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When asked about what drove him to craft his deeply evocative new album, Ghosts of West Virginia, Steve Earle says that he was interested in exploring a new approach to his songwriting. “I’ve already made the preaching-to-the-choir album,” he says, specifically alluding to his 2004 album, The Revolution Starts Now. As anyone as politically attuned as Earle understands, there are times when the faithful need music that will raise their spirits and toughen their resolve. But he came to believe that our times might also benefit from something that addresses a different audience, songs written from a point of view that he is particularly capable of rendering.

“I thought that, given the way things are now, it was maybe my responsibility to make a record that spoke to and for people who didn’t vote the way that I did,” he says. “One of the dangers that we’re in is if people like me keep thinking that everybody who voted for Trump is a racist or an asshole, then we’re fucked, because it’s simply not true. So this is one move toward something that might take a generation to change. I wanted to do something where that dialogue could begin.”

Ghosts of West Virginia centers on the Upper Big Branch coal mine explosion that killed twenty-nine men in that state in 2010, making it one of the worst mining disasters in American history. Investigations revealed hundreds of safety violations, as well as attempts to cover them up. The mine’s owners agreed to pay more than $200 million in criminal liabilities, and shut the mine down.

In ten deftly drawn, roughly eloquent, powerfully conveyed sonic portraits, Earle and his long-time band the Dukes explore the historical role of coal in rural communities. More than merely a question of jobs and income, mining has provided a sense of unity and meaning, patriotic pride and purpose. As sons followed their fathers and older brothers into the mines, generational bonds were forged. “You can’t just tell these people that you’re going to shut the coal mines without also telling them what you’re going to do to take care of them, to protect their lives,” Earle explains. To be sure, Earle’s politics have not changed. He believes in sustainable energy sources and ending fossil fuels. “But that doesn’t mean a thing in West Virginia,” he says. You can’t begin communicating with people unless you understand the texture of their lives, the realities that provide significance to their days. That is the entire point of Ghosts of West Virginia.

Earle started working on the album after being approached by Jessica Blank and Erik Jensen, a playwright team that would eventually create Coal Country, a theater piece about the Upper Big Branch disaster. Earle had previously worked with them on The Exonerated, an Off-Broadway play about wrongfully imprisoned people who ultimately proved their innocence and got released. Earle describes Blank and Jensen as creating “documentary theater,” and they received a commission from the Public Theater in New York. They interviewed the surviving West Virginia miners, along with the families of the miners who died, and created monologues for their characters using those words. Working closely with Oskar Eustis, the Public’s Artistic Director, they workshopped the songs and text for nearly four years. Earle functions as “a Greek chorus with a guitar,” in his words. He is on stage the entire play and, along with his song “The Mountain,” performs seven songs from Ghosts of West Virginia. “The actors don’t relate directly with the audience,” he explains. “I do. The actors don’t realize the audience is there. I do.” The songs provide personal, historical and social context for the testimony of the play’s characters, and, heard on their own, along with the album’s three additional songs, they provide a wrenchingly emotional portrait of a world that Earle knows well. “I felt that I could do it because so many of those people own Copperhead Road -- and I talk like this,” Earle says in the unreconstructed Texas drawl that has survived moves to Nashville and New York City, where he now lives.

Ghosts of West Virginia opens with “Heaven Ain’t Goin’ Nowhere,” a stark, a cappella spiritual that, in its sound and in its sense, captures the blend of faith and stoicism characteristic of mining communities. Without being explicit, “Union God and Country” nods to the deep union history of the West Virginia mines, a history that is being wiped out. “This was the most unionized place in America until the Nineties,” Earle points out. “Upper Big Branch was the first non-union mine in that area and it blew up and killed twenty-nine guys. That’s the deal.” “Devil Put the Coal in the Ground” is an expression of what Earle calls “a kind of hillbilly mindfulness” – a tough-minded recognition of the dangers of the mining life and the pride of doing such a demanding job in the face of those dangers. “The guy in that song is a miner and he’s being real about what he’s doing,” Earle says. On “John Henry Was a Steel Driving Man,” Earle, as so many have done before, takes the folkloric tale of the hammer-wielding hero and updates it for a contemporary world in which automation and union-busting have drained miners’ lives of so much of their potential and significance.

