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DTSTART;TZID=America/Denver:20260525T200000
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SUMMARY:Claypool Gold featuring Primus\, Les Claypool's Frog Brigade & The Claypool Lennon Delirium at KettleHouse Amphitheater
DESCRIPTION:Logjam Presents welcomes Claypool Gold featuring Primus\, Les Claypool’s Frog Brigade & The Claypool Lennon Delirium for a live concert performance at the KettleHouse Amphitheater in Bonner at 8:00 pm Monday\, May 25\n\n\n\n\n\nDoors @ 6:30 pm \n\n\n\nLogjam Presents welcomes Claypool Gold featuring Primus\, Les Claypool’s Frog Brigade & The Claypool Lennon Delirium for a live concert performance at the KettleHouse Amphitheater in Bonner at 8:00 pm Monday\, May 25. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last.  General Admission lawn\, reserved stadium seating\, reserved premium stadium seating\, general admission standing pit and premium box seating tickets are available. Shuttle Tickets and Parking Passes can be purchased here. Crazy Creek Chair Rentals for this event are available for advance purchase here. All ages are welcome. \n\n\n\nAvailable Ticket Types: \n\n\n\nGeneral Admission Lawn: General Admission Lawn tickets allow access to the upper lawn section of the amphitheater located above the reserved stadium seating section. \n\n\n\nReserved Stadium Seating: Reserved Stadium Seating tickets allow access to the seating section located behind the main pit of the amphitheater. \n\n\n\nReserved Premium Stadium Seating: Reserved Premium Stadium Seating tickets allow access to the rows closest to the stage of the seated section located just behind the main pit of the amphitheater. \n\n\n\nGeneral Admission Pit (Standing): General Admission Pit tickets allow access to the standing room only section located directly in front of the stage. \n\n\n\nPremium Box Seating: Experience the best seats in the house with reserved box seating in a prime location\, offering unmatched audio quality\, crowd-free viewing\, and convenient counter space for food/drinks. Premium Boxes are sold in bundles of two tickets with a separate entrance for expedited venue entry and a dedicated server for drinks and concessions throughout the show. \n\n\n\nTake a look at these tips to best prepare yourself for a smooth ticket buying experience. \n\n\n\nAdditional ticketing and venue information can be found here. \n\n\n\nAll concerts are held rain or shine. Be prepared for extremes such as sunshine\, heat\, wind or rain. All tickets are non-refundable. In the event of cancellation due to extreme weather\, tickets will not be refunded. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Primus“Tommy the Cat.” “John the Fisherman.” “Jerry Was A Race Car Driver.” “My Name is Mud.” “Wynona’s Big Brown Beaver.” Yessiree\, Primus is responsible for some of the most cutting edge and original rock music of the 1990’s. And now\, the definitive Primus line-up – singer/bassist Les Claypool\, guitarist Larry LaLonde\, and drummer Tim Alexander – is back together and planning on getting the worldwide masses bobbing up and down in unison once more. \n\n\n\nAlthough originally formed in 1984\, it was not until shortly before the end of the decade that the aforementioned classic line-up was solidified. With most hard rock/heavy metal acts at the time either neatly falling into either “thrash” or “glam” categories\, Primus joined a variety of underground bands that refused to be pigeonholed (and by the early ’90s\, had fully infiltrated the mainstream) – merging metal\, funk\, alternative\, punk\, country\, roots rock\, and experimental music\, along with Claypool’s penchant for witty and often humorous storytelling lyrics. \n\n\n\nBuilding a large and loyal following first in and around San Francisco (before eventually\, going global)\, Primus kicked things off with a string of releases that are now considered classic alt-rock titles – 1989’s ‘Suck on This\,’ 1990’s ‘Frizzle Fry\,’ 1991’s ‘Sailing the Seas of Cheese\,’ 1993’s ‘Pork Soda\,’ and 1995’s ‘Tales from the Punchbowl.’ Along the way\, Primus toured with some of rock’s biggest names (Jane’s Addiction\, Public Enemy\, Rush\, U2\, etc.)