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8 Off 8th: Hosted by Cloud City Productions

8 Off 8th: Hosted by Cloud City Productions

Mon · April 17, 2017

Doors: 7:00 pm / Show: 8:00 pm


This event is 18 and over

David Newbould
David Newbould
David Newbould is setting himself up for an active 2017. The year begins with new recordings helmed by Leroy Powell, slated to be the bedrock for a summer 2017 release. It sees the release of Dan Baird & Homemade Sin‘s Rollercoaster CD, which includes 5 new David Newbould songs (a total of 13 David Newbould songs are spread out over the last 4 Baird / Homemade Sin releases). It also includes steady American and late summer European tour dates, and the continuation of a weekly midweek residency at Kimbro’s in Franklin, TN. This all follows a 2016 that saw the release of 2 proud EP’s: The Devil Is His Name and Live At The Building.


That high lonesome sound, evoking winds that blow through valleys of fear and over plains of wistful peace. David Newbould’s voice embodies that high and lonesome state of being. His songs have been featured in 10 network TV shows/films (CBS’ Criminal Minds and Harper’s Island, WB’s Dawsons Creek and 7th Heaven, Paramount’s Joan of Arcadia, Fox’s Party Of Five, CBS’ Threshold, Lifetime’s Monarch Cove, Lifetime Movie’s The Two Mr. Kissels, and Millennium Films’ Streets Of Blood – starring 50 Cent and Val Kilmer), and his 7 official releases have received enthusiastic critical acclaim, as well as spots on charts such as the Euro Americana, Freeform American Roots (FAR), and Roots 66. He has been practicing his trade since he was a young boy, and his journey has taken him through many towns and many adopted homes.

Born in Toronto, Canada, he left for the United States toward the end of his teenage years. Following in the footsteps of many of his heroes, he focused his attentions on New York City, first landing a spot as a guitar player for indie recording artists The Mercenaries, then eventually finding his own songwriting voice and performing his own material in clubs. He released 2 EP’s (Lab Rat, David Newbould), and developed a loyal fan base all through relentless performances and word of mouth – no label publicity, no major press, no glitz. Just songs that touched people’s lives and make an indelible mark. Eventually, he relocated to Austin, TX, where he had videos in rotation on Austin Music Network/ME Television, recorded his third EP (Everyone’s Got Their Own 10), his first full length CD (Big Red Sun), and an ambitious live CD/DVD package (The Long Way Home: David Newbould & Friends – Live From Austin). He had 10 film/TV songs placements, and developed his most dedicated and thorough following to date. David carved out a niche as not only a melodic and heartfelt songwriter, but also one who performs with great energy and will command a crowd. At every show he converts new people with his brand of high lonesome rock and roll. It is a brand which celebrates all of rock and roll’s melodic past, and which is familiar to those who love storytelling music. There is a consistent flow of high quality songs coming out of him, as well as performances – constant performances.

In the spring of 2009, David Newbould relocated to Nashville, TN. Having spent several years touring, he had by this point demanded attention as a songwriter worthy of notice. The album, Tennessee, was released in April 2013, and reached #5 on the Euro Americana charts, as well as placing on the FAR (Freeform American Radio) and Roots 66 charts. In late 2013, 2 songs he wrote with (former Georgia Satellites frontman) Dan Baird appeared on the well received Dan Baird And Homemade Sin CD, Circus Life. In 2015, 3 more appeared on the same band’s 2015 Get Loud! (including the title track), and in 2016 and 2017, 8 more songs appeared on Baird’s SoLow and Homemade Sin’s Rollercoaster albums. 2016 also saw the release of two new David Newbould EP’s: The Devil Is His Name, and Live At The Building.

David’s fan base is currently made up largely of groups of loyal supporters, but as he continues to release music and widen his audience, the larger and more universal his appeal will become.
Claire Boswell
Claire Boswell
Claire's distinctive and timeless sound evokes the aura of the Woodstock generation, with resonating lyrics, mellifluous vocals, and a subtle technical expertise reminiscent of Joan Baez, Linda Ronstadt and Emmylou Harris. A capable guitarist, Claire combines progressive songwriting and effortless voice to create pieces capturing both emotion and truth. The effect is an unforgettable presence; a unique style drawing on Folk Rock, Country, Blues, and Jazz; performed with a touch of old world magic.

