Local Events in Hays, Texas
Looking for events in a specific city? Click on the city below.Austin Buda Creedmoor
Driftwood Dripping Spgs Dripping Springs
Kyle Mountain City San Marcos
Wimberley Niederwald Uhland
The Dixie Dregs
Wed, 25 Apr 2018 19:00:00 +0000
When: Apr 25, 2018 7:00:00 PM in Dallas, Texas
Live and In Concert - Chris Mitchell
Sat, 03 Mar 2018 20:00:00 +0000
Live and In Concert national saxophonist Chris Mitchell with his full ensemble for an intimate show. Doors open 6:30 P.M. Autographs and Pictures will be taken immediately following the concert. *Please contact CAM ENTERPRISES for additional information 347.565.5138 *Seating is limited
When: Mar 3, 2018 8:00:00 PM in San Antonio, Texas
A Day To Remember
Tue, 06 Mar 2018 17:30:00 +0000
with Papa Roach, Falling in Reverse, The Devil Wears Prada
Over the course of the past several years, each of A Day To Remembers releases have hit No. 1 on Billboards Rock, Indie and/or Alternative Charts. Theyve also sold more than a million units, racked up over 400 million Spotify streams and 500 million YouTube views, garnered two gold-selling albums and singles (and one silver album in the UK) and sold out entire continental tours (including their own curated Self Help Festival), amassing a global fanbase whose members number in the millions. All of which explains why Rolling Stone called them An Artist You Need To Know. In other words, their creative process has worked and worked well.But for new album Bad Vibrations, the Ocala, Florida-based quintet of vocalist Jeremy McKinnon, guitarists Kevin Skaff and Neil Westfall, bassist Joshua Woodard and drummer Alex Shelnutt switched gears and headed for uncharted territory. Their path included a loose and much more collaborative songwriting process, one that also saw them recording for the first time with producers Bill Stevenson (Descendents, Black Flag) and Jason Livermore (Rise Against, NOFX). And though the albums being released on the bands own ADTR Records (like 2013s Common Courtesy), this record marks their first distribution deal with Epitaph and is the first time theyve worked with Grammy winner Andy Wallace (Foo Fighters, Slayer), who was brought in to mix.We completely changed the way we wrote, recorded and mixed this album, says vocalist Jeremy McKinnon. It was one of the most unique recording experiences weve ever had. We rented a cabin in the Colorado mountains and just wrote with the five of us together in a room, which was the polar opposite of the last three albums weve made. We just let thingshappen organically and in the moment. I think it forever changed the way we make music. And working with Bill was an awesome experience. He was a bit hard to read at first, so I think we subconsciously pushed ourselves harder to try to impress him. As a result, we gave this album everything we had.Recorded at Stevensons Fort Collins-based Blasting Room Studios, Bad Vibrations masterfully channels the kinetic energy that recently found A Day To Remember named The Best Live Band Of 2015 by Alternative Press. The band decided to forgo digitally driven production and focus on live recording. These days it seems like a lot of heavy sounding music is heading more and more in a digital direction, notes McKinnon. Thats not necessarily a bad thing, but we wanted to go the opposite way and make something thats aggressive but has more of a natural flow and feel to it.By powering Bad Vibrations with so much raw passion, A Day To Remember ultimately deliver some of their most emotionally intense material todate. Im like a child screaming in a room when I write, laughs McKinnon. Im singing about the things that are frustrating me, but at some point theres an arc within the song. Its almost like Im giving advice to another person about whatever Im struggling with, but I think Im really just trying to give that advice to myself.The catharsis-inducing album sees the band tackling duplicity and deception (on the gloriously frenzied Same About You), the destructive nature of judgmental behavior (on Justified, a track shot through with soaring harmonies and sprawling guitar work), addiction (on the darkly charged Reassemble), and friendship poisoned by unchecked ego (on Bullfight, a track with a classic-punk chorus that brilliantly gives way to a Viking-metal-inspired bridge).Paranoia, one of the most urgent tracks on Bad Vibrations, fuses fitful tempos and thrashing riffs in its powerful portrait of mental unravelingan idea born from the bands commitment to close collaboration in making the album. Originally it was a joke song about someone being paranoid, but then Neil and Kevin and I started brainstorming lyrics together, which wed never done before, recalls McKinnon. It ended up being shaped so that the verse is a person talking to apsychiatrist, the pre-chorus is the psychiatrist talking back to that person, and then the chorus is paranoia personified. The whole thing just exploded and came together in this really cool way.On Naivety, the band slips into a melancholy mood thats perfectly matched by the songs bittersweet, pop-perfect melody. Says McKinnon, Its about that journey when youre getting older and starting to view the world as a little less magical than you used to, and youre missing that youthful enthusiasm from when you were a kid.Ultimately, McKinnon says that this particular album-making process breathed new life into the band. Breaking out of our comfort zone and working in a less controlled way, we ended up making something that feels good to everyone, and we cant wait to go out and tour on it, he says. I think a big part of why our music connects with people is that theyre able to get such an emotional release from our songs. And while most of the songs are me venting about whatevers affecting me at the time, people who are going through something similar can see that its coming from a real, honest place. Thats really the core of what A Day To Remember has always been.A Day To Remembers new album, Bad Vibrations, is available now on ADTR Records.
