Pat Green / Eli Young Band

NASH FM 94.7 Presents the 10th Annual Salute to Texas Independence Day

Pat Green / Eli Young Band

Casey Donahew, Wade Bowen

Fri, March 9, 2018

Doors: 6:00 pm / Show: 7:00 pm

Terminal 5

New York, NY

$35 Advance / $40 Day of Show

This event is all ages

Any patron with a Texas related tattoo or wearing an article of clothing with a logo from a Texas college on it will receive one complimentary drink.

Pat Green
Pat Green
It’s impossible to know your limits without testing them.

It’s a truth that Pat Green has employed in his career, one that has propelled him to repeatedly refashion his sound, his approach and his own perception of who he is.

He’s simultaneously a Grammy-nominated hit maker with an outsider reputation, a Texas inspiration and a mainstream country artist who can rock arena and stadium stages with the likes of Keith Urban and Kenny Chesney.

Each of those roles has its own place. But each of them is too small to define Pat Green, who after 15 years in the recording business has earned the right to be everything Pat Green can be. Without limitations.

“I’d much rather be me and comfortable in my own skin than trying to be five different guys to get to the top,” he says.

In fact, after building a reputation as an ace songwriter of his own material, Green is fighting even that limitation with Songs We Wish We’d Written II, a sequel to a 2001 album he recorded with longtime friend—and fellow Texan—Cory Morrow.

Stocked with music penned by the likes of Lyle Lovett, Tom Petty, Shelby Lynne and Jon Randall, the disc—Green’s first for the acclaimed Sugar Hill label—mixes country, rock and blues in a manner that defies categorization. Petty’s “Even The Losers” and Collective Soul’s

“The World I Know” will be familiar to just about anyone who gives the album a listen. Others, such as Aaron Lee Tasjan’s quirky “Streets Of Galilee” and Todd Snider’s burning “I Am Too,” are introductions from the underground to a large majority of music fans.

Songs We Wish We’d Written II is an expansive step in Green’s ongoing development. By piecing together songs from a variety of writers, he was able to assemble an album that reflects the multiple genres that influence him as an artist. The source of the songs wasn’t as important as the quality of the music and its ability to connect with Green’s maturing sense of his craft.

“If you listen to my young music or anybody’s young music, it’s all over the place,” he suggests.

“It sounds like that because the thoughts are all over the place. You were sleeping on mattresses on the floor, the TV was on a cinderblock – that’s all cool. That’s all we needed, then.

Now, I’ve grown up a bit. As my life has evolves, my taste for music continues to evolve with it.”

While Green was looking for songs for the album from outside sources, he was adamant about recording music that ultimately seemed designed specifically for him and his band. With drummer Justin Pollard co-producing, Green drew up an initial list of 10 titles and recorded them during a concentrated week of sessions in Austin. They tracked another five in Tyler, Texas, then culled the best to get the final 10 cuts on Songs We Wish We’d Written II, creating a cohesive package from disparate sources.

“We all just sat around discussing and if somebody’s idea would sound better than my idea, I’d get fixated on it,” Green says. “I would very much encourage them to bring an idea. For instance, the Walt Wilkins song ‘If It Weren’t For You,’ that was somebody else’s idea completely. There were all kinds of ideas going around from Genesis and Peter Gabriel, Colin

Hay from Men at Work – all kinds of crazy stuff from the ‘80s. Of course, we ended up with Petty from 1979.”

They also ended up with a stellar list of guests. Collective Soul’s Ed Roland brings an authentic cynicism to “The World I Know,” Jack Ingram’s threads a snarling desperation into “I Am Too,” Cory Morrow adds a craggy earthiness to “If I Had A Boat,” and former Sons of the Desert member Drew Womack adds a smooth, Vince Gill-like presence as a backing vocalist on the driving “Austin.”

Monte Montgomery provides a thick, expressive blues voice on the Allman Brothers’ “Soulshine” and trades licks with Green’s guitarist, Chris Skrobot, in some of the most riveting moments on Written II, with their dueling lines careening like pinballs.

Skrobot also introduced Green to Aaron Lee Tasjan, who’s something of a new discovery on the album. Tasjan’s “Streets Of Galilee” combines a seemingly random parade of images into an escapist story while Tasjan makes a wry vocal appearance, adding an ethereal presence in the mold of AAA talent Brett Dennen.

“Aaron is a super guy, an amazing talent, and he has a band in New York called The Madison Square Gardeners, so he’s obviously a very funny, very clever human being,” Green assesses.

