guitar skills to "Electrocution" as well as the Twilley and Go-Betweens songs.

if i had a hi-fi – track List

Electrocution -Bill Fox
Enjoy the Silence -Depeche Mode
Love Goes On The -Go-Betweens
Janine -Arthur Russell
You Were So Warm -Dwight Twilley
Love and Anger -Kate Bush
The Agony of Laffitte -Spoon
Bye Bye Beaute -Coralie Clement
Question- Moody Blues
Bright Side -Soft Pack
Evolution -Mercromina
I Remembered What I Was Going to Say -The Silly Pillows

Nada Surf, Dawn Landes and the Hounds, and Darlingside play the Pearl Street Ballroom on Wednesday, March 31st at 8:30. Tickets at 413-586-8686 or here.

John Allen recalls 20 years of Bollocks in anticipation of 20th Anniversary St. Paddy's show 3/13 at the Iron Horse

In 1989 Big Bad Bollocks was just two guys wandering up and down Pleasant Street in Northampton each Wednesday night doing the “Open Mic Tour”, which meant we signed ourselves up for the sessions at Sheehan’s Café and Ye Old Watering Hole.

We weren’t actually known as Big Bad Bollocks at the time, just Pat and John. One evening the host at Sheehan’s tried to deny us access to the stage by informing us, “Only acts with proper names can get a slot now, it’s a new house rule!” He and many of the other performers (mostly his friends) thought we sucked and, to be honest, we probably did, but what they disliked was the style of music we played (It wasn’t “White Guy Blues” – almost a prerequisite for taking part in the sessions.) Besides us, The Rock Gods From Chicopee were the only other act they tried to bar on aesthetic grounds. I wasn’t about to let the lack of a name keep us from performing so I spat out three words, “Big Bad Bollocks!”

In the interests of full disclosure I should tell you it was a name I’d recently come up with for a group of us, who rode our bicycles to work – as in…“Hey were a biker gang now, we ought to have a name – I know…Big bad Bollocks!” The rest is a twenty-year history involving copious amounts of alcohol, oversized women’s underwear, fighting, playing, camaraderie, loads of fun and song writing.

Our first paying gig was at Knightly’s Pub in Easthampton, Steve Westfield of legendary Valley punk band The Pajama Slave Dancers booked us to open for his new outfit The Gypsy Stretch Mark Orchestra. In the audience we found ‘Bob the Bastard’, he joined us on stage using an old snare drum we’d pulled from a pile of junk in the corner of the basement bar. He’s been a Bollock ever since, except when he’s being a Killbilly. The next to join us, on bass, was John Rielly of WRSI - DJ fame and by 1992 we’d signed with local label Jama Disc and done a 29 date pub tour of the U.K. We were also the first band to play at the old Bay State Hotel (Now The Sierra Grill) in 1990 for one of Ed Charla’s ‘Mysterious Floating Nightclub’ shows. Ed is now sadly departed and missed by many.

In 1994 we won The Boston Phoenix Best Video Award’, and almost fifteen minutes of fame on MTV. We became a fixture at The Phoenix Landing in Cambridge, The Rat in Kenmore Square and later The Middle East. By this time we’d already lost guitarist Patrick Owen and the bass and mandolin player John Rielly.

They were replaced with Pino, on guitar and Ernie Wilson on bass (both former members of Free Press, where they’d played that band’s brand of Funk on the opposite instruments). A number of musicians passed through the Bollocksphere; Anna – the only female Bollock, was beautiful and classy and for some reason liked to slum it with us when she wasn’t playing violin for The Springfield or Baltimore Symphony Orchestras, Zeiv from Israel was a classically trained pianist who played accordion for a while, which reminds me… Hank played squeezebox before him. There were also sundry string players on banjo, cittern and mandolin. One of them we called “Folk-Boy”, he was the best mandolin player ever to set foot on stage with us, but it is not his playing we remember him for – it was his complete unwillingness to spend another night with the band and our friends at The Chicken Box band house on Nantucket.