“Time Is Never On Our Side” was inspired by the four-day wait that four Upper Big Branch families endured because rescue teams found footprints in the mine that they believed might belong to miners they had not yet found. It turns out the footprints belonged to company managers who had entered the mine before the inspectors arrived, and failed to reveal that they had done so. The familial devastation wreaked by the mining disaster finds expression in “It’s About Blood,” in which, under a driving rhythm, Earle blazons the names of all the men who died in it. “If I Could See Your Face,” which closes Coal Country, is the only song that Earle does not sing. In the play, it’s sung by the actress Mary Bacon, while, on the album, that distinction goes to Eleanor Whitmore, who plays fiddle and mandolin in the Dukes. She delivers the ballad, a chronicle of memory, longing and loss, in a manner that is both feeling and plain-spoken, perfectly suited to its subject.

Despite its grim subject, “Black Lung” is rollicking and unsentimental, and it includes the verse that Earle describes as “the most important thing for me to say on this record”: “If I’d never been down in a coal mine,/I’da lived a lot longer/Hell, that ain’t a close call/But then again I’da never had anything/And half a life is better than nothin’ at all.” Those words were the last lyrics Earle wrote for the album, and they convey the reality of the lives that mining made possible for rural folk, regardless of the dangers.

“Fastest Man Alive” is a paean to Chuck Yeager, a West Virginia native who became a war hero and the first pilot to travel faster than the speed of sound. Earle treats him like a folk hero along the lines of John Henry and Davy Crockett (who, like Yeager, was a real person). Yeager’s life of risk in the sky offers a moving contrast to the miners facing danger underground, often unseen and unacknowledged. The album’s closing song, “The Mine,” was the first that Earle wrote, even though it was not included in Coal Country. It quietly gives voice to the hopes and fraternal bonds that a job in the mines once represented.

Earle and the Dukes recorded Ghosts of West Virginia at Electric Lady Studios, which Jimi Hendrix built in Greenwich Village, where Earle lives. That the album was mixed in mono lends it a sonic cohesion and punch, while losing none of the finely drawn delineation that the Dukes’ characteristically eloquent playing provides. More personally, however, the album is in mono because Earle has lost hearing in one ear and can no longer discern the separation that stereo is designed to produce. His partial deafness is not the result of exposure to loud volume that afflicts many musicians. He woke up one morning unable to hear in his right ear, and doctors have been unable to identify a cause. He’s been told a virus is likely the reason, but one doctor told him, “That’s what we say when we don’t know what the cause is.” As a result, Earle says, jokingly, “If I can’t hear the album in stereo, nobody else will either!”

The Dukes, too, suffered a major loss when, not long before the band went into the studio, bassist Kelley Looney, who had played with Earle for thirty years, passed away. Beyond the death of a longstanding partner in crime, Earle was faced with the prospect of finding someone who could share the telepathic musical communication so characteristic of the Dukes. Happily, Jeff Hill, who had previously worked with Earle and had most recently been part of the Chris Robinson Brotherhood, perfectly fit the bill. “Jeff stepped into the breach, but it was hard. It was really hard,” Earle says. Hill joined Whitmore, guitarist Chris Masterson, Ricky Jay Jackson on pedal steel, drummer Brad Pemberton and, of course, Earle on guitar and banjo. Their raw blend of country, rock and folk lifts the articulation of each song without the slightest hint of contrivance or pretension.

With Ghosts of West Virginia, Steve Earle has evoked a world as three-dimensional and dramatic as Coal Country, the play in which it found its origins, does on stage. That’s appropriate, because, as Earle says, “I came to New York to make music for theater, and it’s taken a long time. Theater is a powerful thing. It’s my favorite art form. It always has been. My ambition is to write an old-fashioned American musical. I’m a pretty good songwriter, and I just feel like I want to do that before I die.”

For now, however, there is Coal Country – and Ghosts of West Virginia. “I said I wanted to speak to people that didn’t necessarily vote the way that I did,” he says, “but that doesn’t mean we don’t have anything in common. We need to learn how to communicate with each other. My involvement in this project is my little contribution to that effort. And the way to do that – and to do it impeccably – is simply to honor those guys who died at Upper Big Branch.”

