3505 Pacific Ave. / Forest Grove, OR, 97116
Sunday, July 23, 2017
12 noon 'til 9 p.m.Free admissionAll ages welcome
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We're launching a grand ol' country festival - yeehaw! Join in the four days of fun for all ages, where free live music will be heard indoors and out on multiple stages, with a little bluegrass and Americana to boot.
Pat's StageJawbone Flats | 1 p.m. 'til 3 p.m.The Hillwilliams | 3:30 p.m. 'til 5 p.m.Bo Porter | 5:30 p.m. 'til 7 p.m. Rich Layton and the Troublemakers | 7:30 p.m. 'til 9 p.m. Garage DoorThe Columbians | 12 noon 'til 1:30 p.m.Austin Quattlebaum | 2 p.m. 'til 3:30 p.m. Bart Budwig | 4 p.m. 'til 6 p.m.Robert Sarazin Blake and the Put-It-All-Down-In-A Letters | 7 p.m. 'til 9 p.m.
Rich Layton & The Troublemakers are keepers of the flame for American roots rock, music that blurs the lines between vintage country, rock and blues. With comparisons to such artists as Marty Stuart, Dave Alvin and Sturgill Simpson, the band takes audiences for a ride from Sun Studios to Chess Records, and Muscle Shoals to Bakersfield. Rich's original songs thread seamlessly into the mix, weaving his Gulf Coast roots through tales of rock and roll redemption, harmonica-fueled and swampified. Together a decade now, the band has released two albums, and performs at festivals and events throughout the NW, including the Safeway Waterfront Blues Festival. Each summer, Rich joins Lyle Lovett as a special guest when The Large Band comes to town. Rich also has played on Portland tour stops by his friends Lucinda Williams, Dale Watson and the late Buckwheat Zydeco.
The Hillwilliams are a group of Portland, OR musicians who have come together to celebrate the high lonesome sound and hot picking of traditional Bluegrass.
Brought together initially by admiration for bluegrass masters like Bill Monroe and The Stanley Brothers as well as 1970s bluegrass supergroup Old and in the Way, The Hillwilliams blend three strong vocalists, smoking fiddle, mandolin, guitar, banjo and doghouse bass, into a fun high energy mix, that harkens back to classic bluegrass, while exploring an exciting sound of their own. Whether they are playing the best of the traditional bluegrass repertoire, or playing their own original bluegrass songs, their shows are fun, high energy events that leave audiences asking for more.
The Hillwilliams' first album of original material, "Hill Yeah!", was released in February of 2015.
Bo Porter Texas Music Awards Male Vocalist of the Year Nominee. Great big Thanks to my sponsors Budweiser and Texas Hatters. More information on my sponsors and showdates at www.BoPorter.com.
The influences are vast, but it all comes back to Portland when they're asked to describe their sound. However, Jawbone Flats got their name from a tucked away spot in a protected wilderness area East of Salem. Jawbone Flats is an old abandoned mining town surrounded by some of the most lush old growth forest you'll find in the state. In one sense, it's as Oregon as it gets.
The band that takes its name from the hidden treasure also fits a style that can make you appreciate the outdoors, good friends and a cold beer. The members of the five-piece has been playing with each other and in a grab bag of local sounds and bands since 2000.
Austin Quattlebaum is no stranger to the stage. He's been performing solo all over the country since 2012. His childhood home of Savannah, GA shines through in the swampy tones and sleepy Southern lilt of his banjo and melodies. And in his titling, as well-it doesn't get much more Savannah than The Ghost Tangled in the Oaks, the name of his 2013 LP.His solo performances blend gritty originals and tasteful covers; weaving 3 finger banjo, clawhammer and flat-picking guitar songs into his sets seamlessly. Sung with a bit of gravel in his throat, his tunes are sure to get the crowd's attention. When Quattlebaum's adventures landed him in Portland nearly 3 years ago he quickly dove into the local music scene and founded the up and coming bluegrass band, Crow and the Canyon. (C.&.t.C. hit the Portland scene with a bang, achieving many accolades and notoriety in their short history.) In addition to Crow and the Canyon, Quattlebaum can also be seen with the 8 headed folk monster band from San Francisco, The Sam Chase and the Untraditional. Raising a ruckus at festivals like Outside Lands, Hardly Strictly Bluegrass, and High Sierra. Whether taking the stage with one of his projects or all on his own, Quattlebaum isn't shy and always brings a good time.
