The Avett Brothers at the Beach

The Avett Brothers at the Beach

Old Crow Medicine Show, John Prine, The Head and the Heart, Shovels and Rope, Langhorne Slim & The Law

Wed, January 31, 2018 - Sun, February 4, 2018

12:00 pm

Hard Rock Hotel (Riviera Maya, Mexico)

Riviera Maya, Quintana Roo, Mexico

Sold Out

Head down to Mexico with The Avett Brothers this winter for some great music and sunshine! The Avett Brothers At The Beach is a four-night all-inclusive concert vacation at the Hard Rock Hotel Riviera Maya taking place Jan. 31- Feb. 4, 2018.

All-inclusive room packages on sale June 15th! http://avettsatthebeach.com/

The Avett Brothers
The Avett Brothers
Old Crow Medicine Show
Old Crow Medicine Show
High-energy old-time string band Old Crow Medicine Show will pay homage to one of music’s greatest innovators, when they perform Bob Dylan’s Blonde on Blonde in it's entirety. Discovered by American Roots legend Doc Watson, they've gone on to win two Grammy's, become members of the Grand Ole Opry, and have gone platinum with their song, "Wagon Wheel." Experience Bob Dylan’s watershed album like never before.
John Prine
John Prine
JOHN PRINE needed to get into his comfort zone to finish a new album, so his wife reserved a room at the Omni Hotel in Nashville for a week. After nearly 50 years on the road, hotel rooms are a familiar enough sight. Following two bellmen to his suite, Prine settled in with four guitars and 10 boxes of legal pads to complete the album that would become The Tree of Forgiveness.
”I said, ‘If anybody sees me checking into the Omni, they’ll figure Fiona and I are on the outs,” Prine recounts with a sly laugh. “I grabbed my stuff just
as fast as I could. She knows that after being on the road so many years, I function better in a hotel, so that’s what I did. I ordered room service and worked and watched my quiz shows. No pressure. This way, if I wanted to write at 3 in the morning, or 3 in the afternoon, I could. I’d go out to the swimming pool and go eat at the steakhouse. It worked out because by the end of the week, I was ready to go into the studio.”
The highly-anticipated album, The Tree of Forgiveness, is Prine’s first collection of new material since 2005’s Grammy-winning Fair and Square. Rather than going out on a limb, Prine cultivated the themes that have brought international acclaim since the 1970s. For example, he can take a topic like loneliness and make it funny (“Knockin’ on Your Screen Door”) or heartbreaking (“Summers End”). Perfectly aligned with his quirkiest songs, “The Lonesome Friends of Science” makes its point through the characters he calls “those bastards in the white lab coats who experiment with mountain goats,” as well as the discredited planet Pluto and the towering Vulcan statue in Birmingham, Alabama.
Prine teamed with Grammy-winning producer Dave Cobb to record in Nashville’s historic Studio A, enlisting friends like Brandi Carlile, Jason Isbell, and Amanda Shires to sing along. The songs are new, although some had waited to be finished for decades, like a co-write with Phil Spector called “God Only Knows.” Another incomplete song, “I Have Met My Love Today,” now celebrates the unexpected spark that leads to lifelong romance -- with a dash of youthful innocence. The musical arrangements may be simpler than on past efforts, yet his unique ability to distill complex emotions into everyday language remains fully intact.
As he’s done for years, Prine found inspiration in writing sessions with close friends like Roger Cook, Pat McLaughlin and Keith Sykes. “Egg and Daughter Nite, Lincoln, Nebraska, 1967 (Crazy Bone)” is a lighthearted look at a bygone era, while “Caravan of Fools” (written with McLaughlin and The Black Keys’ Dan Auerbach) is a contemporary meditation on the weaknesses of powerful people. The poignant “No Ordinary Blue” wraps up a trilogy that encompasses 1991’s “You Got Gold” and 2005’s “Long Monday.” The album’s title is nestled in the final song, “When I Get to Heaven,” which brings a healthy dose of levity to what might have been a grave situation. Prine revealed in 2013 that an operable form of cancer had been found on his lung. Fortunately an operation proved successful. The diagnosis followed a 1998 surgery for neck cancer, which made him give up smoking for good.
“That was 20 years ago and I still miss cigarettes,” he admits. “If somebody lights up, I’ll go stand next to them after they fire up so I can get that initial blast. So I’d written this chorus about having my favorite cocktail and having a cigarette that’s nine miles long. I kept thinking, ‘Where the hell can I do that?’ The only place I can get away with that it is in Heaven because there’s no cancer there. So, the chorus dictated the setting of the song. I made up the verses around that.”