***

Steve Earle is one of the most acclaimed singer-songwriters of his generation, a worthy heir to Townes Van Zandt and Guy Clark, his two supreme musical mentors. Over the course of twenty studio albums, Earle has distinguished himself as a master storyteller, and his songs have been recorded by a vast array of artists, including Johnny Cash, Waylon Jennings, Joan Baez, Emmylou Harris, the Pretenders, and more. Earle’s 1986 debut album, Guitar Town, is now regarded as a classic of the Americana genre, and subsequent releases like The Revolution Starts...Now (2004), Washington Square Serenade (2007), and TOWNES (2009) all received Grammy Awards. Restlessly creative across artistic disciplines, Earle has published both a novel and a collection of short stories; produced albums for other artists; and acted in films, TV shows and on stage. He currently hosts a radio show for Sirius XM. In 2019, Earle appeared in the off-Broadway play Samara, for which he also wrote a score that The New York Times described as “exquisitely subliminal.” Each year, Earle organizes a benefit concert for the Keswell School, which his son John Henry attends and which provides educational programs for children and young adults with autism.

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Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $299 when you book with your tickets here.

George Lopez’s multi-faceted career encompasses television, film, standup comedy, and late-night television.

Lopez can be seen in his Netflix original comedy special We’ll Do It For Half which premiered globally over  the summer. Last year Lopez was on tour nationwide for his stand-up comedy The Wall World. He also completed his tour for The Comedy Get Down, along with Eddie Griffin, D.L. Hughley, and Cedric the Entertainer. The comedians also debuted their BET scripted comedy series based on the tour.

Lopez has been featured in four HBO specials, The Wall in August 2017, It’s Not Me, It’s You in 2012, GRAMMY nominated Best Comedy Album Tall, Dark and Chicano in 2009, and America's Mexican in 2007. Lopez also performed as part of HBO and TBS's Comic Relief 2006. His acclaimed comedy concert, Why You Crying?, debuted on Showtime in 2004. He released his third standup CD, El Mas Chingon, in 2006, which also earned Lopez a GRAMMY nomination in the category of Best Comedy Album. In 2004, he was nominated for a GRAMMY in the same category for his CD Team Leader.

He also starred in Lopez on TV Land.  Produced by Lopez, the series explored how he struggled between his two worlds and crises that are often of his own making. The half hour single camera serialized comedy aired for two seasons. Lopez Tonight, a late-night television talk show on TBS, also ran for two seasons. It represented Lopez's return to series television after co-creating, writing, producing, and starring in Warner Bros. Television's groundbreaking hit sitcom George Lopez, which ran for six seasons on ABC. George Lopez remains a hit with viewers in syndication on both broadcast stations and cable's Nick at Nite, ranking as one of the top-rated shows on the network and among the top five comedies and top 20 weekly programs in syndication.

In film, he was last seen in the crime thriller The Tax Collector with Shia LaBeouf and Lana Parrilla. David Ayer wrote the screenplay and directed the film. He will be next seen in Walking with Herb opposite Edward James Olmos and Mary McDonnell. The faith-based film is inspired by Joe S. Bullock’s novel of the same name. Lopez starred in El Chicano alongside Raúl Castillo, Aimee Garcia, and Emilio Rivera. The film billed as the first Latin superhero movie, premiered at the Los Angeles Film Festival in 2018.

In 2015, Lopez was seen in the Lionsgate inspirational drama, Spare Parts.  Produced by Lopez, the film is based on a true story about four undocumented Mexican-American teenagers from Phoenix who team up to build an underwater robot that wins the national robotics competition. In 2014, Lopez starred in the multi-camera ensemble comedy Saint George on FX, which he co-created.

Lopez also voiced animated characters in a string of animated blockbuster films including Zook in Gnome Alone, Rafael in Rio and Rio 2 along with Jamie Foxx, Anne Hathaway and Jesse Eisenberg, Thurman in Escape from Planet Earth opposite Jane Lynch and Sofia Vergara, Grouchy Smurf in The Smurfs 1 and 2, and The Beverly Hills Chihuahua 1, 2, and 3.  His film credits also include the box-office hit Valentine's Day directed by Garry Marshall, River Runs Red, Swing Vote, Henry Poole Is Here and Balls of Fury.

