Bloodshot Bill and Tigerman WOAH
With Western Terrestrials
Saturday, October 12, 2019
BLOODSHOT BILL started in his hometown of Montreal around 1998, with just a guitar and a stomp board. Since then, he’s had over 30 releases throughout Europe and North America. Touring constantly, he has collaborated with such acts as THE 126.96.36.199.’s, JON SPENCER, KING KHAN, beat poet CHARLES PLYMELL, MARK SULTAN, DEKE DICKERSON, and SHANNON SHAW. Plays well with others but is known mostly for his One Man Band act. Artist JOE COLEMAN once called him “a cross betwen Jimmie Rodgers & Popeye”, and director JOHN WATERS says he’s “like Roy Orbison with a head wound”. He’s been in movies too, usually playing himself. Has won FME’s Coup De Coeur in 2007, and has more recently been a 3x-nominee for an AMERIPOLITAN award.
Tigerman Woah is a rock and roll band from Lynn, MA thats been singing and hollering and stomping their working class boots since 2012. With a sound somewhere between Woody Guthrie and Motörhead, they have taken the trendy nostalgia for the great early music of the U.S. South and Appalachia and combined it with the punk and rock and roll they were raised on. The upright bass and banjulele create a folky addition to the otherwise raucous lead guitar, drums, and gang vocals. Their live shows are an energetic crucible of aggression and tenderness, marked by audience participation, flying hair, and heavy beer drinking. What started as a couple of underemployed friends learning songs off the American Anthology of Folk Music and the George Mitchell Collection has become a locally celebrated brotherhood dedicated to making music that moves people into mosh pits and onto picket lines. Since the band formed around their first EP in June of 2012 they’ve put out four more releases and played hundreds of shows, mostly around the northeastern U.S.
Hard driving honky-tonk outsiders from Vermont release their debut album on September 17. Recorded at the legendary Cinderella Sound Studios in Nashville, The Clearlake Conspiracy’s nine tracks pay tribute to classic country, simultaneously muscling the genre firmly forward into new territory. While offering enough lyrical allusions and familiar riffs to please discerning outlaw country fans, the album refuses to be content dwelling in the past and imagines an alternate history where the current mainstream bro-country malaise is stricken from the timeline.