We’d played a weekend-long gig in February and were forced to stay for two extra days of drinking and carrying on because a raging storm with 15 feet standing waves had shut down The Ferry service. “Folk Boy” put his life at risk flying across Nantucket Sound through the “balls out” storm in a 4 seater-airplane to escape our drunken debauchery. He survived, but we never saw him again.

When I think of the Big Bad Bollocks, it’s the four of us who’ve been playing together for the past 15 or 16 years: Pino (The Guinea Cowboy) on custom tuned twelve-string guitar and vocals, Ernie (Bwooaaarrhhh) on electric bass, Bob (The Bastard) on drums and myself Johnny (Where’s me Whistle) Alien on lead vocals, squeezebox and tin whistle. There’s no denying we’re a motley bunch of lads producing a bawdy and eccentric musical mutation – equal parts: Punk, Pop, Vaudeville, Folk and Rock ‘n’ Roll; Oscar winning screenwriter William Monahan described our pedigree in his 2000 New York Press, front-page story about us:

"The best way to think of the Big Bad Bollocks is to imagine a hot fusion of the Sex Pistols and the Pogues. No version of the Bollocks has ever been bad (fusing knees-up, large sideboards Liverpool pub-entertainment and Northampton rock smarts, which are not bad drinking partners nor bad in a band either, but the latest incarnation of the Big Bad Bollocks rocks like a motherf****r, and the songs are great. John Allen is the real f*****g article."

The Big Bad Bollocks have recorded four of our own CDs, played on recordings and gigged with The Dropkick Murphys and The Mighty Mighty Bosstones, and performed in venues ranging from Liquor Stores to the Warped Tour. We’ve shared stages with such unlikely acts as Cypress Hill, Bo Diddley and Staind. And we almost got to play with the man who inspired the Big Bad Bollocks into existence – Shane McGowan, but he broke his arm, falling off a stage in London, and had to cancel the show. Perhaps most bizarre of all our song ‘Tidza’ was featured on the TV show ‘Dawson’s Creek’?

We are Big Bad Bollocks; we’re 20 years old and we don’t rehearse – Hell the four of us haven’t even been in a room together in 6 months. But that’s part of what makes the shows so special these days, they’re a reunion for the band and audience alike. Once the music gets going and the Guinness starts to flow – everything and everyone falls right into place and there’s nowhere else you or us would rather be (excepting “Folk Boy”). If you’re up for a bloody good session, we’ll be at The Iron Horse on March 13th, where we’ve celebrated, on or around, St Patrick’s Day for 19 of our 20 years.

Erin Go Bollocks!

-John Allen

Get your tickets here.

New school soul sensation Mayer Hawthorne reinvents old school ‘70s soul at Pearl Street, Saturday March 6th at 9PM.

The advent of "neo-soul" and the reinvention of funk and R & B has been an unspoken blessing of the past decade in music. The slow mutation from Jill Scott to the British throwback queens Duffy and Amy Winehouse have shown you don't have to reinvent the wheel, just take the old one and paint it a different color. It’s not just throwback music anymore – this revival is all about progression. Mayer Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit, and vividly remembers, as a child, driving with his father and tuning the car radio in to the rich soul and jazz history the region provided. “Most of the best music ever made came out of Detroit,” claims the singer, producer, and multi-instrumentalist, who counts Isaac Hayes, Leroy Hutson, Mike Terry, and Barry White among his influences, but draws the most inspiration from the music of Smokey Robinson, Curtis Mayfield, and the legendary songwriting and production trio of Lamont Dozier, Brian Holland, and Eddie Holland Jr.

Expectations are high for the admitted vinyl junkie who never planned on taking his crooning public. Hawthorne’s hanging-by-a-string falsetto and breakbeat production on his first recorded effort, the tender “Just Ain’t Gonna Work Out,” are simultaneously Smokey and J Dilla – equal parts “The Tracks of My Tears” and “Fall in Love.” “It’s soul,” he explains, “But it’s new.”

“I think Mayer is the only artist in the history of the label that I’ve signed after hearing only two songs,” says Peanut Butter Wolf of Stones Throw Records.

WRSI The River is playing several tracks off of Mayer Hawthorne’s debut album Strange Conversation.