In May 2004, Lopez’s autobiography, Why You Crying?, entered The New York Times Bestsellers List top 20. The book was co-written by Emmy winning writer and sportscaster Armen Keteyian. Lopez released his second memoir, I’m Not Gonna Lie And Other Lies You Tell When You Turn 50, in 2013 where he tells the unabashed and hilarious truth about aging – as only he can. Lopez was also the focus of the award-winning documentary Brown is the New Green: George Lopez and the American Dream.

In 2006, Lopez received a star on the Hollywood Walk of Fame. In addition, Time named him one of the 25 Most Influential Hispanics in America and the Harris Poll named him one of the Top Ten Favorite Television Personalities.

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Angels & Airwaves (AVA) – comprising Tom DeLonge (lead vocals, guitar/synths), Ilan Rubin (drums/guitar/backing vocals/synths), David Kennedy (guitar) and Matt Rubano (bass) – wrote and produced “Euphoria” with Aaron Rubin. Rich Costey (Foo Fighters, Weezer) mixed the track, which marks the first new music from the band since “All That’s Left Is Love,” which was released in April 2020. Hailed as an “empowering anthem” by SPIN, the song conveyed a message of hope amid the pandemic. Continuing the band’s longstanding relationship with Feeding America, proceeds from “All That’s Left Is Love” were donated to the non-profit’s COVID-19 relief fund. 

 DeLonge, a founding member of Blink-182, formed Angels & Airwaves in 2005. The band has released five full-length albums and charted numerous hits, including “The Adventure,” “The War,” “Everything’s Magic” and “Rebel Girl.” The Dream Walker, released in 2014, hit No. 1 on iTunes and No. 5 on Billboard’s Top Alternative Albums chart. A multimedia project, the album was accompanied by a graphic novel, comic books and the short film Poet Anderson, co-directed by DeLonge, which won Best Animated Short Film at the Toronto International Short Film Festival.  

 In addition to his work with AVA, DeLonge created To The Stars, a multimedia entertainment company that creates original content across music, film, television and publishing. DeLonge served as executive producer of The History Channel series “Unidentified: Inside America’s UFO Investigation" and will make his feature film directorial debut with the forthcoming Monsters of California. 

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Regarded as one of the most successful figures in entertainment today, Chelsea Handler and her talk shows, best-selling books, and stand-up comedy have attracted millions of fans worldwide.

After a successful seven-year run as the host of E!'s top-rated "Chelsea Lately," Handler launched an all-new talk show for Netflix in May 2016. "Chelsea" was the first of its kind for the global on-demand generation and tackled today's tough issues with the same acerbic wit and fearless curiosity fans know and love. Handler traveled around the world – braving an ice-skating rink in Russia and wielding a Trump-shaped piñata through the streets of Mexico and back again to Los Angeles, where she taped in front of a live in-studio audience featuring celebrities, dignitaries, and surprise guests. From intimate dinner parties to viral PSAs to "explainer segments" that answered all the questions you're too embarrassed to ask, she brought you thought-provoking, yet hilarious conversations about topics like international cultures, alternative lifestyles, education, health, sports, parenting, politics, and more. The show's 120 episodes continue to be available for streaming globally on the platform.

Handler can also be seen in Netflix's documentary series "Chelsea Does," which was directed by Academy Award and Emmy-nominated Eddie Schmidt and executive produced by Handler, Schmidt and Academy Award and Emmy-winning Morgan Neville (20 Feet From Stardom). In each of the four revealing, relevant, funny and introspective films, she explores a range of subjects of personal and universal curiosity, from marriage to drugs, to racism and Silicon Valley. Handler continues her partnership with Netflix and is currently in production on a feature length documentary focusing on the notion of white privilege to be released in 2019

In 2018, Handler left her Netflix show to focus on her work as an activist by joining forces with EMILY's List to help elect more women to public office, register people to vote and campaign for candidates who are fighting for women's rights. In addition, she has partnered with the Karam Foundation, a non-profit organization whose mission is to build a better future for Syria by developing innovative education programs for refugee youth, distributing smart aid to families and funding sustainable development projects initiated by Syrians for Syrians. In 2018, Handler traveled throughout the U.S., hosting town hall-like events. These discussions centered around social activism in the hopes of galvanizing citizens to use their voices.

