10:15 - 11:45 PM
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“It ain’t black or white, babe; it’s all the greys between,” Shane Smith sings in “The Greys Between,” the first single from Norther. On the surface, it’s a cinematic love song about a relationship’s twists and turns, punctuated by slide guitar, Appalachian fiddle, and sharp storytelling. Take a deeper listen to Shane Smith and the Saints’ fourth studio album, though, and those words also sound like the motto of a band that’s spent the past decade blurring the lines between genres. Norther is anything but monochromatic. Written and recorded during breaks in the band’s touring schedule, the album captures Shane Smith and the Saints at their most colorful, offering up a hard-hitting version of American roots music that’s influenced by country, folk, and roadhouse rock & roll. It’s a sound that’s been shaped by the road, where the Saints spent the past decade on tour, building a cult audience with each gig. Those years of raw, redemptive performances are now paying off — not only with headlining concerts at bucket-list venues like Red Rocks Amphitheater (which the group sold out in 36 hours) and the Ryman Auditorium, but also with an appearance on the hit TV show Yellowstone, where the Saints premiered Norther‘s final track, “Fire in the Ocean,” with an onscreen performance. “If you spend 10 years playing dive bars and small clubs almost every single night, and you go to the merch booth after every show and hang out with the fans until the staff literally kicks you out, you get to turn those fans into friends,” says Smith, who grew up in Terrell, Texas, before launching his band in Austin. “That’s how we built this thing. We’ve done as many as 240 shows in a single year. We’ve worked so hard to get there, and that hard work has created a beautiful, meaningful audience.” Beautiful, indeed. Named after the northern winds that blow across Texas during the winter, Norther begins with the haunting “Book of Joe.” Bennett Brown’s fiddle gives the song plenty of orchestral atmosphere, Dustin Schaefer’s electric guitar adds anthemic punch, and Zach Stover’s percussion — which builds toward a pummeling finish, locking in with Chase Satterwhite’s bass along the way — rolls like thunder. At the center of that sound is Smith’s voice: a husky baritone that’s been textured by countless gigs in smoky bars and loud dance halls. It’s a gorgeously raw instrument, caught halfway between tender and tough, and it’s there — somewhere in the middle — that the Saints shine their brightest. “When you’re in a band like ours, everyone gets their turn to play their music in the van,” Smith explains. “Bennett grew up listening to Appalachian and Celtic-inspired folk and bluegrass music, and you can hear that in the way he plays fiddle. Dustin grew up loving classic rock. When I met my wife, she introduced me to music like Arcade Fire, Alberta Cross, and First Aid Kit — bands that I’d categorize as cinematic folk or cinematic indie-rock — and that had a massive impact on my writing, too. Everybody in this band has their own influences, and we’ve spent years together, letting our sound evolve into something really unique.” That sound began evolving onstage. Thanks to early albums like 2013’s Coast and 2015’s Geronimo, Shane Smith and the Saints became a popular act in Austin, regularly cutting their teeth with marathon gigs at venues like The Stage On Sixth. “We’d do four-hour sets, sometimes back-to-back, meaning we’d be onstage for eight hours,” Smith remembers. “It taught us to grow tighter as a band, experiment with our sound, and find our identity.” Released in 2019, Hail Mary introduced the band’s current lineup, as well as a heavier sound that separated the Saints from other Texas acts. It wasn’t rock & roll. It wasn’t country, either. It was everything that connected those genres, glued together by the camaraderie of a road-tested band that built its audience the old-school way: by hitting the stage and winning over the crowd, song after song, night after night. Norther builds upon that singular sound while also highlighting the bandmates’ road-warrior chops. “We’d be on the road doing shows, and there would be a 48-hour gap where we’d fly into Dallas and try to record everything we possibly could, then fly right back to wherever the bus was,” says Smith, who tapped producer Beau Bedford to helm the album. “It was like that for the entirety of the recording process.” The result is an album that’s filled with all the electricity and eclecticism of the Saints’ live show. For the band’s country-loving fans, there’s “1000 Wild Horses,” which barrels forward at a rootsy gallop. For rock fans, there’s “Fire in the Sky,” which makes room for fiery fretwork and a massive chorus. For those looking to slow dance, there’s “All the Way,” a threadbare piano ballad captured live in the studio, imperfections and all. “Norther has little bit of everything,” Smith says proudly. “It’s not a one-sided album. It’s got every single element of what makes up our sound right now.” For an independent band like Shane Smith and the Saints, the work is never done. “It’s like you can’t help but feel like you’ve paid your dues to get to a certain spot, but once you get there, you realize you’re just starting to touch the surface of the bigger picture,” Smith admits. “At the end of the day, it still feels like we’re getting discovered. But maybe that’s what it’s all about.” Norther is the soundtrack to that discovery. It’s the sound of a band pushing its limits, broadening its reach, and expanding its audience.

