In partnership with Flying Saucer Presents, we are excited to announce that Mike Cooley will be headlining Intuition’s 11th Anniversary celebration on December 5th!
It will be a FREE, all-ages show in the Bier Hall.
Mike Cooley is best known as a founding member of the Drive-By Truckers. Founded in 1996, the band has released thirteen studio albums, including their 2001 opus “Southern Rock Opera,” which used the Lynyrd Skynyrd plane crash as a springboard to examine misconceptions about the American South. More recently, DBT has rediscovered Southern soul and rhythm and blues, and released two new records in 2020. They continue to tour relentlessly, and have developed a diehard following throughout the United States.
Despite his bad nerves and tongue-in-cheek penchant for self-deprecation, Cooley shines when performing his bare-bones live set, tossing aside his guitar pick and playing almost everything with his fingers. “Strip it, strip it, strip it down,” he says, alluding to the mantra that has guided his solo performances. “What’s left is the song and nothing else.”
“I still feel the need to play in front of an audience and the challenge of going onstage by myself is an opportunity to grow in ways that carry over to the DBT shows,” he says.
Cooley will be joined at the Anniversary celebration by special guest Parker Gispert. Gispert has been the frontman for the Athens-based band The Whigs for nearly two decades. After five critically acclaimed albums with The Whigs, Gispert now records and tours primarily as a solo artist. “Sunlight Tonight”, his first album as a solo artist, was released in November 2018 by the New West Records subsidiary Normaltown Records.
Northeast Florida singer-songwriter rickoLus teams up with Angel Garcia, Juan Rollan, Stan Piper (all from LPT), and Stefan Klein for a lounge-act, winter-themed crooner night at the Bier Hall at Intuition Ale Works!
They will be performing a mix of jazz standards, classic covers, new arrangements from rickoLus’s original song book, and maybe a few wintertime songs.
Playing along with the quartet will be Duval string group “The Good Pluck Trio,” adding a violin, viola and cello that will turn the quartet into an orchestra. Don’t miss this show!
The band’s latest was recorded at several studios (Portico, Chase Park, Rialto Row, Dialback Sound). The LP is a snarling devil-may-care batch of 12 tunes. It encompasses a seamless blend of hard rock, psychedelic alt-country and folk stylings — something signature to the unique sound, tone and attitude of the Futurebirds.
“We recorded this album all over the place,” says guitarist/singer Thomas Johnson. “In a lot of ways it kept us from bogging down, at times it was probably inefficient, but ultimately everyone of the songs captures the vibe(s) of the spaces and cities we occupied while we made it.
‘I’m Killin You’ really captures the vibe of the whole record for me. The main theme I had in my head while writing it though, was getting past the negative shit that can live on the periphery (or in the forefront) of life. Killing the bad side of human nature. Being self-aware, and being honest with yourself and trying to find peace with the person you’ve become or are becoming (or always were).”
“We’ve been putting one foot in front of the other for a decade now. Every tour, we get smarter about how we operate, how we craft a live show, how we utilize everyone’s individual talents,” guitarist/singer Carter King adds. “Every day, we become better songwriters, more comfortable as artists and producers, better business people — it’s all about teamwork.”
Now on the backside of a decade of road warrior hard-knocks and well-earned accolades, the Athens, GA rock sextet has been hitting its full stride as of late. It’s a sense of time and place where what’s most important remains at the forefront of the group’s philosophy and deeply-held personal mission — a group of friends making sonically innovative music.
“We have one of the oddest and most talented mix of people to make up a band that I’ve ever seen. Everyone is extremely talented in an assortment of different ways, hilarious, tough, creative, scrappy,” King says. “Stylistically, everyone brings something different to the band, and we’re getting better at simultaneously nurturing those differences, melding them together into one unified thing.”
With a touring schedule resembling some haphazard spider web spun across America, the Futurebirds are unrelenting in their quest to bring the melodic party to your hometown, no matter how far away the destination or how small the stage may be.
“And we’ve learned a lot about life along the way,” guitarist/singer Daniel Womack reflects. “Watching other bands rise and fall, watching the sunrise and the sunset, cried because it hurt, cried because it felt good, watching strangers turn into friends and some into family.”
“In a lot of ways the live show is the last frontier, the last thing left in the music industry that can’t be digitized and given away for free,” Johnson adds. “It’s the thing that keeps us coming back. The act of making something awesome and unique with six individuals, creating a sound-weave, connecting to the core of human existence, that’s the teamwork.”
Ultimately, the underlying message of the Futurebirds is making sure everybody feels included in the grand scheme of things — this absurd reality that is life itself — where compassion from both sides of the microphone and drinks held high, and in unison, is the name of the game.
“There’s a reciprocated energy between us and the crowd, where everyone is riding on that same wave together,” Womack says. “And when you’re in that moment, everything about this band life makes sense. The feeling that exists in that moment between the crowd and us — that’s why we do what we do. That’s Teamwork.”