Handler's five best-selling books include My Horizontal Life (2005), Are You There, Vodka? It's Me, Chelsea (2008), Chelsea Chelsea Bang Bang (2010), Lies That Chelsea Handler Told Me (2011), and 2014's Uganda Be Kidding Me, which was her fourth nonfiction title to debut at No. 1 on The New York Times Best-Seller List. In support of the book's release, Handler embarked on a sold-out global tour, and in October 2014, a stand-up comedy performance based on the tour, Uganda Be Kidding Me Live, premiered exclusively on Netflix. On April 9, 2019, Handler will release her much anticipated sixth book, Life Will Be the Death of Me with Random House, a division of Penguin Random House LLC.

Handler has been honored by TIME magazine as one of its annual "TIME 100"; Glamour magazine as one of its 2011 Women of the Year; and the Human Rights Campaign, which gave her its Ally for Equality Award in 2009. Handler's wide appeal and multiplatform success have been highlighted by publications all over the world.

A native of New Jersey, Chelsea currently resides in Los Angeles.

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Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $299 when you book with your tickets here.

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Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $299 when you book with your tickets here.

ABOUT OMD

The synth pop group Orchestral Manoeuvres in the Dark was formed in the late '70s in Liverpool. Although band has changed through the years, it still features core members Paul Humphreys and Andy McCluskey.

Following their self-titled debut album in 1980, OMD have gone on to release 12 more records, with the latest being 2017's The Punishment of Luxury.

Among the band's huge catalogue of hits are Enola Gay, If You Leave, Maid of Orleans, Electricity, So in Love and Souvenir.

OMD are celebrating their 40th anniversary with a special tour called Souvenir – OMD 40 Years. They be playing all of their hits and more, including some rarely played early material.

YOU, ME & OMD LIVE STREAM EVENT

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Masks are required for entry.

Please Note: Due to the socially distanced seating of this event, you must choose seating by clicking seats on the map. You will not be able to filter by number of tickets needed. Ticket groups of two or more can sit in open seating between purchased seats during the event. Please leave at least one seat between groups.

Full bar service will be available during this event. To encourage a fully contactless experience, select beverage items are available for pre-purchase during the reservation process. Drinks purchased in advance will be available to your party upon arrival, and is non-refundable. For questions about your order, please email info@acl-live.com. You may also order at the event; full drink menu is viewable here. Outside food or drink is not permitted.

Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $239 when you book with your tickets here.

ABOUT BRUCE ROBISON & KELLY WILLIS

In regard to the Lone Star State’s finest tunesmiths, Bruce Robison lands at the top of the heap. His songwriting turned the heads of some of the industry’s biggest artists and took them to the top of the charts (Dixie Chicks’ No. 1 version of “Travelin’ Soldier,” George Strait’s recording of “Wrapped” and the beautiful Tim McGraw/Faith Hill rendition of “Angry All The Time,” to name a few). While those achievements might be considered the pinnacle of a songwriting career to some, Robison has never been one to rest on his laurels. He is always creating.

In 2016, Bruce turned his focus toward his other passion project, The Next Waltz, a “virtual social house” of music, videos and interviews spotlighting the artists and songs that make up the pedigree of this generation’s cream of the crop. In his studio located just outside of Austin, Robison hosts and records an evolving array of artists who share in his commitment to continue the tradition of collaborative creativity. Everything in Bruce’s studio is recorded on analog tape “with no digital shenanigans – just like back when the music was good.” With a list of musician credits that could easily be mistaken for a hall-of-fame roll call, Robison delivers a truly organic listening experience that includes “happy accidents" and all kinds of things that just feel real.

Kelly Willis is Back Being Blue, to take a color-coded cue from the title of her seventh album. It’s a shade she wears well, though long-patient fans might just say: You had us at back. They’ll take a new Willis record in whatever hue it comes, now that it’s been 11 years since her last solo release, 2007’s Translated from Love. The Austin-based singer/ songwriter has hardly been MIA in the intervening years, having recorded and toured as part of a duo with husband, Bruce Robison.