\, headlined the third-ever Lollapalooza Festival\, and issued a variety of crafty music videos\, which stood out in sharp contrast to the ultra-seriousness of most other video clips at the time. \n\n\n\nAlexander exited Primus in 1996\, but returned in 2003\, in time for an EP/DVD set\, ‘Animals Should Not Try to Act Like People\,’ and a sold out reunion tour\, that lasted over the next few years\, before the drummer departed once more. But as Claypool got to work on putting together a forthcoming book about the band’s history\, Les began longing for the days of when Alexander’s unmistakable and powerful drumming provided the beat. A phone call was placed\, a conversation ensued\, and before you could say\, “Here come the bastards\,” the Claypool-LaLonde-Alexander line-up was back in business. Plans to tour the world over and offering up new music are already in place. Be forewarned…here they come! \n\n\n\nAlthough originally formed in 1984\, it was not until shortly before the end of the decade that the aforementioned classic line-up was solidified. With most hard rock/heavy metal acts at the time either neatly falling into either “thrash” or “glam” categories\, Primus joined a variety of underground bands that refused to be pigeonholed (and by the early ’90s\, had fully infiltrated the mainstream) – merging metal\, funk\, alternative\, punk\, country\, roots rock\, and experimental music\, along with Claypool’s penchant for witty and often humorous storytelling lyrics. \n\n\n\nBuilding a large and loyal following first in and around San Francisco (before eventually\, going global)\, Primus kicked things off with a string of releases that are now considered classic alt-rock titles – 1989’s ‘Suck on This\,’ 1990’s ‘Frizzle Fry\,’ 1991’s ‘Sailing the Seas of Cheese\,’ 1993’s ‘Pork Soda\,’ and 1995’s ‘Tales from the Punchbowl.’ Along the way\, Primus toured with some of rock’s biggest names (Jane’s Addiction\, Public Enemy\, Rush\, U2\, etc.)\, headlined the third-ever Lollapalooza Festival\, and issued a variety of crafty music videos\, which stood out in sharp contrast to the ultra-seriousness of most other video clips at the time. \n\n\n\nAlexander exited Primus in 1996\, but returned in 2003\, in time for an EP/DVD set\, ‘Animals Should Not Try to Act Like People\,’ and a sold out reunion tour\, that lasted over the next few years\, before the drummer departed once more. But as Claypool got to work on putting together a forthcoming book \n\n\n\nabout the band’s history\, Les began longing for the days of when Alexander’s unmistakable and powerful drumming provided the beat. A phone call was placed\, a conversation ensued\, and before you could say\, “Here come the bastards\,” the Claypool-LaLonde-Alexander line-up was back in business. Plans to tour the world over and offering up new music are already in place. Be forewarned…here they come! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Les Claypool’s Frog BrigadeAfter over 20 years\, Les Claypool will once again hit the road with his Fearless Flying Frog Brigade for the Summer of Green Tour. Long considered to be one of the animated bassist’s most beloved bands\, this incarnation of the ever-morphing act boasts longtime Frog Brigade members Skerik (saxophone) and Mike Dillon (percussion\, vibraphone)\, as well as Sean Lennon (guitar)\, Harry Waters (keyboards) and Paulo Baldi (drums). However\, when Claypool initially dreamed up the Frog Brigade at the dawn of the new Millennium\, he actually considered it to be more of his “therapy project.” \n\n\n\nAt the time\, Primus—his long-running\, festival-approved alt-funk trio—had hit a rough patch and Claypool was looking for a new creative outlet. “We called it a hiatus but\, at the time\, we were broken up\,” Claypool says\, referencing Primus’ trajectory in 2000.. “Me and one of my best friends in the entire world\, Larry LaLonde\, weren’t talking.”  \n\n\n\nJust as Primus’ future was starting to feel uncertain\, Claypool was beginning to discover a new\, exciting audience thanks to a high-profile set with Oysterhead—his supergroup with Phish’s Trey Anastasio and The Police’s Stewart Copeland. After receiving an offer to perform at Angels Camp\, Calif.’s Mountain Aire Festival\, Claypool put together a new group of musicians drawn from both his inner circle and the extended improv scene. He briefly toyed with calling the project the Thunder Brigade\, before shifting to the slightly gentler moniker the Frog Brigade. Riffing to the Mountain Aire Festival’s scenic location\, he chose the name as a nod to the jumping frog of Calaveras County popularized by Mark Twain. Then\, he hopped on the road.   \n\n\n\n“I said\, ‘I’m gonna gather some of my favorite musicians together and hit the road.’ I bought this little airstream and packed these guys into this motorhome and started driving up and down the coast playing bars\,” Claypool says. “That was the original Frog Brigade—Skerik\, Jeff Chimenti\, Jay Lane\, Todd Huth from Sausage and then Eenor\, who I found on Craigslist. We just had a blast.” \n\n\n\nThe ensuing run of shows not only exposed Claypool to an entirely new\, open-eared audience but also kickstarted his second act as a solo artist. Not wanting to play songs from the Primus catalog\, Claypool loaded his Frog Brigade sets with new\, juicy originals and covers by prog-rock godfathers like King Crimson.  \n\n\n\n“When I did the Holy Mackerel record\, Highball with the Devil\, in 1996\, I always said that those were the songs I wouldn’t inflict upon the guys of Primus—I just knew that it wasn’t gonna thrill them to play those songs\,” Claypool says. “Some of them were written on guitar and some of them were written on drums. With Frog Brigade\, I was free to do that again. I was free to go in there and be a mad scientist.” \n\n\n\nHe also made the daring decision to perform Pink Floyd’s 1977 psychedelic masterpiece Animals in its entirety each night. \n\n\n\n“I’ve always wanted to play ‘Pigs’ if I had a keyboardist in my band because it’s one of my all-time favorite Pink Floyd songs\,” Claypool says. “And then we said\, ‘Why don’t we learn the whole record. That way we can play two sets.’” \n\n\n\nLes Claypool’s Fearless Flying Frog Brigade\, as the ensemble soon became known\, immediately gelled both on and off the stage—connecting the dots between the jam\, punk\, prog and metal communities along the way. They played a marquee set at the inaugural Bonnaroo in 2002\, participated in the SnoCore Tour and welcomed the likes of Bob Weir and Warren Haynes to the stage. In 2001\, Claypool released Live Frogs Set 1 and 2\, the latter of which featured the Frog Brigade’s award-winning take on Animals. The following year\, the Frog Brigade dropped a full-length studio album\, Purple Onion\, which introduced a slew of new original material and won over fans and musicians alike.  \n\n\n\n“Making the Purple Onion record was an incredible experience\,” Claypool says. “Tom Waits listed it as one of his top 20 albums of all time\, and I can’t even believe that just came out of my mouth. It was a great time for creativity and experimentation. There was a lot of pasta being thrown at the walls at that time. And it was a good period of growth for me. I became way more confident and\, with the Animals set in particular\, I became way more confident in my vocals. I never really considered myself to be a singer—I always felt like I was the narrator of the band but I actually had to sing some of this material and work on my singing.” \n\n\n\nIn 2003\, Primus reunited\, and Claypool’s muse slowly started to lead him elsewhere.  “To me\, the Frog Brigade represented a certain era of what I was doing and then there was a period when I no longer had a guitar in the band. The Frog Brigade had lots of guitar and keyboard so when it became me and the cello and Mike Dillon’s melodic sense and whatnot\, it was just so different that we stopped using the name. It slowly got whittled down—it was no longer Mothers of Invention\, it just became Zappa.” \n\n\n\nYet\, the adventurous spirit Claypool rediscovered with the Frog Brigade has continued to guide his every move\, sending Primus in new directions and helping spawn solo vehicles like the Fancy Band and The Claypool Lennon Delirium\, his group with Lennon and Baldi \n\n\n\nAnd now\, over 20 years since the Frog Brigade’s last full-scale tour\, Claypool has regrouped his highly improvisational outfit for an extended run. The revamped Flying Frog Brigade plans to mix in material from all eras of Claypool’s illustrious solo career\, as well as a selection of choice covers. They will also once again perform Animals every night.  \n\n\n\n“There is a pretty rich catalog of material there so there will definitely be stuff from my entire career\,” Claypool says. “It won’t just be the Frog Brigade era\, but the big element of the Frog Brigade is gonna be playing Animals. But this time we’re doing it with just one guitar and with five marimbas and saxophones so this will be a new interpretation\, obviously—a different interpretation with Sean in there. There might be a Delirium song. There are a lot of popsicle sticks on the table to build some things with.” \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout The Claypool Lennon DeliriumTwo worlds have collided\, and what glorious and odd worlds they are. After a successful summer tour\, pairing Primus with Ghost of a Saber Tooth Tiger\, the two bandleaders\, Les Claypool and Sean Lennon\, have decided to combine their abstract talents into a project called The Claypool Lennon Delirium. Their efforts thus far have spawned the upcoming\, full-length release called “Monolith of Phobos.” \n\n\n\n“Sean is a musical mutant after my own heart\,” said Claypool. “He definitely reflects his genetics–not just the sensibilities of his dad but also the abstract perspective and unique approach of his mother. It makes for a glorious freak stew.” After some impromptu\, backstage jams and an epic live sit-in on Primus’s psychedelic opus\, “Southbound Pachyderm\,” Claypool approached Lennon about doing a recording project. “I was trying to wrangle up an Oysterhead reunion since Primus was taking a rest for 2016 but the planets just wouldn’t align for that\,” said Claypool. “I don’t like sitting around\, so when Sean said he didn’t have plans for this next year\, we started kicking around the notion of making an old-school\, psychedelic/prog record. Next thing I know\, he’s staying in my guesthouse\, drinking my vino and banging on my drums.” \n\n\n\nLennon responded\, “I told Les that I was Neil Diamond’s nephew. I think that is what really sold him on the idea of working with me.” \n\n\n\nOver the course of six weeks or so\, the two wrote and recorded a total of ten songs with both of them sharing various vocal and instrumental responsibilities\, going beyond their core instruments of bass and guitar. Claypool explained\, “Usually I play the drums and percussion on my records but Sean has such a different feel than I do\, it just made more sense for him to man the kit on most of the tunes on this project. I took the helm at my old vintage API console and let him bang away. He was happy as a piggy rolling in shit every time he grabbed the sticks…his drumming is like a cross between Ringo and Nick Mason. But I think folks will be most surprised by what a monster guitar player he is\, especially when you prod him a bit.” \n\n\n\n“Monolith of Phobos” is just how the title implies–an old-school approach to a psychedelic space rock record. \n\n\n\nLennon added\, “It’s been an honor and a challenge playing with someone of Les’ caliber\, but luckily the Gods of Pinot Noir shone favorably down and granted us a bundle of devilish tunes about monkeys\, outer space and sexual deviancy.” \n\n\n\nThe Claypool Lennon Delirium “Monolith of Phobos” record is slated for a spring release and the band will be touring through the summer.
URL:https://missoulaunderground.com/mugevent/claypool-gold-featuring-primus-les-claypools-frog-brigade-the-claypool-lennon-delirium-at-kettlehouse-amphitheater/
LOCATION:KettleHouse Amphitheater\, 605 Cold Smoke Lane\, Bonner\, MT\, 59823\, United States
CATEGORIES:90s,Alternative,Bass,Bass Music,Country,Funk,Memorial Day,Metal,Music,Punk,Roots
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2020/04/Kettlehouse-Ampitheater-concert-Photo-jpg.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260509T120000
DTEND;TZID=America/Denver:20260509T160000
DTSTAMP:20260605T105617
CREATED:20260429T205817Z
LAST-MODIFIED:20260429T205904Z
UID:10137847-1778328000-1778342400@missoulaunderground.com
SUMMARY:Annual Mother's Day Farm Market at Turner Farms
DESCRIPTION:Treat your mom with a visit to Missoula’s Turner Farms’ annual Mothers Day Farm Market from 12:00 pm Noon to 4:00 pm Saturday\, May 9\n\n\n\n\n\nJoin Turner Farms to celebrate MOM! We have 20+ local vendors with so many great gift options for the moms in your life! There will be jewelry\, foods\, plants\, flowers\, crafts\, candles\, antiques & vintage items\, birdbaths\, and sooo much more! The Farm Store will also be loaded up with all of mom’s favorite farm-raised meats\, eggs\, and other farm goods! \n\n\n\nThe Turner Brothers will be opening their Burger Shack\, serving up farm-raised grass-fed beef and goat burgers! And there will be face painting for the kiddos! \n\n\n\nWe will be opening the farm up for people to tour and see what spring on the farm looks like! Plus\, the lambs will be out along with some very pregnant goat mamas! And of course lots of other farm animals anxious to see you! \n\n\n\nPlease note this market is on SATURDAY and not on Sunday. We like to give our farm mamas the day off on the actual Mother’s Day!