8:15 - 9:45 PM
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Treaty Oak Revival didn’t really have a choice but to be a country band. They grew up in West Texas, a market that practically demands bands play country, and, well, it’s also hard to escape your roots. “I have an accent,” said Sam Canty, the band’s lead vocalist, in an interview with BandWagon – and for the record, he sure as heck does. Even so, all that Texas red dirt country the band seemed destined to play couldn’t bury their love of rock and roll, especially in a world of modern crossovers. Canty is unafraid to proclaim his love of big punk acts such as Sum 41 and Blink 182, and so, like Chelsea Grin’s mix of metal and rock or Dropkick Murphys’ blend of heavy-leaning Irish folk, Treaty Oak Revival finds themselves with their feet in more than one arena. But the band loves its roots. So much, in fact that it stuck the fictional jackalope on its merchandise. The animal, and local residents’ joy in tricking others that they exist, is a big thing in Midland, Texas, where the band got together in 2019. Musically, they pay homage to their roots too, especially on their first album, a traditional, country-sounding record. Canty writes most of the songs, though they all have a part in the process, and he based many of the tunes off his own life and observations of his hometown.

6:45 - 7:45 PM
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For the past 25 years, Jason Boland & the Stragglers have dazzled audiences all over as one of the leading ambassadors of the Oklahoma and Texas music movement. Millions of fans cheering him on, over 500,000 records sold independently and 10 albums later, Boland is a career musician whose legacy continues to grow. From his early days touring in cramped vans and playing in front of tiny bar crowds to the packed venues he performs in today, Boland’s uncompromising approach has grown his profile dramatically, especially in the past handful of years. Add to that the legions of musicians who are influenced by Boland, and his impact on the scene is undeniable. But just like so many other musicians, Boland was initially paralyzed by the pandemic. At the onset of the March 2020 lockdown, Boland was stuck at home for the longest period of his storied career without performing live. Earlier this year, Boland released a cover of both Steve Winwood’s “Back In The High Life Again” and Bob Dylan’s “The Times They-Are-A-Changin’” with the proceeds going to charity. Radio programmers around the country began spinning Back in the High Life Again, and the song spent 11 weeks in the Top 40 Americana Singles Chart. Prior to the pandemic, Boland was hard at work on his most ambitious project yet. The groundwork he laid in 2019 saw the singer-songwriter roll through songs that would be a bold step forward. Strumming through the material with the Stragglers at a rehearsal in Colorado, Boland knew he had something big. However, that session took place a day before the lockdown and put the kibosh on the project for a year. In early 2021, the time felt right to get the project rolling again. At a time when pandemic albums are popping up left and right, Boland zigged when everyone else zagged. Titled The Light Saw Me, the acclaimed singer-songwriter decided to go deeper than he’s ever gone before to create a multi-layered sci-fi concept album. Once again teaming up with his frequent co-conspirator, Grammy-winning producer Shooter Jennings, Boland hunkered down in a Los Angeles-area studio to bring The Light Saw Me to life. “Jason is one of my dearest friends and, in my opinion, one of the smartest and coolest dudes I know. He was the first person to ask me to produce their record and many