When: Mar 6, 2018 5:30:00 PM in San Antonio, Texas
Cost: $39.50 - $150.00
Cirque du Soleil - Corteo
Thu, 08 Mar 2018 19:30:00 +0000
When: Mar 8, 2018 7:30:00 PM in Houston, Texas
Cost: $48 - $120
SASHA - DALLAS
Fri, 27 Apr 2018 21:00:00 +0000
ALL SALES ARE FINAL /// TICKETS ARE NON-REFUNDABLE /// EVENT IS RAIN OR SHINE /// 21+
When: Apr 27, 2018 9:00:00 PM in Dallas, Texas
Boots & Suits
Fri, 18 May 2018 19:00:00 +0000
Howdy Partner! The Houston Marriott Business Council requests your presence at Boots & Suits, a casino night supporting the Children's Miracle Network! Bring out your finest pair of boots and enjoy games, prizes, a silent auction, and more! It's sure to be the talk of the town and all money raised supports the work of the Children's Miracle Network. All proceeds help make a difference in a child's life...So purchase a ticket and join the fun!
When: May 18, 2018 7:00:00 PM in Houston, Texas
Mon, 07 May 2018 17:00:00 +0000
When: May 7, 2018 5:00:00 PM in San Antonio, Texas
Wed, 04 Apr 2018 21:00:00 +0000
When: Apr 4, 2018 9:00:00 PM in Dallas, Texas
Sat, 10 Mar 2018 20:00:00 +0000
"This guy was telling me all this stuff that no one else could possibly know," says Dorothy Martin, the singer and namesake of Los Angeles band Dorothy. "The theme from The Twilight Zone was playing in my head. It was a ritual cleaning, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But, the weirdest part is that I had written the song before this happened."
As Dorothy Martin talks about her favorite song ("Medicine Man") from her band's debut on Jay-Z's Roc Nation label, you begin to realize the precise reason why her music is so bewitching.
No, it's not because she might be more of a shaman than that mystic she met in Mexico City. It's because despite drawing from a familiar musical tradition-they are a rock band after all-Dorothy's music is rendered anew by this front-woman's singular vision. All of it is channeled through her. There is no one quite like her. So it follows, there has been nothing quite like this band before now.
"We're not trying to fit into a box. We're not trying to write songs we think should be on the radio," Martin says. "We just want to write good music. For me, the challenge is to be as honest as possible. I cannot live my life as a lie, at all. Every day, I wake up and think, ‘What can I learn today and how can I give something back?' This is not selfishly motivated. The picture is bigger than me. It has nothing to do with me. It has to do with everybody. How is this going to make me better, other people better, the world better? If you don't have that, then why even do it?"
Even her contradictions make sense. She is filled with humility, yet wants to change the world. She has managed to tame any trace of an ego, yet knows instinctively she has something. In conversation, she pauses thoughtfully and expresses gratitude. On stage, she's intimidating and maybe a little scary, but the possibility of danger that lurks inside of her music is what makes you move a little closer. It's curiosity. You can't take your eyes off her. But, she is the first to remind you that Dorothy might be her name, but Dorothy is a band. It is both her and not her.
Martin is adamant about Dorothy being a group effort, but she no longer has to make that plea once you've heard the songs. The music they make is undeniably the sound of five, a muscular rhythm section elevated by the melodic counterpoint of guitar and vocals, all woven together into something not exactly rock, or blues, or punk, or even a combination of all three. Dorothy is its own invention, built upon familiar foundations, but sounding only like itself. Take "Raise Hell," a song that shuffles along with nothing less than the blues-rock audacity of a lost Led Zeppelin track. The first verse arrives and Martin upends the whole affair, floating high above the floor-stomp kick drum and slide guitar, conducting this sinister orchestra without a baton, but the singular force of her incomparable voice. Go ahead and make your comparisons, you are not wrong. This is music that belongs on the historical timeline that runs from Black Sabbath up to Rid of Me-era PJ Harvey and right through recent bands like the Dead Weather. But this is Dorothy-next on that list, written in bold, not hiding inside an overcrowded timeline.
