Thursday, December 23rd, 2021
Lightning 100 Presents

Boy Named Banjo: Where the Night Goes Tour w/ special guest Adam Hambrick

Adam Hambrick

Doors: 6:00 PM / Show: 8:00 PM 18+ Years
Boy Named Banjo: Where the Night Goes Tour w/ special guest Adam Hambrick

Event Info

Venue Information:
Brooklyn Bowl Nashville
925 3rd Avenue North
Nashville, Tennessee 37201

Because of the rise in cases due to the variants, a special COVID protocol is required for everyone that will be in attendance for this show at Brooklyn Bowl Nashville. You, and anyone accompanying you in your party, are required to provide ONE of the following:

Proof of your vaccination record (vaccination card or picture of your card with a matching ID card), demonstrating you were fully vaccinated at least two weeks in advance of the day of show. OR proof of a negative COVID test, administered within 72 hours of the day of show, with matching ID card.

We recommend uploading your vaccination card or negative COVID test information to the Bindle app — available for free on the Apple App Store or Google Play Store. This is a secure and private app that will allow you to quickly display your information, ensuring timely entry into the venue. For more information, visit

For information on free testing sites, please visit this link here:

Brooklyn Bowl encourages mask wearing and encourages you to get vaccinated if you aren’t already!

By purchasing a ticket you are acknowledging you will be required to show proof of vaccination or negative test result. All Sales are Final.

If you have any questions or concerns, please reach out to us at

To ensure you don't miss any of the show, please plan to arrive closer to doors to go through security and present your vaccination card or negative test. This process takes some time so please make sure you have your ID and Vaccination Card/Negative Results out and handy when going through security to expedite the process for all patrons.

This event is 18+ Anyone under the age of 18 must be accompanied by a parent or guardian

Valid photo ID required at door for entry
This event is general admission standing room only.

Artist Info

Boy Named Banjo

In a time when the popular choice is to chase the double yellow line down the road to country radio,
Boy Named Banjo thrives on its fringes. The Nashville-raised five-piece is a fusion of contemporary
country, Americana and folk-rock stacked on a foundation of bluegrass.
"We're trying to find our own niche within popular country music today," says Sam McCullough (drums).
"But not straight down the middle."
The band, which has been together in some iteration since members were in high school, is comprised
of Barton Davies (banjo), Ford Garrard (bass/upright bass), Sam McCullough (drums) Willard Logan
(mandolin, acoustic/electric guitar) and William Reames (acoustic guitar/harmonica). William and
Willard played in a middle school garage rock band together, but it wasn't until William met Barton in
high school English class that Boy Named Banjo started to take shape.
Barton had just started playing banjo when he heard William listening to bluegrass music. He suggested
they jam together, which led to them asking Willard to join them. The guys started playing music on the
streets of downtown Nashville, which is where the name “Boy Named Banjo” was created, outside of
the famed Robert’s Western World. While playing, a man walked by and yelled to Barton “Play that
banjo boy!” Later that night William came up with the name Boy Named Banjo, which has stuck ever
Ford started playing bass when he was 13 years old, and he, Willard, William and Barton shared a guitar
teacher. They played a couple of shows together in high school, but it wasn't until after college that Ford
and Sam joined the band and together the five guys formed the band Boy Named Banjo that we know
"I was like, 'I don't think you need a drummer because you're a bluegrass band, but I'll be your drummer
if you want me to be,'" Sam recalls. "They were like, 'Hell yeah, let's do it.'"
That was the summer of 2013, and the addition of the bass and drums immediately started to evolve the
group's sound from its rootsy, string band feel into something more commercial. Not only did the band
continue to steadily release music independently, releasing two albums and an EP, the band developed
its one-of-a-kind live show over the years until it attracted Mercury Records Nashville’s attention in
Boy Named Banjo had just launched their most extensive headlining tour to date when the pandemic
commanded them to drive the 36 hours from Portland, Oregon, back to Nashville and put their lives on
hold for the next 18 months. They became the first act that Universal Music Group Nashville signed via
Zoom about two weeks later.
"We're a very live-driven band," William said. "We love to play live. We love for people just to have a
great time. We also have a lot of banjo solos and electric guitar. I feel like our music is an escape from
everyday life. You come to a show, and we have a little bit of something for everyone."