years ago we had a great time making Dark and Dirty Mile. So it was natural for me to be more than excited to be asked to produce The Light Saw Me.” says producer Shooter Jennings, “This album isn’t just another album from Jason & The Stragglers. It’s a magnum opus of the highest creative order, which in turn I take as a very serious honor to be able to be a part of its inception.” The result? The Light Saw Me is as incisive and thought-provoking as any of his previous albums and shows Boland belongs alongside the great songwriters of his time. Drawing from influences as wide as Willie Nelson’s Red Headed Stranger and Tougher Than Leather to Queensrÿche’s Operation: Mindcrime, Boland succeeded by creating a concept album that’s as ambitious as it is accessible. On the surface, The Light Saw Me traces a cowboy living in Texas in the 1890s who is abducted by aliens and ends up in Texas in the 1990s, but there’s way more to it. Packed into three distinctive interlocking parts, The Light Saw Me is layered with vivid imagery that touches on old legends (such as a spacecraft allegedly crashing in Aurora, Texas which thematically fits), conspiracies and other accounts that run contrary to reality. Referencing aliens can oftentimes be campy and corny, but Boland uses them in a fascinating fashion. On the mesmerizing album opener “Terrifying Nature,” a brooding rambler featuring red hot fiddles that encapsulates the spirit of The Light Saw Me, Boland tackles how people come to grips with existential fear of how they’re connected to the feeling of love. It also sets up everything that’s to come. Hidden behind the grandeur of the storyline, the message that Boland aims to share is a universal one: Everyone and everything is connected by love. In classic Boland fashion, The Light Saw Me tackles stories and themes that are integral to his writing beyond his world-class use of metaphors, like who we are, where we’re going, and whether love is something that people feel internally or just connected to consciousness and humans’ fear of their own mortality. On the title track, Boland is in total command. The lyrics illuminate all of the possibilities that led up to that moment and the sizzling track showcases his depth as a songwriter. Boland adeptly weaves in and out of the narratives, even if you don’t realize it. The main character tries to plead his case through evocative imagery from the Bible, astrology, and mythology; but in truth, Boland put these metaphors together to serve up a story that looks at the big picture in life. Boland has long been an admirer of the late, great singer-songwriter Bob Childers, who served as a mentor to him. It’s fitting that on an album with great depth, that Boland would include Childers’ signature “Restless Spirits,” to serve as a de facto climax of the album. Tying the album together thematically, Boland uses “Restless Spirits” as a vehicle to showcase that we should have hope that love is a bond that is real, eternal, and still alive in the world and beyond. While the music remains true to the roots of Boland and the Stragglers’ Red Dirt background, it’s as tight as anything he’s ever done. On top of the message and intricate instrumentation, the bold storyline will please longtime fans and undoubtedly serve as a gateway album to the rest of his massive discography. For most of his career, the only thing you could expect from Boland is to do the unexpected. On what’s now his 10th studio album, he not only does that, but he did it in his own organic and authentic way. He’s making the music he wants while continuing to please the people who want to hear where his artistic journey takes him next. With a catalog like his, that’s no easy feat.