She makes it sound like a fresh epiphany, but some might say that sending the hands of the clock spinning––in a word: timelessness––has always been a hallmark of her career. As the New York Times wrote, “Kelly Willis looks back to country music before Nashville embraced power ballads and cute happily-ever-after songs. She has an old-fashioned country voice with a twang, a breathy quaver, a break or a throaty sob whenever she needs one...Whether she was wishing for comfort, admitting to a bruised heart, yielding to illicit romance or trying to say goodbye, her voice was modest and true, illuminating the delicate tension and pain in every line.” No Depression noted that her music transcends throwback appeal: “There’s no point in being nostalgic for the generic delineations of the past. We are in the present. That’s where Kelly Willis lives. And it’s there that she sings, as keenly and movingly as any singer in the country or pop or rock present.” Rolling Stone zeroed in on the eternality of her tone: “Willis’ Okie soprano still crackles like no other, and her control and phrasing make it more devastating than ever.”

While both Bruce and Kelly have pursued separate careers, they have collaborated on many projects as well. Together, they have released three duo albums, hold an annual Christmas tour, Robison produced Willis’ latest album, Back Being Blue, and most recently, the release of their fourth duo album, Beautiful Lie. They currently reside in Austin, TX where they raise their four children and Robison runs his latest endeavor, The Next Waltz.

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MUST BE 21+ TO ATTEND

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Masks optional for fully vaccinated patrons. Must be 21+ years of age to attend.

The Austin Taco & Margarita Festival is taking place at Austin City Limits Live at the Moody Theater + 3TEN ACL Live + Terrace at W Austin on Saturday July 24th, 2021

We’re bringing together vendors from across the city for a taste of the town via TACOS!

ACOUSTIC STAGE + MAIN STAGE ENTERTAINMENT ALL NIGHT LONG

ADMISSION TYPES:

General Admission 21+ - Admission into the event (food, drink Sold Separately) GA Entry into the event at 5:00 PM

VIP 21+ - 2 free margaritas, 1 T Shirt, VIP Entry into the event at 4:00 PM

There will be bars and beverage stations serving margaritas, tequila shots, ice cold beer, water, soda & more (sold separately).

VENDOR & SPONSOR INQUIRIES: Have a restaurant or food truck or want to be a vendor or sponsor?

You can email us brent@azfoodfestivals.com

PLEASE NOTE: Ticket prices are subject to increase at any time - do not wait to buy tickets, these events often do sell out! Please drink responsibly.

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Each VIP Taco & Margarita Festival ticket includes:

• VIP Entry at 4:00PM
• Two margaritas
• Event t-shirt

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The health & safety of fans, staff, and performers is our priority. Masks are required for entry, and each seating group is socially distanced from neighboring groups.

Check out the floor layout here and photo of cabaret concert set up here.

Full food and bar service will be available during this event. To encourage a fully contactless experience, select food & beverage items are available for pre-purchase during the reservation process. Food & drink purchased in advance will be available to your party upon arrival, and is non-refundable. For questions about your order, please email info@acl-live.com. You may also order at the event; full food and and drink menus are viewable here. Outside food or drink is not permitted.

Make a night of it! Book a hotel stay just steps away at W Austin. Exclusive rates for ACL Live patrons start at just $219 when you book with your tickets here.

ABOUT AMERICAN AQUARIUM

“Country music was the voice of the people. It wasn’t always the prettiest voice, but it was an honest voice,” says American Aquarium founder and frontman BJ Barham. “I think that’s where country music has lost its way.” He pauses, then adds, North Carolina accent thick and voice steady: “I operate in the dark shadows of what we don’t want to talk about in the South.”

These days, those shadows are tall and wide, making it hard to recognize a neighbor, family––even yourself. On American Aquarium’s new album Lamentations, Barham shines light on dark American corners with heartbreaking conversations, long looks in the mirror, and empathetic questions, all through songwriting that is clear without sacrificing its poetry, and direct without losing its humanity. “As a songwriter, my number one job is to observe and then translate what I observe into a song, a story, a lesson,” Barham says. “I’d be doing myself and the listener a huge disservice if I didn’t talk about the things I see, which is a country, divided.”