While the pause wasn't what anyone planned, Boy Named Banjo released their debut EP, Circles, in
summer of 2021. The collection includes seven tracks co-written by members of the band including the
compassionate “Go Out Dancing,” which the band says takes on a much larger meaning post pandemic
thinking “if it really was ending” what would we do? They used the time to write songs and hone in on
their sound with writer/producer Oscar Charles (Carly Pearce, Charlie Worsham, Elvie Shane). With a
catalogue of songs to choose from, and recent time spent in the studio, the guys are deciding what to
run with next.
“They built themselves into something great and Nashville noticed. These guys are realer than the real
deal,” says Charles.
"The pause was tough touring wise because that's where we really thrive is on the road," William said.
"If people haven't heard us, they seem to get it when they see us live. That's a huge aspect of what we
do, so figuring out how to capture our live sound in the studio is tricky. But that time allowed us to
figure that out a little bit."
Until now, members say, they were finding their way through their "musical adolescence."
"We have a special chemistry together," Barton said.
"I think we're really just starting to know what Boy Named Banjo sounds like from here on out," Sam
The band is currently out on the road playing some of country music’s largest festivals including Dierks
Bentley’s Seven Peaks, Country Jam, and they recently made their CMA Fest debut playing at the Ascend

Amphitheatre Nighttime Concert. They head out on the road this fall as direct support to multi-
PLATINUM singer/songwriter, Kip Moore on his Fire on Wheels Tour.