URL:https://missoulaunderground.com/mugevent/annual-mothers-day-farm-market-at-turner-farms/
LOCATION:Turner Farms\, 3515 S 3rd St. West\, Missoula\, Montana\, 59804\, United States
CATEGORIES:Farmers Markets,Holiday Events,Markets,Mother's Day,Shopping
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2023/11/Turner-Farms-logo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260509T110000
DTEND;TZID=America/Denver:20260509T150000
DTSTAMP:20260605T105617
CREATED:20260427T170404Z
LAST-MODIFIED:20260427T170405Z
UID:10137484-1778324400-1778338800@missoulaunderground.com
SUMMARY:Mother's Day Market at Hot Springs Town Park
DESCRIPTION:Hot Springs MT Farmers Market hosts a special Mother’s Day Market 11:00 am to 3:00 pm Saturday\, May 9 at Hot Springs Town Park\n\n\n\n\n\nMother’s Day weekend is coming up and we’re getting everything ready for a warm\, fun community weekend!Plant starts\, fruit trees\, fresh local breads & baked goods\, fruits\, vegetables\, plus arts & crafts\, handmade jewelry and more! \n\n\n\nCan’t wait to see everyone there and share a great weekend together.
URL:https://missoulaunderground.com/mugevent/mothers-day-market-at-hot-springs-town-park/
LOCATION:Hot Springs Town Park\, 117 Spring Street South\, Hot Springs\, Montana\, 59845\, United States
CATEGORIES:Farmers Markets,Farmers Markets,Holiday Events,Markets,Mother's Day,Shopping
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2025/04/Hot-Springs-MT-Farmers-Market-onsite-pic.jpg
ORGANIZER;CN="Hot Springs MT Farmers Market":MAILTO:hotspringsmtfarmersmarket@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260509T080000
DTEND;TZID=America/Denver:20260509T170000
DTSTAMP:20260605T105617
CREATED:20260509T063351Z
LAST-MODIFIED:20260509T063354Z
UID:10138727-1778313600-1778346000@missoulaunderground.com
SUMMARY:Mothers Day Brunch with live music by Ben Larson and The Moondocks at Zia's in Philipsburg
DESCRIPTION:Let Ben Larson and The Moondocks serenade your mom from 1:00 pm to 3:30 pm over Mother’s Day Sunday Brunch at Zia’s in Philipsburg on Sunday\, May 10\n\n\n\n\n\nCelebrate Mom this week at Zia’s! We’ve got some updated hours for the holiday week\, live music with Ben Larson & The Moondocks 1:00 pm to 3:30 pm Sunday\, and fantastic specials in store for Mother’s Day Brunch! Reservations not required\, but with this line-up\, you may want to call ahead\, just in case. We can’t wait to see you here! \n\n\n\nBen Larson and The Moondocks will keep your mom well-entertained for Mother’s Day Brunch at Zia’s from 1:00 pm to 3:30 pm Sunday\, May\, 10
URL:https://missoulaunderground.com/mugevent/mothers-day-brunch-with-live-music-by-ben-larson-and-the-moondocks-at-zias-in-philipsburg/
LOCATION:Zia’s\, 128 E. Broadway St\, Philipsburg\, Montana\, 59858\, United States
CATEGORIES:Country,Country Music,Cover Bands,Covers,Music
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2026/01/Zias-Restaurant-and-Bar-in-Philipsburg-Montana.jpg
ORGANIZER;CN="Ben Larson Music":MAILTO:oldmanbenmusic@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20251102T200000
DTEND;TZID=America/Denver:20251102T230000
DTSTAMP:20260605T105617
CREATED:20251021T061025Z
LAST-MODIFIED:20251021T061113Z
UID:10123279-1762113600-1762124400@missoulaunderground.com
SUMMARY:Margo Price "Wild at Heart" Tour with Logan Ledger at The Wilma
DESCRIPTION:Logjam Presents welcomes Margo Price for a live concert performance on her “Wild at Heart” Tour with Logan Ledger at The Wilma in Downtown Missoula at 8:00 pm Sunday\, November 2\n\n\n\n\n\nDoors @ 7:00 pm \n\n\n\nLogjam Presents welcomes Margo Price for a live concert performance on her “Wild at Heart” Tour with Logan Ledger at The Wilma in Downtown Missoula at 8:00 pm Sunday\, November 2. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. General admission standing room only floor / standard balcony and reserved premium balcony seating tickets are available. All ages are welcome. \n\n\n\nTake a look at these tips to best prepare yourself for a smooth ticket buying experience. \n\n\n\nAdditional ticketing and venue information can be found here. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Margo PriceNearly a decade ago\, Margo Price turned Nashville on its head with her breakthrough\, beloved debut solo album\, Midwest Farmer’s Daughter. Released in the throes of bro-country and before pop stars were crossing over into the genre left and right\, it showcased an artist completely unafraid to double down not only on herself\, but what she’d always loved: classic country songs written from the intellect and the gut\, hell-bent on truth-telling and both timeless and urgent all at once. Respected by her peers\, praised by critics and beloved by her fans\, Price created a lane where independent-minded\, insurgent country music can exist and thrive alongside the mainstream\, and became an ardent fighter for her beliefs in a genre where the norm is to shut up and sing. A trailblazer and a champion for the craft\, Price redefined what it meant to be a modern country artist. \n\n\n\n    And now she’s back with an exquisite\, truly timeless album that reconnects with her roots and pays tribute to the art of the country song\, inspired in part by the legends whom she now calls colleagues and friends. Hard Headed Woman is both a look forward and a look back: a way to march forward while staying true to yourself when the path of less resistance is right there in front of us\, and short cuts are around every corner. And a way to look back when we need to trim what is no longer working\, and to stay connected with where we’re from. It is a promise and a manifesto\, a love song to both a city and a genre\, and a defiant cry for individuality. \n\n\n\nIn creating Hard Headed Woman\, Price brought all of her power as one of  our most beloved and respected songwriters to craft a deep exploration of love and America in a time of unprecedented uncertainty. Featuring appearances from Tyler Childers\, co-writes with Rodney Crowell and a Waylon Jennings song that his widow\, Jessi Colter\, urged her to sing\, it is country music as only Price can make it: free of rules\, cherishing tradition\, hard headed to the core but with a delicate\, beating heart. \n\n\n\nSince releasing Midwest Farmer’s Daughter\, Price has barely slowed down. She’s made four records\, played Saturday Night Live\, been nominated for a Grammy\, toured the world alongside artists like Chris Stapleton and Willie Nelson\, released a lauded memoir (Maybe We’ll Make It\, due on paperback September 2nd)\, became an in-demand producer and was appointed as the first female board member of Nelson’s Farm Aid. And she’s been fearless when it came to genre\, venturing into psychedelic rock on her most recent\, Jonathan Wilson-produced record\, Strays. It would have been easiest to just stay that course\, and keep running. But Price doesn’t follow success or comfort. She follows the art. \n\n\n\n    It took a whole lot of hard work and honesty with herself and others to get there\, but that’s never stopped Price before.  “I made the decision that I had to rebuild everything from the ground up\,” Price says. “There’s all this pressure to be pumping out content\, and I felt the opposite in the way I wanted to approach this record and my life in general.” \n\n\n\n    Price had also established herself as one of the most passionate\, vocal artists in country music and beyond when it came to standing up for political and personal causes\, from the presidential election\, to abortion to gun control: happily hard headed when it came to the fight for equality and justice\, especially for the working class and underserved in our society. Price has always brilliantly woven her activism into her songs\, but her role as a spokesperson had started to overtake\, on occasion\, her role as a songwriter. She wanted to focus on using her written word to deliver the most potent punch of all. \n\n\n\n    “I always hope to do like Johnny Cash did\,” Price says\, “which is speak up for the common man and woman. But there have been so many threats and anger and vitriol over the years\, when I am only coming from a place of love.” \n\n\n\nPrice realized she just needed a break from everything outside of the bubble of family life and her art. She started spending more time at home\, writing songs alone and with her husband\, Jeremey Ivey. She started popping up in the dive bars and tiny venues around Nashville where she got her start\, sometimes just to play a country cover or two or dance with the crowd. She refused guidance to write for pop stars or compromise her values for a quick buck. Most of all\, she turned the emphasis in her music back to songwriting\, exactly where she began.          \n\n\n\n“So much of Strays was leaning into this psychedelic\, textural territory\,” says Price. The music lent itself to vibrant\, heavy stage jams\, with Price often hopping behind the drumkit and bruising her thigh from a tambourine beat. She found herself longing for the days when it was just her and her guitar\, playing at an East Nashville dive bar. “I always knew\,” she adds\, “I would come back to this more rooted sound.” \n\n\n\n    Hard Headed Woman is rooted to its core. Rooted in Price’s history and struggle to make it as a musician for so many years in a town that prizes uniformity and the bottom line\, rooted in the country and folk sounds that have become her signature\, rooted in the simplicity of a few key collaborators instead of songs-by-committee. At the heart of Price’s work is her creative partnership with Ivey\, with whom she describes as having a “soul connection.” “I’m a songwriter\,” Price says. “I’m not somebody who goes out and needs five people to craft a song\, and then tack my name on it. That’s never been my style. I have something to say.” \n\n\n\nSomething to say\, nothing to prove. The first song they wrote for the album that would become Hard Headed Woman was “Close to You\,” a simple\, pining call for a lover that is infused with the sounds of the desert. It’s unfettered and truth-telling\, accented by some flamenco guitar and Price’s gorgeous\, urgent vocals. “We played the jukebox while democracy fell\,” Price sings\, never letting her songs fall out of the context in which they exist. It’s the kind of thing that only she could write\, carrying both love and fear in one single line. \n\n\n\nAs more songs started to form\, an early boost of confidence came from her friends Rodney Crowell and Emmylou Harris\, who heard some of the work at a political fundraiser and encouraged Price to keep going.  “I have both of them to thank for building me up and making me believe in the songs I am writing in this season of my life\,” Price says. Crowell remained not only an inspiration and supporter of the album but a contributor: he co-wrote two songs with Price and Ivey. \n\n\n\n    The album that unfolded from there is drenched in Price’s unique story and unshakeable instincts: while Midwest Farmer’s Daughter was about her journey from childhood to Nashville\, Hard Headed Woman is very much her battle since from dive bars to tour buses\, through parenthood and marriage\, through scrutiny and sacrifice all while fighting constantly for what she believes in\, and the music she loves. It begins with a proclamation on the prelude\, which serves as the album’s mission statement: or\, Price puts it\, “a disclaimer and reminder that I don’t owe you fucking shit.” \n\n\n\n    Songs like the album’s lead single\, “Don’t Let the Bastards Get you Down\,” speak for the downtrodden and the forgotten\, an “anthem for people who are being overlooked in society and need to be lifted up\,” Price says\, “because we are up against so much right now.” As so many of Price’s songs do\, it speaks both for the personal and the political all at once. Price was inspired by the message Kris Kristofferson whispered to Sinead O’Connor when she was booed on stage at a Bob Dylan 30th Anniversary show\, and even got Kristofferson’s widow’s blessing to include his name on the credits. “I always admired Kris for how he stood by her in that moment\, instead of pulling her off the stage like they told him\,” Price says. It serves as a reminder to anyone who encounters resistance in the face of fighting for justice to keep going\, especially when