5:15 - 6:15 PM
OPTIMUM STAGE

Guitar in hand and mic turned up loud, the tunes do the talking for Tanner Usrey. The Texas-born singer, songwriter, and guitarist pairs straight shooting storytelling with country grit, rock ‘n’ roll energy, and Americana eloquence. As such, he channels a classic spirit from a personal perspective. After piling up tens of millions of streams, packing hundreds of shows, and landing syncs on the likes of Yellowstone, he bares it all on a series of 2023 singles for Atlantic Records and much more to come. “I let the songs be what they’re going to be, and I pride myself on that,” he notes. “Musically, it ranges from southern rock to country to Americana. When it comes to songwriting, I want to focus on what’s real – I don’t shy away from saying the hard things.” Growing up in the small town of Prosper, TX, he gravitated towards music as a little kid. By five-years-old, he constantly belted out Alan Jackson songs around the house much to his family’s chagrin. “Everyone used to tell me to shut up,” he laughs. “I was the kid who sang all the time.” After catching Wade Bowen and Brandon Rhyder in concert, his destiny crystallized in high school. “I remember saying to myself, ‘That’s what I want to do’,” he recalls. “That’s what led me to picking up a guitar.” Inspired by everyone from George Strait, Tom Petty, Lynyrd Skynyrd, and Rolling Stones to his favorite band Whiskey Myers, he wrote countless songs and cut his teeth at gigs anywhere with a stage. In between holding down a job as a skip tracer, he carefully honed his signature style. Quitting his job in 2019, he unveiled the Medicine Man EP. “Come Back Down” generated 19.1 million Spotify streams followed by “Beautiful Lies” with 18 million Spotify streams. During 2021, he tirelessly gigged in between releasing the SÕL Sessions EP. “The Light” also notably soundtracked the finale of Yellowstone Season 4. Along the way, he cemented himself as an electrifying and energetic live presence with over 180 shows in 2022. “When we’re on stage, our goal is to have the audience clinging to the edge of their seats,” he shares. “I get to play with a bunch of badasses, and I don’t take it for granted. We pounded the pavement and put at least 100K miles on the van in a year-and-a-half.” Signing to Atlantic Records, he kickstarted 2023 with “Take Me Home,” cracking 10 million streams and counting. On its heels, the single “Give It Some Time” threads together dusty acoustic guitar and unfiltered lyrics as he pleads, “Give me something to believe in, baby, because I’ve been losing my mind.” Against an organ-laden beat, it builds towards an emotionally charged guitar solo that’s as scorching as his delivery is. Ultimately, Tanner’s music might just say everything you need. “I hope you hear what you want to hear, enjoy it, resonate with it, and know it’s real,” he leaves off. “It’s been a wild ride. I’ve busted my ass. I started off doing all of this on my own, so it’s crazy to see how this and the team around me have grown. People are going after real music right now, and that’s great. I’m looking forward to seeing where it goes next.”

