Deer Tick & Friends

New Year's Eve with...

Deer Tick & Friends

J. Roddy Walston and the Business, Dead Confederate, Virgin Forest

Saturday, December 31st, 2011

Doors: 6:00 pm / Show: 8:00 pm

This event is 21 and over

For more information on our spectacular New Year's Eve packages, please email Event Director Dana Bartle at

All advance tickets are sold out. There will be a limited amount of admissions available at the doors. All admissions are first come first serve with with no re entry. $45 in advance, $50 day of show cash only.

Deer Tick presents "Deervana" (performing "In Utero" in its entirety)
Deer Tick presents "Deervana" (performing "In Utero" in its entirety)
From the band that’s been both accurately and inaccurately labeled just about everything this side of Top 40 comes a true-to-form rock-n-roll record. Scratch that, true-to-form is not Deer Tick’s style. Let’s start over…
Naturally, after so many years of critics praising [and making fun of] them for their “folk” and “country” sounds and hardly ever mentioning the fact that they’ve also recorded virtually dozens of other kinds of music, the band wanted to make a record that was truer to their live set (which has gained some notoriety): raw, loud, heartfelt, and completely uninterested in whatever the hell the rest of the music industry is up to.
To produce this record, the band recruited the team of Adam Landry and Justin Collins, who produced McCauley’s side-project Middle Brother’s debut album. The results are unlike anything you’ve heard on a Deer Tick album, but Deer Tick achieves something that is a lot more accurate to their live sound. Distorted guitars are aplenty, guitarist Ian O’Neil and drummer Dennis Ryan take lead vocal duties for the first time on record. Man, you can practically smell the sweat and the beer! Shit, you may even hear a guitar or two break somewhere in there! It’s got a little Exile, it’s got a little In Utero, it’s got a little Nilsson Schmilsson, but it’s 100% Deer-Fucking-Tick in their purest, and most carefree form… perhaps that’s because this is the first record they’ve recorded in their home state of Rhode Island… GAH!!! No need to over-think this shit!!! Moving on…
The songs are there. The delivery is in your face. There’s no studio magic. There’s no hiding the fact that Deer Tick is just five regular dudes. This record may rattle your thoughts, and it may make you think differently about Deer Tick, but at least they didn’t make the same album four times in a row, right?
J. Roddy Walston and the Business
J. Roddy Walston and the Business
J Roddy Walston and The Business refuse to play it safe. In this age when mobile phone apps have replaced recording studios and the term “badass” rarely describes modern music, J Roddy furthers the proud legacy of unrelenting rockers from Little Richard to Janis Joplin to KISS, shredding eardrums and stirring souls with scrappy, All-American anthems.

J Roddy Walston, diarist of the dispossessed, patron saint of the rough and tumble. His songs celebrate the more colorful parts of this and, that gritty slice ignored by polite society:

Places where the air hangs thick with cigarette smoke and desperation.

Where whiskey is a blood type and beer gets drank straight from the can.

Where everyone is working an angle.

Where a high school education means you’re no longer welcome.

Where trouble finds you.

Where they don’t even try to sell whitening toothpaste.

Some call it Johnny Cash country. This is J Roddy Walston’s America.

Raised in the gospel tradition in one of the lesser known Clevelands– Cleveland, Tennessee; a town renowned for the most churches per capita in the USA — J Roddy learned piano from his God-fearing grandma. But it soon became clear no church could contain his reckless spirit, threadbare vocal chords, and titanium fingers pounding chords with the force of ten jackhammers.

In another era, J Roddy would have laid waste nightly to the keys of the hottest honky-tonk saloon in any riverboat metropolis. Today J Roddy Walston & The Business rely not on computers but on forcefulness, volume, and tight musical command to shake entire city blocks.

“I just enjoy creating situations in which people can have fun and be accepted, and I think that our music has that common thread in it. People hear the first chorus and, by the second chorus, they’re singing along.”

So J Roddy moved east, settling in Baltimore where The Business was called to order in 2006. First came the challenge and compliment of guitarist Billy Gordon, a musical mirror-image of J Roddy. Next was Steve Colmus, a sportly southpaw with a heavy snare hand. And Logan Davis’s bass provided the pugnacity of a prize fighter’s sparring partner. J Roddy describes this harmonious merger as one in which “raw power met story and neither would compromise.” The result is an energetic, blue collar rock ethic the Baltimore City Paper once said “makes James Brown look lazy.”

Due to their breakneck tempos it is physically impossible to observe posted speed limits while listening to J Roddy Walston and TheBusiness.

If the Bible Belt had soccer hooligans, J Roddy would compose their hymns.

Imagine Animal the Muppet playing piano and you’re getting close.

Legions of “J-Rowdies” scattered throughout the Continental US eagerly await the arrival of Roddy Walston and The Business to the local roadhouse for a one-of-a-kind religious experience, one known for its redemptive atmosphere, melodies that all but dare women to keep their tops on, and adrenaline-fueled grooves which can even get the toes tapping on a tone deaf corpse.

Decades ago a crack team of cardiologists called Huey Lewis and The News confirmed the vitality of Rock & Roll’s ticker. Today J Roddy Walston and The Business not only reaffirm that diagnosis but offer conclusive proof Rock & Roll’s rollicking soul continues to thrive.

J Roddy Walston and The Business, advancing America’s quintessential rock tradition in this digital age…just when we need it the most.
Dead Confederate
Dead Confederate
Dead Confederate take a post-grunge approach to their music, which also leans heavily on the group's psychedelic and Southern rock influences. Seeds for the band's formation were planted during the late '90s, when future bandmates Hardy Morris (vocals, guitar), Brantley Senn (bass), Walker Howle (guitar), John Watkins (keyboards), and Jason Scarboro (drums) bonded over a shared affinity for Pink Floyd and Black Sabbath. Although hailing from Augusta, GA, the quintet relocated to Atlanta following college graduation. A second move quickly followed, this time to Athens, where the group doubled its touring efforts and caught the attention of former Capitol Records president Gary Gersh. Impressed with the band's haunting sound, Gersh signed Dead Confederate to his new label, The Artists Organization, and issued their debut EP in early 2008. A full-length album, Wrecking Ball, followed in September, and the group returned two years later to release its second record, Sugar.
Virgin Forest
Virgin Forest
Ex members of Castanets, VIRGIN FOREST members currently play in Phosphorescent. Countless tours and shows with those outfits have helped to forge fluidity and musical rapport seldom heard in bands today. Virgin Forest and Phosphorescent both offer a unique take on traditionally "American" music but the similarities end there. Virgin Forest's debut LP, "Joy Atrophy," like Fleetwood Mac's "Rumors," is the sound of love being pulled apart from the inside. Few modern recordings offer both perspectives on a breakup performed essentially in real time. Just as songs on "Rumors" act as barbs/parting shots/goodbyes, rendered all the more heartbreaking by the complicity required of the aggrieved parties, so do Virgin Forest's offerings. The LP stands as necessary culmination of protracted and self-destructive love, laid bare in aching but poker-faced vocal harmonies. In its economic and punk 27 minutes "Joy Atrophy" effortlessly updates one of the oldest and most fundamental narratives people choose to set to music.
Venue Information:
Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY, 11249

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