Fitz and The Tantrums

Multi-platinum artists Fitz and the Tantrums have energized popular music and culture with a series of unshakable, undeniable, and ubiquitous anthems and albums. Since 2008, the Los Angeles collective have magnified the scope of pop with a dash of indie, a dose of soul, and a whole lot of dancefloor-ready bounce. Their catalog spans fan favorite records such as Pickin’ up the Pieces [2010], More Than Just A Dream [2013], the gold-certified Fitz and The Tantrums [2016], and All the Feels [2019]. Along the way, they’ve impressively tallied just shy of 4 billion streams and counting powered by enduring hits such as the 4x-platinum “HandClap,” 3x-platinum “Out of My League,” platinum “The Walker,” and gold “Moneygrabber.” As an inescapable presence, their music has notably coursed through the mainstream conversation, soundtracking films on NETFLIX and campaigns for CVS Wellness, Sunchips, Sofi, Xfinity, Walmart, Norwegian Cruise Line, Lays, and Wells Fargo, to name a few. Beyond standout performances everywhere from Coachella and Bonaroo to numerous late-night television shows, they’ve consistently sold out some of the most iconic venues in the world, including The Forum and Red Rocks Amphitheatre. Not to mention, they’ve incited the applause from Rolling Stone, Billboard, People, and more. Fitz and The Tantrums’ most recent album Let Yourself Free arrived in 2022 with bold, bright, and buoyant singles “Sway” and “Moneymaker.”  The band closed 2023 with their Perfect Holiday EP, featuring original songs to ring in the holiday season.   Fitz and the Tantrums are: Michael “Fitz” Fitzpatrick (vocals), Noelle Scaggs (vocals), James King (saxophone, flute), Jeremy Ruzumna (keyboards), and Joseph Karnes (bass).

Sister Hazel

Sometimes it takes time to get back to the basics, get back to ones roots, and build up the important things. For Sister Hazel, it's always been about the music, but over the course of their decade-plus music making career, it has expanded beyond that to incorporate so much more. They've maintained their unerring focus and desire to help, to share, to include, and to grow -- be it through their music or through other means -- all the while stretching their musical umbrella to cover what has become a true community. At the basis of that umbrella is the music, and their latest, and perhaps best-realized Sister Hazel record start to finish, is aptly named Absolutely. The affirmative overtones of the title only serve to underscore the pride the band justly feels with the end result. In the most non-egotistical way possible, I feel this is the best record we've ever made, says rhythm guitarist/vocalist Drew Copeland. Concurs bassist Jett Beres: We're journeymen and we've focused on creating a cathartic experience for our fans. We want our fans to feel what were feeling, so the lyrics are really important. Equally important is capturing that elusive live show magic, and Beres feels that they've succeeded in coming closer to doing that. This record captures our live show vibe well. We've been fortunate with our success, says Block. As a band, we've always put writing songs that we believe in, putting on powerful live shows, and being passionate about our craft at the top. Trojanowski attributes their longevity to a simple concept: When you set yourself up as a band, a democracy, it lasts longer. That equal partnership is key. Over time, the band has grown a lifestyle and fan community via touring, fan interaction, and charity work, yet the all-important music provides the soundtrack for it all. Whether you call it roots rock or American rock, the music Sister Hazel makes is definitely not alternative or modern rock; they are not emo, screamo, anything-core or flavor-of-the-moment. Their music is solid and satisfying, comfortable and easy, like old friends and family. Absolutely perfect and absolutely Sister Hazel.