In James McMurtry’s new effort, The Horses and the Hounds, the acclaimed songwriter backs personal narratives with effortless elegance (“Canola Fields”) and endless energy (“If It Don’t Bleed”). This first collection in seven years, due August 20 on New West Records, spotlights a seasoned tunesmith in peak form as he turns toward reflection (“Vaquero”) and revelation ( closer “Blackberry Winter”). Familiar foundations guide the journey. “There’s a definite Los Angeles vibe to this record,” McMurtry says. “The ghost of Warren Zevon seems to be stomping around among the guitar tracks. Don’t know how he got in there. He never signed on for work for hire.”
The Horses and the Hounds is a reunion of sorts. McMurtry recorded the new album with legendary producer Ross Hogarth (Ozzy Osbourne, John Fogerty, Van Halen, Keb’ Mo’) at Jackson Browne’s Groovemaster’s in Santa Monica, California, a world class studio that has housed such legends as Bob Dylan (2012’s Tempest) and David Crosby (2016’s Lighthouse) as well as Browne himself for I’m Alive (1993) and New Found Glory, Coming Home (2006). McMurtry and Hogarth first worked together 30 years ago, when Hogarth was a recording engineer in the employ of John Mellencamp at Mellencamp’s own Belmont Studios near Bloomington, Indiana. Hogarth recorded McMurtry’s first two albums, Too Long in the Wasteland and Candyland, for Columbia Records and later mixed McMurtry’s first self-produced album, Saint Mary of the Woods, for Sugar Hill Records. Another veteran of those three releases, guitarist David Grissom (Joe Ely, John Mellencamp, Dixie Chicks), returns with some of his finest work.
Accordingly, the new collection marks another upward trajectory: The Horses and the Hounds will be McMurtry’s debut album on genre-defining Americana record label New West Records (Steve Earle, Rodney Crowell, Lucinda Williams, John Hiatt, Aaron Lee Tasjan, Buddy Miller, dozens more).
“I first became aware of James McMurtry’s formidable songwriting prowess while working at Bug Music Publishing in the ’90s,” says New West president John Allen. “He’s a true talent. All of us at New West are excited at the prospect of championing the next phase of James’ already successful and respected career.” McMurtry perfectly fits a label housing “artists who perform real music for real people.” After all, No Depression says of the literate songwriter’s most recent collection, Complicated Game: “Lyrically, the album is wise and adventurous, with McMurtry — who’s not prone to autobiographical tales — credibly inhabiting characters from all walks of life.” “[McMurtry] fuses wry, literate observations about the world with the snarl of barroom rock,” National Public Radio says. “The result is at times sardonic, subversive and funny, but often vulnerable and always poignant.”
In partnership with Flying Saucer Presents, we are excited to announce that the Danish rock band @iceage will be bringing their spring tour to Intuition in February 2022!
Iceage, from Copenhagen, formed in 2008, led by singer and guitarist Elias Bender Rønnenfelt, guitarist Johan Suurballe Wieth, bassist Jakob Tvilling Pless, and drummer Dan Kjær Nielsen. The quartet had been friends for years before they began making an impression with their music. In 2009, they issued their first self-titled EP, and by 2011 they’d teamed up with Tambourhinoceros Records to issue their debut album, a nervy and hard-hitting set called New Brigade. When the album was issued in the United States in mid-2011, Iceage made their American debut with a performance in Brooklyn, New York. In 2013, the band unveiled their second album, the more sophisticated but still brutal set You’re Nothing, and the LP earned them a deal with the successful independent label Matador Records. In 2014, Iceage released album number three, Plowing Into the Field of Love, again through Matador, marking a new creative direction for the group, with horns, keyboards, and acoustic guitars introduced into the arrangements as the songs became more dynamic and eclectic without leaving their darker side behind. They continued that trend on their next full-length, 2018’s Beyondless, although they were further influenced by Rønnenfelt’s burgeoning side project Marching Church, with whom he had released two albums in between Iceage records. The group’s fifth LP, Seek Shelter, arrived in May 2021. It was their first to feature external production the hands of Spacemen 3’s Sonic Boom.
The “godfather of modern rockabilly and psychobilly” – Reverend Horton Heat – hits town at Intuition Ale Works on Saturday, March 5, 2022!
Killer indie pop masters, of Montreal, touch down Thursday, March 10 at 8:00 PM at Intuition Ale Works.
Kevin and Christina make out in a car at the airport, flipping off the police officer that tells them to keep moving. Kevin and Christina discuss taking ecstasy as couple’s therapy. Kevin and Christina break down and then reconnect. The new love we heard about on the last of Montreal record, White is Relic/Irrealis Mood, is settling. If that was the falling-in-love record, then this is the staying-in-love record. That was the easy part; this is the interesting part, the challenging part, the next chapter of Kevin Barnes’ autobiographical album streak, UR FUN.
The public diary that started with of Montreal’s classic album Hissing Fauna, Are You The Destroyer? has continued into a growing string of increasingly personal works. On UR FUN, Barnes is more candid than ever, presenting ten concise electro-pop songs that expose the depths of their current life, their private thoughts—both optimistic and brooding—and their passionate relationship with songwriter Christina Schneider of Locate S,1. This ramped-up vulnerability has inspired Barnes to strip their stage persona of costumes and drag, just appearing as themself on recent tours for the first time in many years.