Adam Hambrick

As the world becomes aware of singer/songwriter Adam Hambrick, listeners will get a two-fold reward – a short-term jolt from an engaging musical package and a long-term satisfaction as repeated plays unveil the depth in his word play and storytelling.
Hambrick cut his teeth as a Nashville songwriter, penning two #1 hits – Dan + Shay’s “How Not To” and Justin Moore’s “Somebody Else Will” – plus Lindsay Ell’s Top 20 single “Waiting On You.” He knows how to hook a song, and he does that brilliantly as he rolls out music for Capitol Nashville/Buena Vista, invariably imbuing his songs with cool melodies and structures that balance mystery and optimism.
Those musical aspects are worthwhile in themselves, but after multiple listens, Hambrick’s subtle mastery of the classic country twist works as a delayed bonus. The turn of a phrase in “Broken Ladder” – where he compares a post-relationship wild period to a “Band-Aid on a bullethole” – is likely obvious the first time around.
But the hidden-in-plain-sight meanings and phrases in other songs make it his music worth revisiting often. “Sunshine State of Mind” casts a reassuring beauty as a natural, atmospheric salve for modern life. “Do The Math” measures a man’s pain by adding up the drinks he uses to drown it. Hambrick’s first single, “Rockin’ All Night Long,” takes a big-picture view of after-midnight activities, showing how the late-nights romps of a carefree kid turn into the early-morning expressions of comfort provided by a loving dad to his crying daughter.
That’s part of what Hambrick learned as he honed his songwriting craft on Music Row: how to create songs that work for a casual, surface listener but still reward invested fans who take the time to look under the hood. Those interlocking levels are key to understanding him.
“I've always found there is an innate power in music,” he says. “When you say something, you say it, but when you sing it, there's a level of intentionality and force behind the weight of the words. So it’s a different thing. I love getting to sing these songs and mean them. To sing a song and mean it, you have to be saying something substantial.”
Hambrick accomplishes that while pulling together a passel of influences in a unique way. Atmospheric steel guitars, heavily reverbed rhythms and soaring melodies support the ‘90s country, 2000s pop and timeless blue-eyed soul at the heart of his art. It’s all delivered with a guy-next-door tenor that mixes angst and sensitivity while taking an adult viewpoint on topics that are familiar to consumers of every age.
“A lot of this music is me dealing with the younger me,” he notes. “It’s the emotional fallout from that, and missing that, and really just trying to make sense of who you are as a means of understanding how you got where you are.”
As is the case with nearly every success story, Hambrick’s arrival in a much-coveted vocation is an opportunity created by both sweat and luck. Growing up in Corinth, Mississippi, he found himself in a sort of bridge locale between multiple Southern music centers. To the west was Memphis, a mecca for gritty soul. To the north was Jackson, Tennessee, the home of the Rockabilly Museum. To the east was Muscle Shoals with its raw pop/rock history. To the south was Tupelo, the birthplace of Elvis Presley.
Corinth itself was awash in country, and Hambrick’s personal interpretation of all those influences was filtered through the church, where his father was a Baptist pastor and his mom played piano. He had a natural gift for performing, though he didn’t initially think of it as much more than a hobby.
“As a kid, doing music is kind of a pipe dream,” he says. “There were some cover bands and stuff I had seen around town, but country music, radio, the Grand Ole Opry, Nashville – all that stuff felt so distant from where I was.”
And yet that music made a huge impression. Country hits from the ‘90s “laid the bedrock foundation of my love for songs,” Hambrick says, pointing to Mark Chesnutt, Joe Diffie and Alan Jackson, whose “Chasin’ That Neon Rainbow” earns an oblique reference in Hambrick’s own “Country Stars.” Hambrick wore out Garth Brooks’ landmark No Fences album when he received his first cassette tape player as a Christmas gift.
As he aged, rock acts such as Foo Fighters, Third Eye Blind, Red Hot Chili Peppers and Taking Back Sunday provided the soundtrack for a more rebellious stage. But Hambrick found the key to unlock his own skills when he discovered John Mayer.
“John Mayer was the first funky, white-boy, acoustic-guitar-bro that ever just freakin' rocked my world,” Hambrick enthuses. “That was the common thread that runs through all of it, because with all these bands and artists, it's about their songs, like real-deal stories, vivid imagery, lyric-driven songs. That's the thing that's always been important to me, like ‘What are you actually saying?’”
The Hambricks had moved to Mississippi from Arkansas before Adam’s birth, but they spent enough time with relatives back in rural Des Arc that the Natural State felt as much like home as Mississippi. So when it came time for college, he majored in mass communications at Central Arkansas University, a campus known for its purple-and-gray football field (“Go Purple Bears,” Hambrick wryly cheers), located in Conway, the town that gave late Country Music Hall of Fame member Conway Twitty the first half of his stage name.
Hambrick became a bit of a local sensation, packing fraternity houses and Little Rock clubs for a time. One of his buddies in Conway, Kris Allen, won a season of American Idol, and watching that experience gave Hambrick motivation to start recording his own songs.
In the process, he ended up on Little Rock TV station KATV, promoting his first self-released album, Fighting From the Ground, and a local club show. As it happened, country star Justin Moore caught the televised performance and was impressed enough that he called his producer, Jeremy Stover (Jack Ingram, Drake White), and recommended Hambrick. Within days, Hambrick had a meeting in Nashville and started visiting regularly to write songs.
“Justin changed my life that day,” says Hambrick. “He could have been like, ‘That guy's pretty good’ and then gone about his day, but just the fact that he made a phone call to the guy that's now like my mentor, that got a really incredible ball rolling for me.”
Roughly 18 months later, Hambrick signed his first publishing deal and made the move to Nashville. He intended to continue making the occasional album to appease his inner artist, but the real focus was writing songs. Initially, he put his focus in the writing room on creating material for Nashville’s A-list acts, but that evolved as he discovered that redirection took some of the character out of his compositions.
“If I’m trying to put myself into somebody else's head and trying to say what I think Luke Bryan would say, I’m full of crap ‘cause I don't know what Luke Bryan is gonna say or what he's even comfortable saying,” Hambrick notes. “So it was kind of a process of getting smaller – don’t worry about what's on the chart, just do what I feel. When I started doing that, I started becoming more inspired to write and those songs were becoming more reactive with people in town.”
Particularly with Universal Music Group A&R executive Stephanie Wright, who was in the audience when he played a songwriters round. She was intrigued by his melodic prowess, his unique outlook and his self-effacing sarcasm. After the show, she made a point of cultivating a relationship.
“Over that next year I just kept writing and kept sending her songs and she kept being a fan and kept making fans in the Universal building,” he says. “It was just a very organic, very relational development. I didn't choose to go after country radio. That was a thing that the opportunity opened up, and I walked through that door.”
He brought a figurative truck load of music with him. Hambrick had 110 songs that seemed ideal for his own artistry. Even as he worked to narrow that pile of material, he kept writing more songs that showcase his passionate vulnerability and his ability to depict the drama in human interaction.
Splitting his time between two next-generation musician/producers – Andrew DeRoberts (Brantley Gilbert, James Blunt) and Paul DiGiovanni (Jordan Davis, Dan + Shay) – he came up with a series of songs that balances country, soul and the occasional tinge of electro-pop. In a sort of old-school twist, Hambrick is releasing some of that music under the banner “Flip Sides,” packaging two songs much the way that 45-rpm vinyl records featured an A and a B side.
The sly and sexy “The Longer I Lay Here,” the ultra-catchy “Forever Ain’t Long Enough,” the reflective “Kill A Man” and the ethereal “When It All Sinks In” are immediately gratifying. But in keeping with his musical mission, their biggest reward is their long-term value, the payoff from exploring the layers of sound and pockets of meaning that are key to understanding Adam Hambrick. The multiple styles that feed his brand of country are authentic, but so is his commitment to songs that stand the test of time.
“I’m always gonna be invested in country music,” Hambrick says. “I’m always gonna be invested in the community around country music, but at the end of the day, I want to make good music. Period.”

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