2014 saw the release of Claire's highly anticipated, eponymous debut album. Guests include Clare Lindley (Stackridge) on fiddle and Maurice Hipkiss (Glen Campbell, Don McClean) on pedal steel guitar. The album has welcomed positive reviews and is featured in the Telegraph's 'Top Folk Albums Of 2014' .
Le French
Mike Thomas
Mike Thomas
Stewart Eastham
Stewart Eastham
“Dancin’ with the dancers in the mansion.”

There is a sense of joy that permeates Stewart Eastham’s latest release, Dancers In The Mansion. While Eastham’s previous album (The Man I Once Was) was a portrait of a man in turmoil, his new album paints a much different picture. The inky blacks and saturated reds splashed across the album cover provide clues as to the revelry within. The album’s closing line, “Celebrate yourself with love tonight,” is evocative of the celebratory spirit found throughout the record.

This dynamic collection of songs elevates the Americana genre to new heights with its lyricism and innovative musical arrangements. The album opens with the smoky, horn-inflected “In The Morning” and closes with the disco-gospel of “Lift Your Soul.” “Pretty Little Songbird” brings the funk as “Leavin’ By Sundown” stands with the best of country-flavored classic rock. “2023 Miles” showcases a swirl of psychedelic country while “Old Lovers (In A Cheap Motel)” is reminiscent of classic pop. The slick grandeur of “Jackpot” is a direct descendent of Nashville’s late ’60s/early ’70s “countrypolitan” era, with its lush strings and background vocals.

This album marks Eastham’s first time co-producing his own material. Being so closely involved with every stage of the album’s production, he was able to really craft the songs so the musical arrangements best represented his point of view. “Being so hands-on with this album, I think the snapshot it presents is closer to my personality than anything I’ve done before,” says Eastham. “While the last album was me looking inward, this one is more me looking outwards. So, in a strange way, it probably gives a better a sense of who I am and what I find interesting or moving.”

Each song on Dancers In The Mansion has its own distinct personality, but Eastham and his cohorts made sure all the songs had one important element in common. This element is described by Eastham as the “head bobbin’ vibe.” As he put it, “I wanted to make sure even the slow jams made you wanna bob your head along to the beat.” Big, funky drums have always been a trademark of Eastham’s sound, but that big rhythm sound is more prevalent than ever before on this album. “I’m not sure if it’s because I started my music career as a drummer or perhaps because I grew up on classic hip-hop, but I’ve always been attracted to music with heavy drums,” he explains.

Lyrically, Dancers In The Mansion highlights a more playful side of Eastham’s songwriting. There are several songs laced with his dark sense of humor. Songs like “Old Lovers (In A Cheap Motel)” and “Fruit Cocktail Cannery Blues” display a verisimilitude that brings a poignancy to their darkly comic tales. The title track is a madcap romp that may be the first shit-kickin’ country song to mention both “moonwalked” and “Jheri curl.” “She’s My Gal” displays a wry bawdiness that belies its retro stylings. Eastham felt the freedom to be more experimental with his lyrics as evident in the narrative shifts of “In The Morning,” the first person plural point-of-view of “The Barroom,” and the cinematic transcendency of album closer “Lift Your Soul”—the latter of which spotlights Eastham’s ability to write larger scale songs that don’t fit the usual pop blueprint while still maintaining a genuine soulfulness.

Dancers In The Mansion pushes the boundaries of what an Americana record can sound like. His hip- hop influences shine through in the rhythm of many of the songs—most notably the country-flavored weeper “Carry On,” which uses a driving rhythm to accent the character’s drive to push through a great loss. At times, Eastham also displays a pop sensibility that echoes Elvis Costello and early Tom Waits. Songs like “Lonesome Melody” and “Jackpot” evoke the classic country sound Eastham grew up on. “As much as I dig mixing up different styles, sometimes you just can’t beat the power of a simple country song,” Eastham says. “I love the old records of George Jones, Conway Twitty, and especially Charley Pride, who was my gramma’s all-time favorite.”

If Dancers In The Mansion feels like a “band” album, it’s no coincidence: Eastham reunited with his former bandmates from Day Of The Outlaw—Kim Lee (bass, vocals) and Allen Jones (drums)—to create this record. Eastham explains: “It was imperative to me that we record the core of this album in Nashville so I could track live with Kim and Allen. We worked out the arrangements together as a band over the course of many months, so by the time we hit the studio, we had fully fleshed out, organic arrangements for each song.” After playing together now for over five years, the trio has developed a shorthand and a deep rhythmic groove which is readily apparent on the album. Nashville guitar player extraordinaire Jeff Rogers (who has played live with Eastham many times over the years) filled out the band’s core unit.