Opener Nikki Jean is an up and coming singer/songwriter who sang on Lupe Fiasco's The Cool and she’s 1/2 of Nouveau Riche with Dice Raw of The Roots. Retro-rock and soul masters Purity Supreme will do a DJ set before the show and at the break.

Tickets for all IHEG shows are available at the Northampton Box Office. Charge by phone 586-8686. Order online at www.iheg.com.

Mindy Smith’s journey from “Jolene” to the Iron Horse this Thursday, Feb 25th

In 2003 before even releasing an album, Mindy Smith was given a rare chance in the world of Nashville country music. Along with folk and country mega-names like Alison Krauss, Joan Osborne and Melissa Etherirdge, Smith was asked to sing arguably one of Dolly Parton’s most famous songs “Jolene” on the Parton tribute album “Just Because I'm a Woman.” The song appeared on Mindy’s debut album “One Moment More” in 2004 with Parton backing her. Four albums later, Smith has certainly made the most of this jumping-off point for her career. Not strictly country and not strictly pop, Smith’s music bounces around the emotional spectrum. On “What Went Wrong” off her latest “Stupid Love” (August 2009) Every soul that’s even been slightly lost, heartbroken or discouraged will find solace in Smith’s music. Smith is also a spiritual songwriter but don’t be scared by titles like “Come to Jesus,” hailed by fans as one of her most touching songs. This is no religious pandering. Any one who appreciates good songwriting, sweet vocals, and a little Americana flavor will enjoy the sweet presence of Mindy Smith. Mindy Smith appears at the Iron Horse with Peter Bradley Adams this Thursday, February 25th at 7PM. --Melissa Breor Tickets available here.

David Bromberg plays the Iron Horse on Wednesday, 2/24, our 31st anniversary.

The Iron Horse celebrates its 31st anniversary (to the day) with David Bromberg. Born in Philadelphia in 1945 and raised in Tarrytown, NY, he says “as a kid I listened to rock ’n’ roll and whatever else was on the radio,” says Bromberg. “I discovered Pete Seeger and The Weavers and, through them, Reverend Gary Davis. I then discovered Big Bill Broonzy, who led me to Muddy Waters and the Chicago blues. This was more or less the same time I discovered Flatt and Scruggs, which led to Bill Monroe and Doc Watson.”

Bromberg can awe an audience into pindrop silence with a solo acoustic blues or goose his fans to their feet with a bluegrass reel or an R&B romp. He’s spent his life absorbing traditional music from its surviving creators and their recordings so convincingly – while adding his own instrumental twists – that he has become a part of musical tradition itself, as close to the source of American roots music as anyone alive. Folk, blues, bluegrass, ragtime, you name it – he has become The Real Deal.

Tickets here.

Brooks Williams' new CD "Baby O! " out 3/2, live at the Iron Horse Sunday 3/7

“How soulful a solo guitarist can be when he has talent, taste and astonishing technique.” (Blues Revue)

“Harmonically sophisticated and breathtakingly beautiful…” (Guitar Player)

Blues Americana guitarist singer and songwriter Brooks Williams delivers the deepest and most intense interpretations of everything from early blues songs to his recent original compositions on Baby O!, his 17th CD.

A 23-year veteran of the road, this is Williams’ first CD recorded in the UK, as he is living the trans-Atlantic life between Cambridge (UK) and Greenfield, MA.

On Baby O! Williams sings about a forgotten New Orleans guitarist, a Mississippi tragedy, the ache of long-distance love, staying true in the face of adversity, and not giving up on love. Williams’ voice floats over foot-stomping grooves and rollicking guitar riffs supported by a rootsy combo of bass, steel, and harmonica. Engineered by UK wunderkind Andy Bell, Baby O! is Williams’ most immediate and compelling roots record to date. It includes his take on the haunting Son House masterpiece "Grinnin' In Your Face" which Jack White plays from an old 78 in the recent guitar summit film with Jimmy Page and The Edge, "It Might Get Loud."

Williams, a Statesboro Georgia native, notes that the music that traveled across the ocean from the US to the UK on scratchy records and static-laden radio signals in the 1950s and early 1960s, then traveled back across to the US via records, singers and guitarists from the UK in the late 1960s and 1970s, continues its journey back and forth in the on-going singing of a timeless song on Baby O!