The Tree of Forgiveness is a family affair, too. (That’s Prine’s grandson giggling on the final track.) Following the 2015 death of business partner and manager Al Bunetta, Fiona Whelan Prine took on a management role. Their son Jody Whelan leads Oh Boy Records, which launched in 1981. As Nashville’s longest-operating indie label, Oh Boy expanded into book publishing in 2017 with Prine’s Beyond Words, which is an enchanting compilation of impeccable lyrics, guitar charts, vintage photos, and personal anecdotes from across his singular career.
Back in 1970, Prine was playing at the Chicago folk club The Fifth Peg when the young journalist Roger Ebert dropped in for a set. At the time, Prine was a 23-year-old mailman who had been singing his original songs every Thursday night for about two months. Ebert wrote a glowing review for the Chicago Sun-Times, essentially launching Prine’s music career. Kris Kristofferson became one of his earliest advocates; their friendship has lasted decades and they have toured together extensively over the years. In turn, Prine has invited a new generation of songwriters, such as Jason Isbell and Margo Price, to open his concerts. His 2018 tour schedule includes select dates with Sturgill Simpson.
Prine still remembers the first three songs he performed on any stage: “Sam Stone,” “Hello in There,” and “Paradise.” With humility, he recalls, “I sang those three songs and people just sat there and looked at me. I thought, ‘Wow, those are really bad.’ They wouldn’t even applaud.”
Of course, the opposite is true today. Those three songs – as well as “In Spite of Ourselves,” “Lake Marie,” “Fish and Whistle,” and so many others – are Prine signatures. His songs have been recorded by iconic singers like Johnny Cash (“Sam Stone”), Bette Midler (“Hello in There”) and Bonnie Raitt (“Angel from Montgomery”). He’s an uncredited co-writer on the now-classic “You Never Even Call Me by My Name” and his songs have been cut by country stars like Zac Brown Band (“All the Best”), Miranda Lambert (“That’s the Way the World Goes Round”) and George Strait (“I Just Want to Dance with You”). A gem from The Tree of Forgiveness, “Boundless Love” is also ripe for the picking.
Prine won his first Grammy for the 1991 album, The Missing Years, and he joined the Nashville Songwriters Hall of Fame in 2003. The Grammy Hall of Fame inducted his 1971 self-titled debut album in 2014. Two years later he accepted the PEN New England’s Song Lyrics of Literary Excellence Award. At the age of 70, he was named Artist of the Year by the Americana Music Association in 2017. Naturally, The Tree of Forgiveness is rooted in that same observant songwriting that he’s crafted throughout his career.
“I kept saying when I was doing this album, it’s going to be my last one,” Prine admits with a grin. “But if things go really good with it, I can’t see why I wouldn’t do something else.”
The Head and the Heart
The Head and the Heart
The Head and the Heart’s third release, Signs of Light, is due out September 9. Recorded in Nashville with producer Jay Joyce (Eric Church, Cage the Elephant, 2015 Producer of the Year Grammy nominee), Signs of Light crackles with the upbeat sing-a-long energy that is The Head and the Heart’s finest work to date. This will be The Head and the Heart's first release on Warner Bros. Records. Their debut single, “All We Ever Knew" is currently #1 at AAA radio and #8 at Alternative. They have released three other songs from the record in addition to “All We Ever Knew” - “Library Magic”, “Colors" and "Rhythm &Blues". The Head and the Heart will hit the road in October on their Signs of Light tour with sold out shows in Nashville at The Ryman Auditorium two nights, New York at Terminal 5 (second show added), Boston at The Orpheum, Austin at Stubb’s Waller Creek Amphitheater (second show added), and two sold out nights in Seattle at The Paramount (third show added).
Shovels and Rope
Shovels and Rope
It’s not all that unusual for musicians to talk the talk about taking a less-is-more approach to their work – but it’s rare indeed for artists to really walk the walk, and apply that philosophy across the board. Over the better part of a decade, Shovels & Rope have done just that, cutting unnecessary frills from their songs, not to mention the very way they live their musical lives.