For the album’s production team, Eastham brought in producer Burke Ericson and engineer Dave Pearson from his previous album. During pre-production, Eastham and Ericson spent weeks emailing back and forth narrowing the album down to 15 songs they felt fit together in a cohesive way. “We really wanted to this album to feel like a journey,” Eastham explains, “so Burke and I had the song order fully sequenced before we even started recording.

Eastham also reunited with producer Jayce Murphy (who produced his final album with Day Of The Outlaw) to produce some additional Nashville sessions. Rich Mouser (Chris Cornell, Mike Portnoy, Weezer), who has worked with Eastham on two previous albums, mixed the album. Many musicians featured on this album also performed on the last record (David Yuter/ keys, Ted Russell Kamp/guitar, Skyko Tavis/strings), but there are some new faces. One is Bruce Springsteen’s longtime pedal steel player Marty Rifkin. Gospel legends The McCrary Sisters are featured on several tracks. Oscar Utterström (Los Lobos, My Morning Jacket), Jim Williamson (The Mavericks), Evan Cobb, and Tutu Sweeney played horns on the album, with Michael Roundtree (Wu-Tang Clan) on percussion.

Eastham was born and raised in the foothills of rural Northern California. (The track “Fruit Cocktail Cannery Blues” recounts a setting from Eastham’s Butte County hometown where he spent several summers working to save up for college.) He grew up on the sounds of classic and outlaw country, with a special place in his heart for California country greats Merle Haggard and Buck Owens. This was supplemented with a love of rock ’n’ roll—starting with his parents’ beat-up Elvis and Beatles records on up through the glossy pop of hair metal. Eastham is also a long time hip-hop fan.

While attending UC Davis, Eastham played drums in a satirical thrash band and later a power pop group. After graduating with a degree in Computer Engineering, he switched gears and moved to Los Angeles to attend film school. There he developed his skills as a storyteller through writing, directing, and acting in films. He also became an acolyte of country music— starting with Hank Sr. and working his way through the country-flavored singer-songwriters of the ’70s (like John Prine, Townes Van Zandt, and Mickey Newbury) on up through the neo- traditionalist sounds of Dwight Yoakam. It was at this point he started writing and singing his own songs. He fronted the band Day Of The Outlaw for two albums before embarking on a solo career.

Eastham moved to Nashville from Los Angeles in the fall of 2010. “It took me about five years to really settle in here and get comfortable,” he says. “Now that I’m living in East Nashville, I feel I’m finally home.” This notion is addressed in the track “Sometimes, The Road” where Eastham’s impressionistic lyrics paint a picture of the fading nostalgia one has for “back home.” Each chorus ends with the refrain: “Sometimes the road will bring you home.”

Parallel to his musical pursuits and echoing back to his film school background, Eastham is an avid filmmaker. He has worked on documentaries as well as co-produced five music videos for his previous album. Eastham is also a rabid collector of film soundtracks on vinyl. In addition to his love of listening to soundtracks, Eastham has scored several short films and plans to do more soundtrack work in the future.

“With this album I feel like I got to dance with my own dancers in the mansion. I made the album I wanted to make and had a blast doing it.” When asked to sum up his experience of recent years, he points to a phrase repeated several times in the album’s final track “Lift Your Soul”: “In the end, it’s gonna be alright.”
Jackson Bruck
Jackson Bruck
Them Dirty Roses
Them Dirty Roses
Born and raised in the Bama clay, these boys are as southern as they come. Taught how to bend a string and break a heart by Skynyrd and Hank, brothers James and Frank Ford along with their hometown friends Andrew Davis and Ben Crain formed the southern rock band known as Them Dirty Roses. Piling into an RV with their guitars, a bottle of party liquor (in the cooler), and shotguns in tow, they made their way from Gadsden, AL to Nashville, TN. All living all under one roof, Them Dirty Roses are chasing the quintessential rock and roll American Dream. Their live show calls for a shot of whiskey and a 2 for 1 special -- BUT what that really means is you better be ready to throw back 12 for 6 and shake it with the Dirty Boys.
Venue Information:
Mercy Lounge
1 Cannery Row
Nashville, TN, 37203