Catch Williams in a rare New England appearance before he launches the CD overseas, including England, Ireland, Africa and Italy. Brooks Williams plus Lisa Bigwood at the Iron Horse on Sunday, March 7th at 7PM. Tickets here.

“Gráda is to Irish music what Arcade Fire is to indie." -Washington Post

With a new album just out at the end of January and accolades already pouring in, popular Irish band Grada couldn't have started off 2010 on a more positive note.

Their latest release, Natural Angle combines the traditional spirit of Irish music with Appalachian folk and and bluegrass– appropriate for the band, given their choice to record the masterpiece in Nashville. Singer and bodhran player Nicola Joyce believes this decision was essential in ensuring the band produced an album focused on their dynamic energy.

"Recording in Nashville allowed us to make the kind of record that we really wanted to make, which was all about capturing the live energy of the band. That's really what we went there to do," said Joyce.

Without a doubt, the band far exceeded its goal. New listeners, critics and avid Grada fans alike are raving about the latest release; The Washington Post says “Gráda is to Irish music what Arcade Fire is to indie – informal, prodigious and full of spirit." The Irish Edition said, "At times, I feel I'm listening to a Neil Young track or something composed by Philip Glass. But this is Grada and this is the signature sound that they've been developing so successfully since forming."

Founded in 2001, Grada has undergone a number of lineup changes, all lending to the unique sound the group has cultivated through these adjustments. Currently, the quintet holds strong, with Gerry Paul on guitar, banjo and vocals; Andrew Laking on double bass and vocals; David Doocey on fiddle, whistle and concertina; Stephen Doherty on flute, whistle, accordion, bodhran and cajon; and the aforementioned Nicola Joyce on vocals and bodhran. In addition to their latest recording, the band has released four albums – 2001's "Off to Sardinia," 2002's "Endeavor," 2004's "The Landing Step" and 2007's "Cloudy Day Navigation."

Grada plays the Iron Horse on Friday, March 12th at 7PM, part of the Celtic Required Listening series. Local fiddler and Suzuki instructor Sarah Michel aka Sarah The Fiddler (left) opens. Get tickets here.

No Nap Happy Hour Kids' Series continues Sunday 2/21 with Audra Rox

Kids rock star Audra Rox has been making music and teaching music classes to children for the last 10 years. She is based in Brooklyn, NY and is the mother of two budding rock stars in a band called Toxic Muffin. Audra loves what she's doing and it shows. Her vivacious voice and personality make her classes the best in town. Kids flock to her -- and parents too! She's the cool mom you wish you met on the playground.

Download their song "Best Friends Forever" as featured on Sesame Street's new DVD "Being Green" or watch the video here

Special Family 4-Pak. Get tickets here

The Sweetback Sisters sweeten the Iron Horse on Thursday, February 11 at 7PM

Doug Wallen from the Hartford Courant previewed their show in Hartford this week:

A modern band inspired by the country vocal groups of yore, the Sweetback Sisters would be rare, even if co-founders Zara Bode and Emily Miller hadn't met while singing world music in Germany. While on the road as part of the Vermont-based choir Northern Harmonies, the pair found themselves singing Hank Williams songs at late-night after-parties.

"So we start singing together," recounts Miller, "and got a gig and decided we were a band."

Then along came the other players: multi-instrumentalist Jesse Milnes, drummer Stefan Amidon, guitarist Ross Bellenoit, and upright bassist Bridget Kearney. (Miller plays fiddle, while Bode plays ukulele.) Split among Brooklyn, Philadelphia and western Massachusetts, the six-piece looked to Skeeter Davis' one-time act the Davis Sisters for inspiration when it came to choosing a name. Likewise, the Sweetback Sisters' vintage country swing was soon firmly in place, so much so that original songs only came later.

"We started out doing mostly old country songs," Miller explains. "My mom had taught me that sort of singing growing up. We got our sound together on old songs before integrating our own."