“He’s definitely the kind of writer I really enjoy listening to.” “Galilee,” “Soulshine,” “Jesus On A Greyhound” and the imagery in “Austin” combine to form a spiritual undercurrent on the album akin to the message of Green’s biggest hit, “Wave On Wave.” It’s appropriate – Green spent much of the last two years searching his conscience as he battles the prism of limitations that were created by his own successes in Texas, and on a national stage.

And in a way, Songs We Wish We’d Written II is the first chapter in the next act of his career.

“There’s a man inside of me now that didn’t used to live here, whereas there was only a boy before,” he says. “The boy was so strong and had done so much, so I’m kind of seeing things in a new way. The last couple years have really been an eye opener, much more intense and richer.”

That’s a large statement – Green’s life and career have already been filled with rich experiences. He’s co-written songs with Willie Nelson, Brad Paisley, Jewel and Rob Thomas.

Appeared on such national TV shows as Austin City Limits, Jimmy Kimmel Live! and The Late Show With David Letterman. Been hailed by Billboard, USA Today, Esquire, People and Country Weekly. Toured with the likes of Kenny Chesney, Keith Urban and the Dave Matthews Band.

And become a concert force in his own right, regularly selling out venues from Los Angeles to New York, where he’s now sold out his last seven appearances.

All of that is impressive. But it’s also history. As much as he appreciates it, Green puts it in his place on his cover of “Even The Losers,” where he highlights a lyric that Petty obscured in the original: “It’s such a drag when you’re living in the past.”

Green may be recognized for those past achievements, but he doesn’t intend to be limited by them as he continues to progress creatively. And that progress will come by simply testing what it means to be Pat Green.

“I want to be me,” he says. “There are so many people who live with so many masters in their lives. I really just need one.”
Eli Young Band
Eli Young Band
The ELI YOUNG BAND has always been unique in modern Country music – a true band of brothers who play their own instruments, write their own songs and cling fast to their Texas roots. They’d even go so far as to call themselves “misfits,” but with their fourth major label album, FINGERPRINTS (The Valory Music Co.), they’re finally embracing what makes them different once and for all.

“With 17 years of experience comes a little bit of wisdom and freedom in knowing who you are,” says lead singer Mike Eli. “And what you’re really good at.”

Although their sound has evolved over time, what they’re good at has always been the same – organic, liveshow focused Country dripping with authenticity and perfected in clubs, amphitheaters and stadiums from coast to coast.

Eli founded the band with guitarist James Young, bassist Jon Jones and drummer Chris Thompson at the University of North Texas in 2000, building a grass-roots fanbase that propelled each of their previous three albums into the Top 5 of Billboard’s Country Albums chart, with 2014’s 10,000 TOWNS bowing at No. 1.

Three No. 1 singles gave the band an edgy, romantically-charged identity (“Crazy Girl,” “Even If It Breaks Your Heart” and “Drunk Last Night”). Their stable of hits collected Platinum and Multi-Platinum certifications that lead to Grammy and CMA Award nominations, Billboard Awards and an ACM trophy for Song of the Year (“Crazy Girl”). All of these accolades combined with their loyal fanbase and successful touring have resulted in over 500 million streams of their career catalogue.

Confident in their soulful, hearts-on-fire brand of Country, the group headed back into the studio to co-produce FINGERPRINTS alongside Ross Copperman and Jeremy Stover. Eight of the 11 new tracks were penned by the band members themselves. They’ve returned to a live-show-first mentality, trading in studio tricks for the “meat and potatoes” of a touring band; ringing guitars, driving bass lines, thundering drums and heartfelt, genuine vocals.

“There were so many organic sounds on those first records, and you can hear a lot of that in this album,” says Eli. “But mostly, I think it’s about passion and soul and believe-ability.”

Co-writing with some of Nashville’s hottest hit makers like Ashley Gorley, Lori McKenna, Ryan Hurd and Shane McAnally, that honesty is paired top-notch song craft and vivid imagery.

The album’s FINGERPRINTS title comes from a fist-pumping anthem about a smooth romantic criminal, but its meaning invokes the band’s quest to unmask themselves. No two fingerprints are the same, and their newest collection represents the most personal music they’ve ever made.

“So many of the songs we were writing and connecting with felt personal,” Eli continues. “So many songs came from a place of passion, and something I just really wanted to say.”

New single “Skin & Bones” is a prime example. A tender, epic love song built on real-life devotion and decorated with a dash of Tejano flair, it’s a direct reflection of Eli’s enduring love for his wife, Kacey.

“Walking into the writing room with Phil Barton and Lori McKenna was such a treat,” he explains. “I felt in my gut we were gonna walk out of that room with a special song, and it turns out we did. My wife and I have been together for a lot of years now, and there comes a point where so much of who you are is intertwined and connected. You sometimes lose that line of where they end and you begin.”