After several albums recorded with collaborators and various band members, Barnes opted to record this one completely alone. In their home studio in Athens, Georgia, Barnes isolated themself in creative hibernation, working obsessive 12-plus hour days arranging manic synth and drum machine maps on a computer screen with bouncy, melodic basslines, glam guitars and layered vocal harmonies. Inspired by albums like Cyndi Lauper’s She’s So Unusual and Janet Jackson’s Control, Barnes set out to make UR FUN into the kind of album where every song could be a single, complete with huge hooky choruses and nostalgic dance grooves. The result is an unstoppably fun album that could also pass for a carefully sequenced greatest-hits collection if taken out of context.
UR FUN contains a fundamental contradiction that will be familiar to of Montreal fans. The songs have a youthful, contemporary dance-pop feel, but contain dense, multidimensional, adult lyrics. The album’s opener and first single, “Peace To All Freaks” is a “protest song against totalitarianism, familial terrorism and wastefulness in all its forms” (says Barnes) that expresses love to the outcasts and the gentle people in this world, leaving us with this reminder: “Hush, hush/ Don’t let’s be cynical/ don’t let’s be bitter/ If you feel like you can’t do it for yourself then do it for us”. On “Polyaneurism”, Barnes playfully meditates on the ups and downs of polyamory and unconventional relationships: “Playing musical lovers is starting to feel kind of kitsch/ if you want monogamy are you just like some basic bitch?” According to Barnes, the song “Get God’s Attention by Being an Atheist” is about “the pleasures of childlike destruction and reckless joy seeking.”
Literary and cultural references on UR FUN run thick. In the same manner that Barnes’ lyrics turned thousands of listeners onto the obscene French novel The Story of the Eye in the past, UR FUN packs nods as diverse and obscure as the films of Italian horror filmmaker Mario Bava, queer novel Horse Crazy by Gary Indiana, Panamanian pop star El General, 80’s sci-fi movie Liquid Sky, Big Star’s cover of “Femme Fatale,” French death metal group Death Throne, and Caetano Veloso’s beautiful rendition of the Mexican love song “Cucurucucú Paloma”, to name just a few.
UR FUN’s final moments bring the self-examination of the record full circle with some darker numbers that lament a lost friendship and slips of mental clarity. If the album’s bleak ending leaves you feeling hopeless, flip the record over again and remind yourself “Hush, hush, don’t let’s be negative.” This is all for fun after all.
Della Mae – string band extraordinaire! – comes to Intuition Ale Works on Friday, March 11, 2022.
Della Mae is a GRAMMY-nominated all-woman string band founded by lead vocalist/guitarist Celia Woodsmith and 2-time national champion fiddle player Kimber Ludiker. Rounding out the lineup are guitarist Avril Smith, bassist Vickie Vaughn and mandolinist Maddie Witler.
Hailing from across North America, and reared in diverse musical styles, Della Mae is one of the most charismatic and engaging roots bands touring today. They have traveled to over 30 countries spreading peace and understanding through music. Their mission as a band is to showcase top female musicians, and to improve opportunities for women and girls through advocacy, mentorship, programming, and performance.
In partnership with Flying Saucer Presents, we are excited to announce that Soccer Mommy will be playing at the Bier Hall on Friday, March 18th!
PER ARTIST REQUIREMENT, PROOF OF A NEGATIVE COVID TEST WITHIN 72 HOURS IS REQUIRED. IN THE ABSENCE OF THE NEGATIVE TEST, PROOF OF VACCINATION MAY BE ACCEPTED.
In partnership with Flying Saucer Presents, we are excited to announce that Luna Luna will be playing in the Bier Hall on April 12!
Dallas four-piece Luna Luna has bested the local climate, bending the scorching Texas sun to their will across emotion-drenched, euphoric throwback synth-pop grooves. Originally the solo project of Colombian-born, Dallas bred Kavvi, Luna Luna grew into a four-piece through serendipitous meetings. Beginning his journey towards music as a 14-year-old tinkering with GarageBand on his iPhone, singer-songwriter Kavvi began recording under the Luna Luna moniker in 2017. Upon meeting Danny Bonilla after he asked him to stick around for his set at an open mic during where they shared the bill, it quickly became apparent that they felt drawn to expand into a duo. Before long, drummer Kaylin Martinez and bassist/backup vocalist Ryan “Gordo” Gordon fell into place, drawn together from performing house shows around Texas.
Known for shepherding a kind of classic American songwriting into the age of bedroom recording, Mississippi born musician Dent May is soaking it in and taking his time on his new LP Late Checkout. After contributing heavily to his local Oxford music and art community, May began putting songs online and performing alone under his birth name in 2007. Across the dozen new tracks that make up his fifth LP, May grapples with the swinging emotions of our contemporary reality with his rare optimism and distinguished sound. Late Checkout arrives August 21st via Carpark.
Pearl & the Oysters is the French-American duo of Joachim Polack and Juliette Davis. Using a kitchen sink’s worth of instruments, calling in sympathetic musicians, and showing off a very light melodic sensibility, the band’s first two albums were breezy and delightful space age pop.