Mississippi-born, Nashville-bred Cary Ann Hearst and Texas-born, Colorado-raised Michael Trent forged singular paths as solo artists before connecting – both musically and personally – in Charleston, South Carolina. While they’d both had burgeoning solo careers (Cary Ann earned kudos for her 2006 album Dust and Bones, Michael with his band, The Films, as well as his own solo outings), they quickly found that both their voices – which entwine with eerie beauty in their haunting harmonies – and philosophies matched up perfectly, and a beautiful partnership was born.

“Consciously or not, we’ve always insulated ourselves from outside influences,” says Cary Ann. “The key, for us, is to be authentic to ourselves – and, sometimes to a fault, we’ve managed to do that. I don’t think we’d be able to keep doing this if we backed off from what we were doing when we started.”

There’s no backing off or backing down on Swimmin’ Time, the duo’s much-anticipated sophomore set as Shovels & Rope, an album that brims with the confidence, energy and sinew of a band that’s accustomed to treating their career as a marathon, rather than a sprint. The album, recorded at the studio Trent constructed in the couple’s home, finds them cutting a new path through the sonic thickets they navigated so nimbly on their breakthrough bow, O’ Be Joyful – a disc that won rave reviews from outlets like Mojo (which called it “thrilling”) and Filter, which said “[they] were solid singer-songwriters on their own, but this is truly a thing of magic.”

On Swimmin’ Time – a title that nods to the aquatic theme running through the disc’s songs -- Hearst and Trent bob and weave through a combination of witty, playful tales (like “Fish Assassin”) and brooding murder ballads (like the horn-tinged New Orleans shuffle “Ohio”) with a rare combination of intimacy and swagger. They know when to grab the listener by the shoulders and shake (as on the fiercely roiling opener “The Devil Is All Around”) and when to put a caring arm around those same shoulders in order to spin a gentler yarn (like “After the Storm,” a tale of surviving rough waters, both literally and spiritually).

“We weren’t trying to make a particular kind of record, but we knew early on that there would be some evolution,” says Trent, who also produced Swimmin’ Time. “There are all kinds of dark undertones, but there are other colors, too. Every song kind of played off, and built on, the ones that came before, so they fit together really well.”

That seamless construction helps Swimmin’ Time slide past the ears and into the memory banks with remarkable ease, each of its songs leaving a bit of an indelible mark, from the sonically brooding “Stono River Blues” (which could easily pass for a lost Grimm’s Fairy Tale) to the chiming “Save the World,” a sort of semaphore flag signaling hope on the horizon, to the woozy, closing-time waltz of "Coping Mechanism."

“Our working model has always been to use what we have lying around,” says Cary Ann. “It’s just that this time, we happened to have an organ lying around, we had a piano lying around…we definitely had more resources at hand, but we didn’t want to seem ostentatious or anything. Besides which, we still have to recreate the songs live, so there’s a limit - even though Michael can play five things at once, like a wind-up toy.”

Those live shows have played a huge part in building Shovels & Rope’s reputation among audiences and their peers – the latter of whom voted the duo in for two 2013 Americana Music Awards, Emerging Artist of the Year as well as Song of the Year (for the vivid, semi-autobiographical “Birmingham”). Over the past two years, Cary Ann and Michael kept their sleeves rolled up and their voices raised, an M.O. that helped them eventually sell more than 60,000 albums the old fashioned way – reaching one listener at a time, and making each one feel like part of the Shovels & Rope family.