Meanwhile, the band was keenly aware of longtime fans’ thirst for “old school” EYB, and their calls on social media led to one of the project’s most nostalgic and heartwarming standouts, “Old Songs.” A feel-good anthem about days – and tunes – gone by, the song celebrates happy memories in a way that harkens back to their first Gold single, “Always the Love Songs.” “When somebody says, ‘We love the old stuff,’ so much of that is built around the memories that come along with the old songs,” Eli says. “When you hear one, they come back right away.”

Backed by harmonica and perfect for a campfire sing along, Carolyn Dawn Johnson provides gorgeous backup vocals on the track, as she does on another laid-back, life-is-good ballad – “God Love the Rain.” But the band was also excited to revisit its rocking side.

“I think we pushed ourselves to dial it up a notch,” Young says, flashing a playful grin. “Maybe that’s why a lot of this reminds us of our earlier days.”

Songs like “Drive,” “Once” and “The Days I Feel Alone” will energize established fans and newcomers alike, while the clever “Never Land” offers a soaring fairy-tale head fake.

An irresistible groove defines “Never Again,” and even songs the band did not write – of which there are only three – feel incredibly true to them ... just like some of their biggest hits. “Heart Needs a Break” is so catchy it can’t be ignored.

“The first time you hear it, you’re singing along,” says Eli. “We were lucky with ‘Never Again,’ ‘Heart Needs a Break’ and ‘Saltwater Gospel.’ We knew right away that we needed to record those, and songs like that seem to end up like ‘Crazy Girl.’ They’re undeniable.”

What’s also undeniable is the band’s unique connection with fans. Even through sonic evolutions and changes to the Country industry, their obsessive following has continued to grow as “Saltwater Gospel” became one of the best reactions from Highway listeners all year on SiriusXM. And that they put on one of the best loved liveshows around – the very fingerprint of the Eli Young Band itself. Maybe that makes them misfits, but so be it.