Sister Hazel

Sometimes it takes time to get back to the basics, get back to ones roots, and build up the important things. For Sister Hazel, it's always been about the music, but over the course of their decade-plus music making career, it has expanded beyond that to incorporate so much more. They've maintained their unerring focus and desire to help, to share, to include, and to grow -- be it through their music or through other means -- all the while stretching their musical umbrella to cover what has become a true community. At the basis of that umbrella is the music, and their latest, and perhaps best-realized Sister Hazel record start to finish, is aptly named Absolutely. The affirmative overtones of the title only serve to underscore the pride the band justly feels with the end result. In the most non-egotistical way possible, I feel this is the best record we've ever made, says rhythm guitarist/vocalist Drew Copeland. Concurs bassist Jett Beres: We're journeymen and we've focused on creating a cathartic experience for our fans. We want our fans to feel what were feeling, so the lyrics are really important. Equally important is capturing that elusive live show magic, and Beres feels that they've succeeded in coming closer to doing that. This record captures our live show vibe well. We've been fortunate with our success, says Block. As a band, we've always put writing songs that we believe in, putting on powerful live shows, and being passionate about our craft at the top. Trojanowski attributes their longevity to a simple concept: When you set yourself up as a band, a democracy, it lasts longer. That equal partnership is key. Over time, the band has grown a lifestyle and fan community via touring, fan interaction, and charity work, yet the all-important music provides the soundtrack for it all. Whether you call it roots rock or American rock, the music Sister Hazel makes is definitely not alternative or modern rock; they are not emo, screamo, anything-core or flavor-of-the-moment. Their music is solid and satisfying, comfortable and easy, like old friends and family. Absolutely perfect and absolutely Sister Hazel.

Sister Hazel

Sometimes it takes time to get back to the basics, get back to ones roots, and build up the important things. For Sister Hazel, it's always been about the music, but over the course of their decade-plus music making career, it has expanded beyond that to incorporate so much more. They've maintained their unerring focus and desire to help, to share, to include, and to grow -- be it through their music or through other means -- all the while stretching their musical umbrella to cover what has become a true community. At the basis of that umbrella is the music, and their latest, and perhaps best-realized Sister Hazel record start to finish, is aptly named Absolutely. The affirmative overtones of the title only serve to underscore the pride the band justly feels with the end result. In the most non-egotistical way possible, I feel this is the best record we've ever made, says rhythm guitarist/vocalist Drew Copeland. Concurs bassist Jett Beres: We're journeymen and we've focused on creating a cathartic experience for our fans. We want our fans to feel what were feeling, so the lyrics are really important. Equally important is capturing that elusive live show magic, and Beres feels that they've succeeded in coming closer to doing that. This record captures our live show vibe well. We've been fortunate with our success, says Block. As a band, we've always put writing songs that we believe in, putting on powerful live shows, and being passionate about our craft at the top. Trojanowski attributes their longevity to a simple concept: When you set yourself up as a band, a democracy, it lasts longer. That equal partnership is key. Over time, the band has grown a lifestyle and fan community via touring, fan interaction, and charity work, yet the all-important music provides the soundtrack for it all. Whether you call it roots rock or American rock, the music Sister Hazel makes is definitely not alternative or modern rock; they are not emo, screamo, anything-core or flavor-of-the-moment. Their music is solid and satisfying, comfortable and easy, like old friends and family. Absolutely perfect and absolutely Sister Hazel.