As much as Barham appreciates an indignant protest song or one-sided anthem, he isn’t writing them. Instead, on Lamentations he’s making the political personal, reaching out to humanize folks with opposing viewpoints, and offering dignity instead of demonizing. The result is the strongest writing of Barham’s already stout career. “I’m still very much standing up for what I believe in––I don’t think anyone can question what side of the aisle I stand on,” he says. “But hopefully people listen and at least try to understand why their Sunday School teacher wears a Trump hat.”

Barham has built a fiercely devoted fanbase hundreds of thousands strong, fortified with 15 years of sold-out American Aquarium shows across the country and Europe. The band’s 2018 release Things Change strode confidently into that distinct territory where rock-and-roll and politics meet, prompting Rolling Stone to announce Barham “earns every bit of his Southern Springsteen cred.” In 2019, the American Aquarium lineup also shifted again: Shane Boeker remains on guitar, and bassist Alden Hedges, keys player Rhett Huffman, pedal steel ace Neil Jones, and drummer Ryan Van Fleet joined the group.

A beloved live band known for consistently playing at least 200-250 dates a year, American Aquarium chose to be more selective in 2019, winnowing the schedule to 92 shows. For Barham, sober for six years now, is a dad to a toddler and still happily married, the adjustment was a must. “We’re learning how to balance being in our mid-30s and being rock-and-rollers,” he says. “Being home was the most rewarding experience. It allowed me to be creative and write about things that really matter.”

Lamentations reflects that elevated focus. Barham, who is no longer religious but was raised Southern Baptist, wrote down the word “lamentations” in 2018, and knew it’d be his next album title before he’d written a single song for the record. He felt an anchoring connection to the word itself––defined as “the passionate expression of grief or sorrow”––but also to the Old Testament book in the Bible. “Lamentations is one of the few books in the Bible where there’s this doubt of God––this guy, crying out to the heavens, like, Why? If you love us so much, why did you let Jerusalem fall to Babylon?” Barham says. “I saw a direct correlation between that and a Southern man today who voted for Trump. I wanted to write about a broken America and all the things that lead a human being to doubting something. Every song on this record touches on something a little different.”

Album opener “Me and Mine (Lamentations)” is brooding and stormy, plaintive acoustic guitar undergirding Barham’s weathered vocals. Searching, frustrated, and sad, the song was written from the perspective of a conservative Southern voter who feels unseen, unheard, and short on hope. The broader message is immersive and immediate: Settle in and listen closely. Times are hard, and this record is going to talk about it. Barham, who doesn’t agree with the song’s protagonist politically, imbues him with respect and sympathetic fatigue. “There are so many people who come out nowadays and say, If you voted this way, you’re a racist. You’re a misogynist. You’re a nationalist,” he says. “But that was my teacher, my librarian, my uncle. I know they aren’t bigots. So instead of saying, You’re a bad person because you did this, I want to know why you did this. I want to talk to you about this.”

Upbeat guitar rocker “Dogwood” follows, with a tragic story wrapped up in singalong lines. Barham points to the song and “Luckier You Get,” with its Springsteen vibes and an ear-worm chorus, as two of the album’s more lighthearted moments. “Bright Leaf” is another musical moment ready for a crowd, offering a clear-eyed look at the tobacco farms and industry of Barham’s home through sharp lyrics that thousands will shout-sing right back at him.

Featuring wry pedal steel and a shuffling back beat, “Better South” is an alternative anthem, written and sung by a native Southerner who believes in change. Line after line, “Starts with You” shows off Barham’s self-deprecating wit: “They say you’re only as sick as your secrets / If that’s the truth then, friend, I’m dying / Spent a lifetime salvaging shipwrecks, / Falling so long I thought I was flying.”

Throughout the record, the only victim of Barham’s harsh tongue is himself. Heartbreaking “How Wicked I Was” pleads for narrative omissions when it comes to explaining the past to his little girl. Album highlight “Learned to Lie” cuts just as deep: Barham delivers a gut-wrenching confession over lonely piano. Raw and intimate, its look at how we hurt the ones we love evokes the unblinking candor of 60s and 70s Loretta Lynn––that extreme honesty Barham first valued in country music, and now misses. “That was one of the first songs I played for the boys in the band, and they were like, ‘Are you sure you want to record that?’” Barham says. “It’s a hard song to talk about. It’s a heavy song. For better or worse, I’m going to be real with you live. I’m probably going to make you uncomfortable. And that I think that’s a beautiful part of rock-and-roll.”