This is who they are – some of the last true brothers of the road. “We’ve been through everything together,” Eli says. “We’ve had this inner support system even before we had families of our own, and I think we still turn to that. Whatever the road is in front of us, our friendship will always be the priority.” This summer, the road will take them from California to Maine, headlining shows with a set of brand new – but classic sounding – Eli Young Band tunes. And it will likely be just as much fun for them as it is for fans. “We still look at each other as college buddies – not business partners,” says Young. “We get to share our lives with each other and we’ve done some really cool stuff, and our music has been the greatest byproduct of that.”
Casey Donahew
Casey Donahew
In just over 10 years, Casey Donahew has risen from being a favorite on the local Texas music scene to a nationally popular touring act who has racked up 13 No. 1 singles and consistently sells out venues across the country. Donahew has released four independent albums to critical and commercial acclaim. His 2011 release, DOUBLE WIDE DREAM, spawned three No. 1 singles: the title track, “Double Wide Dream,” “Let’s Not Say Goodbye Again,” and “One Star Flag.” Casey’s last CD, STANDOFF, quickly topped the iTunes Country Chart at No. 1, upon its release, and yielded five No. 1 radio singles “Whiskey Baby,” “Small Town Love,” “Lovin’ Out of Control,” which is Donahew’s fastest rising single to date, “Not Ready To Say Goodnight” and “Loser.” His most recent #1 single “Feels This Right,” from his EP release PRE-PARTY, marks his latest Texas radio hit. Donahew released his most recent studio album ALL NIGHT PARTY on August 19, 2016 and it immediately rocketed to No. 3 on the Billboard Top Country Albums Chart, No. 13 on the Top Album Sales Chart and Top Current Album Sales Chart and No. 40 on the Billboard 200 Chart. The hot new project also took the No. 2 spot on the Internet Albums Chart and landed at No. 3 on the Independent Albums Chart. Donahew worked with acclaimed producer Josh Leo (Love & Theft, Timothy B. Schmit and Alabama, among others) on this latest project, marking the first time he has engaged an outside producer. Leo has performed on over 150 records, produced 21 singles that reached No. 1 on the Billboard Top Country Albums chart, written six singles that reached No. 1 on the Billboard Country Singles chart, and has won 6 BMI Millionaire awards.
Wade Bowen
Wade Bowen
Every story has a next chapter and for Wade Bowen, this new self-titled album, is
it. Wade Bowen marks a new beginning, the turning of the page to a place
where the music becomes a little bit freer, a little bit looser, and a lot more
intimate. This is the sound of catharsis, of Bowen released from major label
bonds to find himself on his own again - ragged from the storm, but finally, back
on shore.
In short, this is the real Wade Bowen.
Bowen has sold over 300,000 album in his short career, sung duets with the likes
of Will Hoge ("Another Song Nobody Will Hear") and Brandy Clark, (the duet of
"Love in the First Degree" on the successful comp "High Cotton: A Tribute to
Alabama"), and been featured on compilations alongside the likes of Charlie
Daniels, Old Crow Medicine Show, Eli Young Band and The Blind Boys from
Alabama. His Wade Bowen Classic golf tournament has raised over 1 million
dollars to benefit children's charities across central Texas.
And now, after 15 years of near constant touring, (sometimes up to 250 nights a
year), through hit albums like, The Given, and hit tracks like, "Songs About
Trucks," Bowen has continuously grown and evolved, becoming the man on this
incredible new record.
Welcome Bowen the balladeer, the storyteller, the guy who sings from the heart.
“This was a whole new approach,” explains Bowen of the making of this newest
album, his 7th to date, “Probably what I love most about this album is the search
I went on to go out of my norm and write some songs that were out of my comfort
zone. I guess you could say I was more selfish on this record. I wanted
everyone playing on this to feel willing to explore, to go as far out as they wanted
to. I wanted to go back to the way we all played when we were kids in garage
somewhere, playing just for the pure fun of it. “
Sometimes, starting new, means going back to where you began in the first
place, where music was played straight from the gut, for the sheer and beautiful
joy of it. Wade Bowen was made without the burdens that come with big
business or the pressures to fit in any kind of particular box. This is simple,
American-made Americana, dreamt up on the road and played in the company of
good friends.
“The focus was to talk about what I’ve been through. To get personal,” Bowen
says of writing these new tracks, “everything I’ve been through lead me to this. I
needed to get stuff off my chest in a way, to be free and to be playing music for
the right reasons. This album was about getting friends involved, about getting on
the road and trying to inspire people.”
Recorded his own way, Wade Bowen sounds more like a casual gathering than a
stiff studio session. The players have space to breath and room to explore. You
can hear it in the big guitar thrusts of “When It’s Reckless”, co-written with Will
Hoge. “When I heard Will for the first time, I always wondered what a co-write
between us would sound like,” says Bowen. “Finally, here it is.”
Your can here is in gritty sway of “Honky Tonk Road” a track Bowen first heard
performed by Walt Wilkins and the Mystiqueros and “fell in love with it. Walt has
always been one of my favorites anyway. They took this Ray Stephenson song
and made it their own and from the first time I heard it I imagined how fun it would
be to get some buddies together to sing it with me. Remember back in the days
when multiple artists recorded a good song, over and over? Well…”
On covers like this one, as well as on the album’s vibrant originals, Bowen and
his band manage capture all the raw energy of a live performance, while taking
us on a wild ride down the highways and byways of a lost America. “It was about
the energy,” says Bowen, “I wanted this record to be unique from everything else
I’d done. It is rawer record than I’ve ever done and it has more of a free spirit. I
want you to feel like you’re in the room with us when you’re listening to it.”
With Wade Bowen, he rolls with us onto wide-open roads and into territory both
fresh and familiar. You can hear a host of influences here, old school rockn’roll,
classic country, and singer-songwriter confessionals. But the thematic glue that
holds the album together is the idea of moving forward, of moving on, of following
that arrow of black pavement that links one experience to the next.
Tracks like “Drive and “Wander” are songs born of hot asphalt, of the sky spread
out big and blue. “California” and “Leola” carry traces of sweet nostalgia and the
kind of yearning that aches deep in the chest. “Gonna Go” is darker, grittier,
following the beat of the road, that dotted yellow line pulsing into a lost horizon.
On “West Texas Rain”, with Vince Gill guesting on vocals, Bowen gives a nod to
his early days in his home state, a place, “where I started playing music and
figuring life out. I’ve always felt that as a writer, sometimes the best thing to do is
just be as honest as you can and everything seems to work itself out. This song
is a story of life and love and learning and anyone who knows West Texas as all
knows, if you don’t like the weather, stick around cause it’ll change before you
know it. Live your life. We are only here for a little while.”
“I wrote the album over a few years time,” explains Bowen, “but when you gather
these songs together, there always seems to be a theme you didn’t see before.
A lot of them are about being on the road, about the life I’ve been leading. I listen
to this record and my life comes through, and ultimately, without trying, the songs
all ended up feeling right together.”
Take a listen. The tracks on Wade Bowen feel as familiar as old denim, as
comforting as an old friend - back again after a long time gone. This is an album
that has Bowen both returning to his roots…and pushing ahead into strange new
lands. These are songs made of memories, regrets, redemption and the promise
of a next chapter too - those adventures that still await, just up around the next
curve.
Venue Information:
Terminal 5
610 W 56th St
New York, NY, 10019
http://www.terminal5nyc.com/