Peter ‘Spud' Siegel on mandolin, Joel Marshal on guitar, Peter Schwimmer on banjo and fiddle, and Bill Uhlig on up-right bass. The Columbians play a mixture of acoustic Bluegrass and Americana eclectic.
Bart Budwig grew up on the Idaho Palouse, with a pawn shop trumpet and a heart as big as a skyscraper - if skyscrapers knew how to be humble. Bart learned melody from classic jazz charts and found that fault-lines in big hearts create drifting continents, cut new oceans and forge new mountains. Eventually, everyone close to him disappeared, whether to death or Texas, and it was from Texas that he got a letter from Waylon Jennings inviting him to pick up a guitar and a pen. Budwig doesn't write the big songs. He writes songs about places between the hills, in the draws and hidden canyons where truth is a little more in focus, stories take their time being told, heartbreak is a place of deep reflection, and melodies don't have to wear rhinestone suits or drive shiny, new cars to be beautiful. In 2016, Bart Budwig played over 150 out-of-town shows and has shared the stage with Blind Pilot, Joseph, Alan Stone, Joe Pug, Justin Townes Earle, Damien Jurado, Mason Jennings and many more. He will be releasing his 5th full-length album Paint by Numbers Jesus on April 1st, 2017, a swamp-country concept record pulling from grooves of Motown and the American deep south in the 60s and 70s.
In 1997, Robert Sarazin Blake dropped out of college and hit the
The folk music of his father’s house had combined with the DIY punk
ethos of the day and produced his first batch of songs, Another
Irrelevant Year. On the heels of Richard Manning, Billy Bragg, and Ani
Difranco, Blake’s 18-year-old release is an early document of the
folk-punk movement. On his first US tour, Blake played 30 shows around
the US planting seeds as he developed touring, not as an economic model,
but as a lifestyle. He hasn’t stopped. Ten full length albums into his
career, he’s continued to write pulling from folk roots, his travels,
his contemporaries, and the quiet spot in the back of his mind. The
writing has evolved, mellowing with experience and expanding with
reference, but the essence of the work has remained the same-strong
narratives solidly built on the folk foundation and fully in the
immediacy of the now.
The touring and performing has become an art in itself. Performing 200
shows a year, Blake is a world class performer in a neighborhood venue.
The show is a combination of songs and rambles landing somewhere between
a concert and a theatrical instillation. The neighborhoods have been
all over Ireland and the US and occasionally in Canada, Scotland,
England, Norway, Denmark, Germany and France. The shows are booked,
managed, and driven to by Blake- a one man cottage industry existing
underneath and outside the main-streams of the music business.
His songs continue to be influenced by Bob Dylan, John Prine, Shel
Silverstein, Christy Moore, Lou Reed, Joni Mitchell- his stories and
stage banter by Arlo Guthrie, Garrison Keillor, Spalding Gray, his
outlook by Naomi Kline, Jim Page, Amy Goodman, Noam Chomsky, and his
essence by James Baldwin, Henry Miller, Jeannette Winterson, John
Steinbeck, and Philip Roth.
His contemporaries, Anais Mitchell, Louis Ledford, Hamell on Trial, The
Heligoats, CR Avery, Jeffrey Lewis, and Jinx Lennon, continue to
influence and inspire.
From his home in Bellingham (WA), Blake started his own record label SameRoomRecords,
"recordings of songs and musicians in the same room and the same time"
-- an oddly unique idea in an era of digitally manipulated sounds -- and
has sold over 10,000 albums from his suitcase.
This philosophy reflects Blake’s dedication to the moment, to the
connection within live performance. There is always a moment in a Blake
show where the room pulls together and the space between the singer, the
song, and the listener disappears.
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