“Six Years Come September” is another heartbreaker, masquerading at first as a familiar story before a sobering plot twist. “As a songwriter, that’s the best feeling in the world––ruining someone with lyrics and a well-executed story,” Barham says. He points to album closer “Long Haul” as a frontrunner for his own favorite track. Perhaps the closest the record comes to jubilation, “Long Haul” rolls through three steadfast commitments Barham holds true and dear.

Ultimately, Lamentations is a thrilling portrait of an artist and his band reaching new levels of skill, consciousness, and potential after 20 years in the trenches. Unruly and sincere, Barham emerges as an important American voice––and an unlikely peacemaker. “I’ve had to work really hard to carry water as a songwriter,” he says. “It feels really good to be in my mid-30s, writing songs that I think matter. I think when you listen to this record, something is going to change in you. You’re going to feel something. That’s the most important part of songwriting: making someone feel.

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Masks are required for entry.

The best introduction to Jon Wolfe is the basic yet not so simple fact that he’s a country singer and songwriter. Country music, as it was, is and always should be, with boots firmly standing on the bedrock of tradition and an eye focused on taking it into the future. And that, as any fan of true country knows, is no simple proposition.

“At heart, it’s all about being a great singer and storyteller.”

Hence the other best introduction to Jon Wolfe is to hear him sing and share the stories in the songs he performs and writes. And to learn his life story — from small town Oklahoma to the bustling big city commodities trading floor to the dance halls and honky-tonks of Texas and Oklahoma to Music Row, to give the highlights — and witness his faith in the power of music and determination to touch the hearts of others with something that means so much to him.

It’s world-class country music from the American heartland, informed by the great singers that inspired Wolfe — like George Strait, Garth Brooks (a fellow Okie), Clint Black, Merle Haggard, Alan Jackson and Dwight Yoakam, to name a few — yet fired by his own contemporary energy and vision.

“A seasoned performer, Wolfe has opened for some of country’s biggest stars and has played more than 400 live shows over the past four years. ”

His 2010 release, It All Happened In A Honky Tonk, became such a regional success that it was re-released as a Deluxe Edition by Warner Music Nashville in 2013. The album debuted at #34 on the Billboard Album Chart and has collectively sold 25,000 units.

2015's Natural Man debuted #13 on iTunes, #25 on the Billboard chart, and #8 on the Nielsen SoundScan Top New Artist Albums Chart. The 13-track collection merges Wolfe's signature traditional sound, influenced by some of country music's greatest legends, with an edgy, modern energy.

The blend of rawness and accessibility of Natural Man gave Wolfe the undeniable identity of a torchbearer for country music. Any Night In Texas (2017) - Wolfe’s most recent and proudest collection of songs to date - landed at #3 on iTunes Country, #15 on Billboard Country, and continues to burn up the charts. With three highly-lauded studio albums in his repertoire, Wolfe’s garnered 12 consecutive Top Ten singles (7 have hit No.1), positioning him as a must-see act in Texas, Oklahoma, and well beyond.

Jon released his latest EP, Feels Like Country Music, in 2019 produced by Grammy nominated producer, Dave Brainard. So far, Feels Like Country Music has garnered two additional, consecutive number one singles in Texas with Some Ol’ Bar in the 90s and the title track, Feels Like Country Music.

Jon Wolfe recently created his own 100% Blue Agave tequila under the moniker of his name in Spanish: Juan Lobo. Juan Lobo Tequila is now available all over Texas, California, and Colorado. You can learn more about Juan Lobo Tequila here, attend the next Juan Lobo Tequila Fest, or simply sip on a Juan Lobo Tequila at the next Jon Wolfe show near you!

“Wolfe invites country music fans everywhere to dust off your boots, download or spin the single, and come see the electrifying live show that has everyone talking. The numbers don’t lie: Jon Wolfe is the torchbearer for country music.”

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