As a result, they were able to trade their well-loved and road-weary van for an R.V. and segue from tiny, sweat-soaked dives to larger halls, not to mention eye-opening performances at events like the Newport Folk Festival, Coachella and Lollapalooza. They may have had camera crews following them – for the intimate, revelatory documentary The Ballad of Shovels & Rope, which has been making the film festival circuit this past year – but they didn’t cut back on what Cary Ann calls “windshield time,” and certainly didn’t let their egos grow in tandem.

“Word of mouth has been a huge part of our story,” says Michael. “We just toured and toured, opening up for bigger bands and playing anywhere we could. Sometimes we felt more like t-shirt selling long-distance truckers. It wasn’t like we had a huge song that came out of nowhere and was suddenly on the radio all the time. I’d be terrified if that was the case.”

While they didn’t start showing up in the tabloids as a result, “Birmingham” (the number-one song on American Songwriter’s year-end list) and the rest of O’ Be Joyful did put Shovels & Rope on the larger stage in many ways – from an appearance on the Late Show With David Letterman to an acclaimed set on Austin City Limits. But as they continue to prove, night after night on tour, they aren’t about to put their blue collars into mothballs. Cary Ann jokingly says, “We keep getting more famous, but we aren’t getting any better,” before turning serious.

“This is something we’ve both always dreamed of doing,” she says. “We enjoy each other’s music and we enjoy each other’s company. We thrive on doing exactly what we’re doing, and we’re making people happy with it. What could be better than that?”
Langhorne Slim & The Law
Langhorne Slim & The Law
Sometimes, truth can't be explained. But it can be felt, running wild through a song. "I don't want to tame myself. I want to be wild," says Langhorne Slim. "If I can continue to refine the wildness but never suffocate or tame it, then I'm on the right path. Because it is a path. I feel it."

'The Spirit Moves' is Langhorne's newest artistic attempt to refine the wildness. The result is an effervescent collection of his now-signature, cinematic, joyful noise, rooted in folk, soul, and blues. Out on Dualtone Records on August 7th, 2015, the album marks his second with rock-solid band The Law, and the highly anticipated follow-up to 2012's critically acclaimed 'The Way We Move.'

'The Spirit Moves' is a stunning portrait of Langhorne's life in transition: the "born to be in motion and follow the sun" rambler found a home in Nashville, Tennessee. While he's put down roots in a place, he's unattached to a person, single for the first time in recent memory. 'The Spirit Moves' is also the first album of his career written and recorded entirely sober. Together, the record's beautiful glimpses of bold beginnings and risks taken create an ode not only to a better life, but to the vulnerability needed to live it.

"I'm a strong believer that sensitivity and vulnerability are not weaknesses. They're some of the greatest strengths of man and woman kind," Langhorne says. "And that's what a lot of the record is about."

Langhorne and The Law sought out engineer Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff) and recorded 'The Spirit Moves' at Tokic's studio, the Bomb Shelter, in East Nashville. Producing duties were shouldered by Langhorne, the band, and trusted cohort Kenny Siegal, reuniting the family behind 'The Way We Move.'

"I went to battle with my demons, and I'm still doing it," Langhorne says. "My brothers stood beside me and kicked ass on the record." Three of his brothers are The Law: drummer Malachi DeLorenzo, bassist Jeff Ratner, and keys and banjo player David Moore. "My band is not a hired gun group of guys," Langhorne says. "They are my band and they are uniquely spectacular."

And then, there's brother Kenny Siegal. "In Kenny, I've found a musical brother," he says. "We drive each other crazy, but the man understands me somehow in an energetic, spiritual sense, more than most anyone I've ever met."