Mason Jennings

As one grows into adulthood, remaining steadfastly single-minded about one’s pursuits gets increasingly difficult. The musician becomes a band mate navigating the creative energies of those around them. He becomes a boyfriend, a husband, a businessman. She becomes a lover, a mother, a practitioner of her art. Life becomes multifarious, and the pressure to not let the disparate threads of a chaotic life unravel can cause strain on any relationship. With his new album Minnesota, Mason Jennings crafts a collage of love trying to survive the transition into being a grown-up in a complex world. “Love is the most important thing to me, my relationship with my wife and kids,” Mason says, adding “And music has always been as important as breathing to me. I have come to realize that to have it all, I have to take the long view when it comes to integrating all these parts of my life.” Increasingly, a sense of place and community has become important to him as well. “The album is called Minnesota because it’s a metaphor for an ever-changing landscape. More than any place I’ve ever been, things change so much here, even month-to-month. But even as things change, Minnesota is where my home is, where my center is.” His profession often takes him away from that center. Being on the road and finding the personal space to create while at home has caused him to examine how he balances his loves. He generally writes from an intensely personal point of view, but Minnesota represents a step toward the light after the darkness of Blood of Man, his last album. A case in point is the first song on the album, “Bitter Heart,” which manages to be simultaneously plaintive and hopeful. The protagonist recognizes the breach of faith and the sense of estrangement in the relationship, but sings tenderly of rapprochement. To Mason, the central line in this song and a central point to the album is “Our world is filled with only what we see/Can we see love now.” Mason says, “I have come to the understanding that the way that we feel inside is the most important thing, and that we have a say in that.” Mason often encounters couples after his shows who tell him his music played a major role when they were falling in love. “Raindrops On The Kitchen Floor” is an unadulterated love song, with that love being so visceral that it can seemingly transcend the possible (“How am I gonna live forever/Promise me you will/Call it off, the age of reason/There’s no more time to kill”). “I guess this is music to stay in love to,” he jokes. But this collage is far from monochromatic. “Clutch” looks back wistfully at a love before the demands of adulthood came knocking. At the end of the song, Mason sings that “Maybe we could work it out, we could live in a dream, live in a dream,” as though he knows it’s too late to re-enter the honeymoon phase of the relationship. The song ends in a dream-like instrumental break that leads directly into “Witches’ Dream,” a fabulist romp that juxtaposes raw lust with fairy tale imagery. He stays in this dream state with “Rudy,” an allegory in which a good man overcomes the forces of darkness, while “Wake Up” addresses the need to put self-inflicted darkness behind one as well. Musically, Mason paints from a more varied palette than ever. For instance, piano is featured more prominently than any of his previous albums. “The piano seemed to fit the emotional core of the album,” he explains. “I felt that it was important to begin and end the album with piano.” Mason played almost all of the instruments on the album, the one exception being “Well Of Love,” a Perez Prado-esque number that features his friends in The Living Room, the side project of Jack Johnson drummer/percussionist Adam Topol. Friend Jason Schwartzman adds additional piano and background vocals on “Raindrops.” Minnesota finds Mason Jennings more at home than ever: More at home in his adopted state and more at home with the integration of the self that is required to live an artistic life while enjoying the community of his friends and loved ones.

Mason Jennings

As one grows into adulthood, remaining steadfastly single-minded about one’s pursuits gets increasingly difficult. The musician becomes a band mate navigating the creative energies of those around them. He becomes a boyfriend, a husband, a businessman. She becomes a lover, a mother, a practitioner of her art. Life becomes multifarious, and the pressure to not let the disparate threads of a chaotic life unravel can cause strain on any relationship. With his new album Minnesota, Mason Jennings crafts a collage of love trying to survive the transition into being a grown-up in a complex world. “Love is the most important thing to me, my relationship with my wife and kids,” Mason says, adding “And music has always been as important as breathing to me. I have come to realize that to have it all, I have to take the long view when it comes to integrating all these parts of my life.” Increasingly, a sense of place and community has become important to him as well. “The album is called Minnesota because it’s a metaphor for an ever-changing landscape. More than any place I’ve ever been, things change so much here, even month-to-month. But even as things change, Minnesota is where my home is, where my center is.” His profession often takes him away from that center. Being on the road and finding the personal space to create while at home has caused him to examine how he balances his loves. He generally writes from an intensely personal point of view, but Minnesota represents a step toward the light after the darkness of Blood of Man, his last album. A case in point is the first song on the album, “Bitter Heart,” which manages to be simultaneously plaintive and hopeful. The protagonist recognizes the breach of faith and the sense of estrangement in the relationship, but sings tenderly of rapprochement. To Mason, the central line in this song and a central point to the album is “Our world is filled with only what we see/Can we see love now.” Mason says, “I have come to the understanding that the way that we feel inside is the most important thing, and that we have a say in that.” Mason often encounters couples after his shows who tell him his music played a major role when they were falling in love. “Raindrops On The Kitchen Floor” is an unadulterated love song, with that love being so visceral that it can seemingly transcend the possible (“How am I gonna live forever/Promise me you will/Call it off, the age of reason/There’s no more time to kill”). “I guess this is music to stay in love to,” he jokes. But this collage is far from monochromatic. “Clutch” looks back wistfully at a love before the demands of adulthood came knocking. At the end of the song, Mason sings that “Maybe we could work it out, we could live in a dream, live in a dream,” as though he knows it’s too late to re-enter the honeymoon phase of the relationship. The song ends in a dream-like instrumental break that leads directly into “Witches’ Dream,” a fabulist romp that juxtaposes raw lust with fairy tale imagery. He stays in this dream state with “Rudy,” an allegory in which a good man overcomes the forces of darkness, while “Wake Up” addresses the need to put self-inflicted darkness behind one as well. Musically, Mason paints from a more varied palette than ever. For instance, piano is featured more prominently than any of his previous albums. “The piano seemed to fit the emotional core of the album,” he explains. “I felt that it was important to begin and end the album with piano.” Mason played almost all of the instruments on the album, the one exception being “Well Of Love,” a Perez Prado-esque number that features his friends in The Living Room, the side project of Jack Johnson drummer/percussionist Adam Topol. Friend Jason Schwartzman adds additional piano and background vocals on “Raindrops.” Minnesota finds Mason Jennings more at home than ever: More at home in his adopted state and more at home with the integration of the self that is required to live an artistic life while enjoying the community of his friends and loved ones.