Written by various members of the Sweetback Sisters, the 13 songs on "Chicken Ain't Chicken," (Signature Sounds, 2009) feel as if they were forged decades prior. They are lean yet roiling numbers lifted by homespun instruments and ever-present harmonies. Bode and Miller often sing lead, but Amidon, who was also along for the world-music choir tour, lends his low bass vocals as a counterpoint on the bluesy "My Uncle Used To Love Me But She Died." And Milnes imparts his high squeak to the playful track "Chicken." The album feels like the product of a seasoned ensemble, despite being recorded in one week to accommodate the members' various school schedules.

Citing "old-time country and traditional Appalachian music" as the two elements united in the band's sound, Miller acknowledges that more and more young bands are discovering the warm, crisp sounds of times long past. The Sweetback Sisters have come across their fair share of kindred spirits on the road, but not every act could pull off the rascally wit heard on such songs as the booze-soaked kiss-off "You're Gone Again."

"We spent a lot of time deciding how much goofiness to include on the album," Miller admits. "By the end, a lot made it in."

The Sweetback Sisters plus Wild-Wood play the Iron Horse Thursday, February 11th at 7PM. Tickets here or at the door.

Po'Girl on "No Shame Tour" to Help Prevent Child Abuse Monday, March 1st at the Iron Horse

You may have seen them open for Girlyman at the Iron Horse and now they're headlining their own show. Hailing originally from Canada, Po’Girl weave a blend of musical influences, sweetness, grit & soul into their fresh and original sound. Their latest release, Deer in the Night includes echoes of speakeasy jazz, the western lament, the accordion-strapped ghosts of European folk, all delivered with soulful clarity and depth.

“Their uplifting take on American Folk music, combining it with Jazz, roots and a little bit of pretty much everything else, has the ability to put a smile on anyone’s face.” – Glasgow Americana Festival

"With enough sultry ambiance to be at home in either cocktail lounge or New Orleans street corner, Po' Girl's sentiment never feels forced, the lyricism never cliche or false. They manage to maintain that traditional and nostalgic sound while the breathing fresh life into an old-fashioned genre."- Rolling Stone Magazine

Po' Girl will be raising money to benefit the National Children's Alliance in the USA and Little Warriors in Canada. Partial proceeds of all Po'Girl merchandise sales from their shows will be donated to these groups. Allison Russell of Po'Girl will also be collecting donations in support of her running the Athens, Ohio marathon on April 11, 2010 at the conclusion of the "No Shame Tour.” One hundred percent of these donations will go to benefit the two child abuse prevention organizations.

Russell is the survivor of ten years of sexual abuse at the hands of her adopted father. She wrote the song "No Shame" in 2006 when she found out that he had been released from prison. Po' Girl recorded "No Shame" on their critically acclaimed album Deer in the Night in 2009. “Whatever I can do to prevent what happened to me from happening to others, that's what I have to do. It's my responsibility as a survivor. Not everyone is so lucky."

Free Po' Girl MP3 Downloads: No Shame, Gasoline, Bloom

Po’Girl – No Shame
Po’Girl – Gasoline
Po’Girl – Bloom


For tickets to see Po' Girl with special guest JT Nero (of JT and the Clouds) at the Iron Horse on Monday, March 1st at 7PM, click here.

Fat Tuesday Sandwich for Mardi Gras week at the Iron Horse with C.J. Chenier Mon. 2/15, Trombone Shorty Wed. 2/17

After Clifton’s death in 1987, C.J. Chenier inherited his dad’s accordion as well as The Red Hot Louisiana Band. But he took his father’s music and built upon it, adding elements of the music he grew up with and infusing traditional zydeco with a contemporary punch. When asked about his accordion playing, C.J. is quick to defer to his father, whom “nobody could ever touch,” as C.J. says. But others have formed their own opinions. According to Blues Revue, “Whether he and his band of red hots burn on rocking contemporary songs or simmer on traditional country waltzes, C.J. Chenier is zydeco’s new torch bearer.” And his wardrobe changes give Lady Ga Ga a run for her money.