Langhorne wasn't looking for a co-writer, but that's exactly what Siegal became for eight of the record's songs, making 'The Spirit Moves' the first time Langhorne has ever written with someone else for an album. For Langhorne, writing is often an arduous process. "I rarely write a complete song immediately," he explains. "Every once in a while, one hits, but songs mostly come in pieces. Those pieces build up and start to taunt me as they swirl around in my head. Eventually, they make me feel like I'm going totally crazy. It's like they're gonna devour me -- eat me alive."

He pushed through alone to pen some of the tracks, chasing each song's individual truth. In creating others, Siegal helped him put the pieces together.

What emerged is a record that delights in contradiction: freewheeling but purposeful; celebratory but confessional; looking to light even when it's dark. Langhorne's voice -- an arresting howl sublimely at home in a Mississippi roadhouse or on a Newport stage -- has never sounded better.

He wrote the title track just weeks before entering the studio, "terrified that I didn't have enough and what I had wasn't good enough." The song is no mere reflection, but a manifestation of unbridled joy, and a celebration of opening up oneself to the supernatural that surrounds us.

"Changes" is an intimate look at a soul being reborn, but Langhorne hopes each listener can hear something of their own in it. "When I'm writing, it's coming from a heart or soul kind of place, not the mental zone of 'Well, I moved to Nashville and I got sober and I'm single and I'm going through changes, so let's write a song about it,'" he says. He calls infectious garage-pop growler "Put it Together" "the most painful song I've ever written," not because of the subject matter, but because of the process. He found the opening lines and crunchy chords while seeking relief after his beloved 1977 Mercury Comet was stolen. But then, the song took months to complete. "I've never worked that hard to get a song," he says.

The refusal to let a heart harden helped bring about "Life's a Bell," a dreamy call-to-action that nods to 50s rock-and-roll and Sly and the Family Stone. "A lot of my music is celebration of light," he says. "It's a horrible thing to shield our hearts and not be vulnerable."

"Wolves," based on a James Kavanaugh poem, tackles similar subject matter, and Langhorne feels it's the "truest expression of myself that I've put into a song." "I'm tough enough to run with the bulls, and I'm too gentle to live amongst wolves," he sings, his soul-shouting subdued to a hush that's just as powerful.

The rollicking "Southern Bells" pulses with the optimism of a new day, while "Strongman" and its piano pay tribute to perseverance and seizing the moment. "Whisperin'" captures another kind of breakthrough, relatable and intense, while "Strangers" is classic Langhorne Slim, and begs to be danced to, uninhibited and free.

"Airplane" is a poignant example of his ability to capture the redemptive hope in desperation. Part meditation, part urging of an unnamed co-conspirator, the song puts his defiantly tender vocals front and center, hugged by a rotating cast of instruments that kicks off with stark guitar and piano, swells into lush strings and percussion, then ebbs back into its stripped-down beginning -- like the waves of confidence and doubt that make up faith itself.

The song is undoubtedly a career standout for Langhorne, and creating it was a long road. Three key "muses" -- his Grandma Ruth, dear friend Joel Sadler, and another confidant -- gave him encouragement along the way. "I kept going for 'Airplane' because it made sense to me and there were people around me who were moved very deeply by it," he says. "It's one of my favorite songs I've ever written."

With a new home and a clear head, Langhorne is exhilarated thanks to the realization of what he knew was possible. "I had a problem with drugs and alcohol from the time I was 15 until I quit last year on my 33rd birthday," Langhorne says. "I was hitting my head against the ceiling. I knew all I had to do was quit, and my head would burst through that ceiling. I didn't really know what would be there, but I knew it'd be something greater."

For Langhorne, something greater includes making the best music of his life.

"By opening myself, I'm vulnerable and I'm fearful, but I start to get real. And in that realness, there is immense strength that I wish for everybody," Langhorne says. "Maybe everybody's scared to be a freak. But when you live as a freak -- " he laughs -- "it's so much more fulfilling."

- Elisabeth Dawson, 2015
Venue Information:
Hard Rock Hotel (Riviera Maya, Mexico)
Carretera Cancún-Chetumal KM 72
Riviera Maya, Quintana Roo, Mexico, CP. 77710