Devon Allmans Blues Summit

KT Tunstall

Since scoring a worldwide smash with her debut album ‘Eye To The Telescope’ in 2004, which went on to sell over 5 million copies, KT Tunstall has remained at the forefront of UK singer-songwriter talent. Over the next decade, three further critically acclaimed albums followed; ‘Drastic Fantastic’, ‘Tiger Suit’ and ‘Invisible Empire//Crescent Moon’ in 2007, 2010 and 2013 respectively, keeping the platinum sales rolling and cementing the Scottish singer-songwriter’s reputation as a major recording talent, as well as a mesmerising live artist.   Tunstall has toured the world many times over. She has become a festival favourite, from Glastonbury to Belladrum (and back again). She outsold every other female artist in the UK in 2005, won the 2006 Brit Award for Best British Female Solo Artist, won the Ivor Novello Best Song award for her huge, self-penned hit 'Suddenly I See’, and a Q award for Track of the Year. She also landed a Grammy nomination for Best Female Pop Vocal Performance and lent her tunes to a host of movies and TV shows ('Suddenly I See', used in the iconic opening scene of Meryl Streep flick 'The Devil Wears Prada'). 2012 and the years that followed saw a seismic shift in outlook - the loss of her father, a divorce, and a relocation to Venice Beach, California. After a period of healing, soul-searching, and a change of scenery, 2016 hailed the arrival of the first of a trilogy of albums, the critically acclaimed UK top 10 album - 'KIN'. The trilogy evokes, separately and in sequence, spirit, body and mind. With 'KIN' being her phoenix-from-the-ashes 'spirit' album, 2018 will mark the second offering of that trilogy - her 6th studio album, her ‘body’ album - full details of which are to be revealed later this summer. The last few years have seen something of a creative rebirth for Tunstall. Upon relocating to the west coast of the USA, she was accepted as one of six annual fellows for the Sundance Film Institute’s Composers Lab (hosted by George Lucas’s Skywalker Ranch in Northern California) and has since scored music for short and feature films. As well as putting the finishing touches to her forthcoming album, 2018 has already seen KT being awarded the Inspirational Artist gong at Music Week's Women In Music Awards as well as having been invited to take on the role as the first ever female Grand Marshal (following the likes of Sir Sean Connery) to lead April’s annual New York Tartan Week Parade along Sixth Avenue. She will spend the summer touring with The Pretenders, Simple Minds, and Barenaked Ladies on the lead up to the much- anticipated release of her 6th studio album this Autumn.