During a visit to a small New Orleans club, Bono and the Edge saw the 12-year-old Trombone Shorty. "We walked in and the place was jumping. There was this little funk band, but they were all playing brass instruments, which is something I'd never heard of or seen before," The Edge recalled. "We were just mesmerized by him. I ended up with Bono, after a few tequilas, dancing with a bunch of girls on the top of the bar." Now in his early 20s, Trombone Shorty has grown into a performer who commands the stage while emanating an elegance and class gleaned from his successful studies at the prestigious New Orleans Center for the Creative Arts. As a graduate, he joined the ranks of alums like Branford Marsalis, Harry Connick Jr., and Nicholas Payton. Another alum, Wynton Marsalis, said of him, “Troy possesses the rarest combination of talent, technical capability and down home soul. I’m his biggest fan.”

CJ Chenier and Trombone Shorty bookend 2010’s Fat Tuesday with C.J. Chenier on Monday 2/15 and Trombone Shorty on Wednesday 2/17. Tickets for both shows are available at the Northampton Box Office, 413-586-8686 and online at IHEG.com. Doors and dinner from 5:30. Show at 7PM both nights.

Reid Genauer of Strangefolk, Assembly of Dust strips it down for a solo acoustic show at the Iron Horse this Thursday at 10PM

Reid Genauer is best known as a singer and songwriter. In that capacity he first hit the national stage fronting the band Strangefolk in the mid nineties. Since then he has gone on to cement his reputation as a prolific songsmith and band leader, fronting a second grassroots success story – The Assembly of Dust. Genauer’s success as a songwriter is qualitatively evidenced by the connectedness of his audience with his lyrics and quantitavily supported by two recent top 40 AAA hits: “Man With A Plan” from the Album Honest Hour and “Telling Sue” from Recollection.

The music Genauer makes with Assembly of Dust could be labeled “hick funk,” and has been compared to the likes of Paul Simon, CSNY, and The Band. It differs from Strangefolk in that the songs are more detailed and more composed “ The musicianship and as a result the songs themselves are more subtle” says Genauer. “Where Strangefolk was screaming and unleashed Assembly of Dust is conversational and practiced” The commonality of both groups is ultimately a backbone of Genauer’s trademark songs, characterized by thoughtful lyrics, hooky melodies and earnest vocals.

While Genauer is best know in context with other musicians he traces his musical roots to solo singer songwriters and has dabbled throughout the years in this arena. “ There is something very visceral and frankly safe about playing music with other people. I’m more comfortable in that setting” says Genauer “ but ultimately a song should be able to stand on its own and to some extent so should a singer songwriter”

It is to that end that Reid Genauer steps out this spring to test his songs and his mettle as a singer songwriter and to capture his fans with one lone voice in a room full of listening.

Reid Genauer plays this Thursday 2.4 at 10PM at the Iron Horse. Evan Dando plays at 7 (separate ticket.) Get your tickets here.

Sure, YES will be amazing but don't miss prog guitar legend Allan Holdsworth Wednesday at the Iron Horse with members of Zappa band and Yellowjackets

In the fall of 2006, the extraordinary jazz-rock-fusion guitarist Allan Holdsworth reunited with the great keyboardist Alan Pasqa, to honor the memory of the legendary jazz-fusion drummer Tony Williams, with whom they both played in Williams’ band Lifetime. They invited two well established jazz musicians, Jimmy Haslip on bass and Chad Wackerman on drums, for a series of successful concerts in Europe, Japan and the USA. Jimmy Haslip also plays for veteran jazz fusion quartet The Yellowjackets. Chad Wackerman has played drums with Frank Zappa for several years before becoming a sought after session drummer and releasing several solo albums. Keyboardist Alan Pasqua, the New England Conservatory graduate, has played with Bob Dylan and also teaches music. Holdworth, is widely considered to be one of the finest instrumentalists in jazz-rock- fusion. Blues for Tony brings four masters of their instruments together for an exciting set that may have started with a tribute in mind, but quickly turned into something much more. Fusion at its best, it combines all the prerequisite energy and virtuosity with a deeper language and freer approach, as Holdsworth, Pasqua, Haslip and Wackerman deliver the goods.

Allan Holdsworth/Alan Pasqua Band with Jimmy Haslip and Chad Wackerman this Wednesady February 3rd, 7PM at the Iron Horse. Get tickets here.