The momentum of Dorothy's rise speaks for itself. Just as Martin describes the formation of the band as something akin to fate, Dorothy's recent tour in support of Miguel, Rolling Stone putting them high on their list of new bands to know, Levi's grabbing the track "Wicked Ones" for an international campaign, and the band's self-made clip for "After Midnight" captivating none other than the decision-makers at Jay-Z's Roc Nation to sign the band to a label not usually interested in rock bands-Dorothy's ascent is as transcendent as that pyramid in Mexico City adorned with the flapping wings of magic butterflies. In other words, you can't really explain it, so step aside or join in. Either way, this thing, this Dorothy, it's coming right at you.
"I'm just glad that they welcomed us and saw something special," Martin says of signing to Roc Nation, while pondering the band's future on the eve of their debut. "I try not to have any expectations. I'm always pushing us to be better. I'm my own toughest critic and I think this record is great. We'll just have to wait and see what the world thinks."
When: Mar 10, 2018 8:00:00 PM in Houston, Texas
Marlon Williams: Make Way For Love Tour
Sun, 18 Mar 2018 19:00:00 +0000
New Zealand's Marlon Williams has quite simply got one of the most extraordinary, effortlessly distinctive voices of his generation-a fact well known to fans of his first, self-titled solo album, and his captivating live shows. An otherworldly instrument with an affecting vibrato, it's a voice that's earned repeated comparisons to the great Roy Orbison, and even briefly had Williams, in his youth, consider a career in classical singing, before realizing his temperament was more Stratocaster than Stradivarius.
But it's the art of songwriting that has bedeviled the artist, and into which he has grown exponentially on his second album, Make Way For Love, out in February of 2018. It's Marlon Williams like you've never heard him before-exploring new musical terrain and revealing himself in an unprecedented way, in the wake of a fractured relationship.
In early December, Williams and his longtime girlfriend, musician Aldous (Hannah) Harding, broke up-the end of a relationship that brought together two of Down Under's most acclaimed talents of recent years, who'd managed to navigate the challenges of having equally ascendant-though separate-careers, until they couldn't.
While personally wrenching, the split seemed to open the floodgates for Williams as a writer. "Then I wrote about fifteen songs in a month," he recalls. The biggest challenge was then condensing often complex, conflicted emotions and doing them justice, and while Make Way For Love draws on Williams' own story, it captures the vagaries of relationships we've all been through in remarkably universal terms.
Williams flipped the script recording-wise as well. After three weeks of pre-production with regular collaborator Ben Edwards, Williams and his backing band, The Yarra Benders, then decamped 7000 miles away, to Northern California's Panoramic Studios, to record with producer Noah Georgeson, who's helmed baroque pop and alt-folk gems by Joanna Newsom, Adam Green, Little Joy and Devendra Banhart. "I was a really big fan of those Cate Le Bon records he did [Mug Museum, Crab Day]," Williams says. "I was obsessed with those albums."
If the idea in going so far from home to make the new record was to shake things up and get out of his Kiwi comfort zone, Williams succeeded-to the point where at first he wondered if he'd gone too far. "The first couple of days I nearly had a breakdown," he recalls. "Just cause I got there and I'm working with Noah on this really personal record having only met twice before over a coffee." But he needn't worry. He and Georgeson settled into a zone over twelve days of recording, and aided by incredible performances from The Yarra Benders, they have, in Make Way For Love, a triumph on their hands.
The record also moves Williams several paces away from "country"-the genre that's been affixed to him more than any in recent years. Make Way For Love, with forays into cinematic strings, reverb, rollicking guitar and at least one quiet piano ballad, is a more expansive affair. "I think just having the time," he explains, "and having just finished a cycle of playing these quite heavily country-leaning songs for the last three or four years, and playing them a lot, has definitely pushed me into exploring other things."
On the live front, Williams-who's been a road dog in recent years, touring with everyone from Band Of Horses, City & Colour, Iron & Wine's Sam Beam, to the one and only Bruce Springsteen, performing at the likes of Austin City Limits and Newport Folk Festival, and building a loyal following for his phenomenal headline shows. Williams will kick off 2018 with a 50 plus date global tour, taking the music of Make Way For Love far and wide. They're songs that need to be heard by anyone who's ever loved, and lost, and loved again.
If "breakup record" is a trope-and certainly it is-then Marlon Williams has done it proud. Like the best of the lot-Beck's Sea Change, Bon Iver's For Emma, Forever Ago, Phosphorescent's harrowing "Song For Zula" and Joni Mitchell's masterpiece Blue, Make Way For Love doesn't shy away from heartbreak, but rather stares it in the face, and mines beauty from it. Delicate and bold, tender and searing, it's a mightily personal new step.
When: Mar 18, 2018 7:00:00 PM in Houston, Texas