KT Tunstall

Since scoring a worldwide smash with her debut album ‘Eye To The Telescope’ in 2004, which went on to sell over 5 million copies, KT Tunstall has remained at the forefront of UK singer-songwriter talent. Over the next decade, three further critically acclaimed albums followed; ‘Drastic Fantastic’, ‘Tiger Suit’ and ‘Invisible Empire//Crescent Moon’ in 2007, 2010 and 2013 respectively, keeping the platinum sales rolling and cementing the Scottish singer-songwriter’s reputation as a major recording talent, as well as a mesmerising live artist.   Tunstall has toured the world many times over. She has become a festival favourite, from Glastonbury to Belladrum (and back again). She outsold every other female artist in the UK in 2005, won the 2006 Brit Award for Best British Female Solo Artist, won the Ivor Novello Best Song award for her huge, self-penned hit 'Suddenly I See’, and a Q award for Track of the Year. She also landed a Grammy nomination for Best Female Pop Vocal Performance and lent her tunes to a host of movies and TV shows ('Suddenly I See', used in the iconic opening scene of Meryl Streep flick 'The Devil Wears Prada'). 2012 and the years that followed saw a seismic shift in outlook - the loss of her father, a divorce, and a relocation to Venice Beach, California. After a period of healing, soul-searching, and a change of scenery, 2016 hailed the arrival of the first of a trilogy of albums, the critically acclaimed UK top 10 album - 'KIN'. The trilogy evokes, separately and in sequence, spirit, body and mind. With 'KIN' being her phoenix-from-the-ashes 'spirit' album, 2018 will mark the second offering of that trilogy - her 6th studio album, her ‘body’ album - full details of which are to be revealed later this summer. The last few years have seen something of a creative rebirth for Tunstall. Upon relocating to the west coast of the USA, she was accepted as one of six annual fellows for the Sundance Film Institute’s Composers Lab (hosted by George Lucas’s Skywalker Ranch in Northern California) and has since scored music for short and feature films. As well as putting the finishing touches to her forthcoming album, 2018 has already seen KT being awarded the Inspirational Artist gong at Music Week's Women In Music Awards as well as having been invited to take on the role as the first ever female Grand Marshal (following the likes of Sir Sean Connery) to lead April’s annual New York Tartan Week Parade along Sixth Avenue. She will spend the summer touring with The Pretenders, Simple Minds, and Barenaked Ladies on the lead up to the much- anticipated release of her 6th studio album this Autumn.

KT Tunstall

Since scoring a worldwide smash with her debut album ‘Eye To The Telescope’ in 2004, which went on to sell over 5 million copies, KT Tunstall has remained at the forefront of UK singer-songwriter talent. Over the next decade, three further critically acclaimed albums followed; ‘Drastic Fantastic’, ‘Tiger Suit’ and ‘Invisible Empire//Crescent Moon’ in 2007, 2010 and 2013 respectively, keeping the platinum sales rolling and cementing the Scottish singer-songwriter’s reputation as a major recording talent, as well as a mesmerising live artist.   Tunstall has toured the world many times over. She has become a festival favourite, from Glastonbury to Belladrum (and back again). She outsold every other female artist in the UK in 2005, won the 2006 Brit Award for Best British Female Solo Artist, won the Ivor Novello Best Song award for her huge, self-penned hit 'Suddenly I See’, and a Q award for Track of the Year. She also landed a Grammy nomination for Best Female Pop Vocal Performance and lent her tunes to a host of movies and TV shows ('Suddenly I See', used in the iconic opening scene of Meryl Streep flick 'The Devil Wears Prada'). 2012 and the years that followed saw a seismic shift in outlook - the loss of her father, a divorce, and a relocation to Venice Beach, California. After a period of healing, soul-searching, and a change of scenery, 2016 hailed the arrival of the first of a trilogy of albums, the critically acclaimed UK top 10 album - 'KIN'. The trilogy evokes, separately and in sequence, spirit, body and mind. With 'KIN' being her phoenix-from-the-ashes 'spirit' album, 2018 will mark the second offering of that trilogy - her 6th studio album, her ‘body’ album - full details of which are to be revealed later this summer. The last few years have seen something of a creative rebirth for Tunstall. Upon relocating to the west coast of the USA, she was accepted as one of six annual fellows for the Sundance Film Institute’s Composers Lab (hosted by George Lucas’s Skywalker Ranch in Northern California) and has since scored music for short and feature films. As well as putting the finishing touches to her forthcoming album, 2018 has already seen KT being awarded the Inspirational Artist gong at Music Week's Women In Music Awards as well as having been invited to take on the role as the first ever female Grand Marshal (following the likes of Sir Sean Connery) to lead April’s annual New York Tartan Week Parade along Sixth Avenue. She will spend the summer touring with The Pretenders, Simple Minds, and Barenaked Ladies on the lead up to the much- anticipated release of her 6th studio album this Autumn.