4:00 - 4:45 PM
OPTIMUM STAGE

Sharp storytelling. Gripping and gorgeous five-part harmonies. Arrangements that can swing between fun, engaging, and lively one moment and stirring, booming, and chill-inducing the next. These are the essential elements that make up the sound of The Wilder Blue, the Texas five-piece who put their own spin on rock-influenced country with their eponymous sophomore album. Recorded at Echo Lab Studios in Denton, Texas, the band self-produced The Wilder Blue with experienced engineer Matt Pence (Paul Cauthen, Shakey Graves). A true collaborative effort, The Wilder Blue is a genuine democracy where ideas, constructive criticism, and value is demanded by all parties. ​ Built around the keen storytelling voice of primary frontman Zane Williams, Paul Eason’s salient lead guitar, the imaginative tandem of drummer Lyndon Hughes and bassist Sean Rodriguez, and the striking, compelling mind of multi-instrumentalist Andy Rogers, The Wilder Blue are only beginning to scratch the surface of their potential. Williams and Eason began toying with the idea of a new band in 2019 by seeking out a nimble set of collaborators. Knowing that they wanted to emphasize a rich vocal blend that could be replicated live, they soon enlisted Hughes and Rogers. When Rodriguez joined, it solidified the outfit as a cohesive unit. “Having studio time paid for by our fan subscribers gave us the chance to relax and spread out a little,” explains Williams about the recording process for The Wilder Blue. Recording over the course of a few three-day sessions every few months allowed the band to experiment in the studio while avoiding harsh deadlines or the demand of cramming an album’s worth of material into a week’s worth of time. Often recorded to tape, a vibrant tapestry of sonic swirls emerged. “What’s fun about tape is that it forces you to commit to a take,” adds Williams. “You don’t just record five million parts and go comb through them later.” “The five of us were able to sit together this time around,” adds Rogers. “Since I was playing bass and other things last time around, I was having to think about a million different things. But for this, we all kind of felt like we were in our zone.” ​ In addition to implementing a lone studio for a cohesive sound, the months between studio sessions was an added luxury. This allowed songs and ideas to marinate and work themselves out over the course of band practices, soundchecks, and shows. Standout single, “Feelin’ the Miles” is a prime example of a song shifting from one idea to another. What started out as a James Taylor-esque acoustic guitar stroll slowly but surely began to rise from the ashes of its former self. “My original concept for that song was much more in the vein of ‘Okie Soldier’ or ’Birds of Youth,’” says Williams. “We all liked the song, but we didn’t need another like it so basically one day, I just came up with a totally different groove for it.” What emerged was a loping bassline and savvy banjo that evoke the pastel glow of the 1980s where Miami Vice and Smoky & The Bandit intertwine for a heartworn highway midnight drive where all the miles, exit signs, and gas station coffee meld into one daunting long haul down a phantom road. “‘Feelin’ the Miles’ was one of the first songs that felt like we were all able to filter everyone’s collectiveness into the final version,” says Rogers. Much like in “Feelin’ the Miles”, a looming arc of redemption, growth, and inner harmony can be glimpsed throughout the album with the likes of the poignant “Wave Dancer,” the contemplative “The Kingsnake & The Rattler,” and the compelling “Shadows & Moonlight.” “Part of life is figuring out and finding your way,” says Eason, who wrote and sings lead vocals on “Build Your Wings,” a cornerstone song of the album. “A few years ago, I got divorced and I had been speaking with my uncle about it. He actually said that line to me–’Sometimes you build your wings on the way down’--and I thought it was just perfect.” Even while “Build Your Wings” finds Eason and company seeking out inner peace on the contemplative anthem, a kaleidoscope and cascade of spirited sonic punches and vibrant and vivid harmonies takes charge on this freefalling standout. “Life has its ups and downs,” adds Williams. “I don’t want to write a song just about the ups. It’s hard for me to write just about the ups. And if you just write about the downs without some sort of redemption, it’s easy to get pretty dark and depressing.” Throughout, Williams and company are able to add a sense of courage even when surrounded by turmoil and strife. Songs like the rollicking “The Conversation” find the Wilder Blue leaning in on the soaring country twang of the Eagles and incorporating a vocal run interlude that calls back to ‘60s The Beatles and timeless bluegrass. On songs like “Wave Dancer” and album opener “Picket Fences”, all five musicians breathe life into tried and true five-part harmonies that are as mesmerizing as they come. In addition to the powerful harmonies and sprawling sonic palette, Williams’ knack for five-minute vignettes is yet another pillar on which Wilder Blue can count. The Wilder Blue as an album wouldn’t be complete without taking advantage of the strong and able storytelling arcs of Williams. “With all the tools that we have in our toolkit, I think there’s still a lot of ground to be covered,” says Williams. “We haven’t even delved into all of our tools just yet, but we definitely got to go further down the road with digging into the box for this record.”

3:00 - 4:00 PM
SECOND STAGE

The Damn Quails are a musical group that thrive on the spontaneity of live performance and the ethereal connection between players that happens on stage. Their performances are a living, ever-changing experience that captivates crowds of all ages from all walks of life.

1:15 - 2:15 PM
SECOND STAGE

12:00 - 1:00 PM
SECOND STAGE

Congratulations, you have just stumbled upon your next favorite country band. The Broken Spokes are a beloved Texas traditional country outfit with a name synonymous with country due to the famous Austin honky tonk. Having focused on live shows, as opposed to aspiring for some sort of national attention, The Broken Spokes might just be the best band you’ve never heard of. They’re looking to change that with their new album Where I Went Wrong and the country music world, in Texas and beyond, is taking notice. There’s magic in how they embrace the true roots of country music, interpreting them in the modern context with such love and passion that makes the music feel more palpable and alive than with most other country bands. You can tell right away this is a well-seasoned outfit that’s put in the time honing their craft in honky tonks across Texas, perfectly illustrating the beauty of the music to the audience in a way that feels vital. The Broken Spokes are the textbook definition of what country music is in its purest form.