it would be so much easier to capitulate and cower. \n\n\n\n“The song was originally written for a movie that never happened\, but it feels so timely with everything that’s going on in the world\,” Price explains. “The phrase\, ‘Don’t Let The Bastards Get You Down’ originates from Margaret Atwood’s brilliant 1985 piece of literature\, The Handmaid’s Tale. It’s referred to in Latin and used as a rallying cry for resistance against the oppressive regime that symbolizes resilience and hope in the face of adversity. Nolite te Bastardes Caborundorum.” \n\n\n\n    That spirit resonates all across the songs of Hard Headed Woman. The blistering “Don’t Wake Me Up” was based around some writings that Ivey stumbled upon in one of Price’s notebooks\, inspired in part by her deep readings of Frank Stanford\, one of her favorite poets due to his freewheeling work free of boundaries. They spun it all into song in minutes that chugs with the essence of Dylan’s “Subterranean Homesick Blues”: “The way this world is going\, ain’t where I’m at\,” Price howls in her powerful\, unmistakable voice. “Nowhere is Where\,” turns slow and contemplative\, road-worn but never broken\, the call of someone who has been to the mountain but never forgets the prairie below. And “Losing Streak” whirls in with an organ and out with a weary\, world-worn defiance: our worst times don’t define us\, but they’re always part of who we are. \n\n\n\nThere are songs that go back to the beginning of Price’s early grind\, like the western-tinged “Wild at Heart\,” reflecting on how much her life and the city of Nashville has changed over the years – and how important it is to stay true to exactly who you are despite it all. Another\, called “Red Eye Flight\,” is about both leaving a lover and also leaving her longtime band the Pricetags. “I’ve been with those players for ten\, thirteen years\,” she says. “But I could feel that I needed to make a change\, and to change texturally what’s going on with the band. But it’s a familial bond\, different than a friendship.” \n\n\n\nThere are a few choice covers and cuts\, too: “Love Me Like You Used To Do” is by Price’s friend Steven Knudson\, an unsung Nashville writer on whom she hopes to shine a spotlight (helping to elevate the town’s incredibly talented but buried voices is one of Price’s favorite pastimes). Friend Tyler Childers joins Price on that waltzing country ballad\, while “I Just Don’t Give a Damn” is Price’s “Jolene goes to Memphis” take on the Jimmy Peppers and George Jones classic. And showcasing how Price has been trusted by the greats to lead the next generation of country music renegades\, “Kissin You Goodbye” was given to Price by Jessi Colter\, Waylon Jennings’ widow\, when Price was producing her record. They’re songs chosen to appreciate the past and the present as she sees it – not as Music Row or the algorithm might dictate – and place Price squarely amongst her heroes as a living and breathing part of the new country tradition. \n\n\n\n    When it came time to record Hard Headed Woman\, it was important for Price to keep that ethos alive\, decamping to Nashville’s RCA Studio A and reuniting with producer Matt Ross-Spang\, with whom she made her first two solo albums. Though she has worked with everyone from Sturgill Simpson to Jonathan Wilson since\, it was Spang’s vocal rebuke of easy studio shortcuts that made her eager to reunite again. “He’s so unpretentious\,” Price says. “He fully believes in me\, he fully believes in my songs. He got us back to feeling it in your gut and not needing everything to be so perfect.” \n\n\n\n    It felt truly significant for Price to make the album in Nashville\, a city where she’s lived for over two decades and played a seminal role in its transformation\, yet somehow never recorded an album in the place she’s called home. The historic RCA Studio A helped connect Price even closer to the legacy of songwriting she holds so dear\, a place where everyone from Dolly Parton to John Prine to Loretta Lynn have made albums. “It felt like there were ghosts and spirits just hanging out\,” Price says. In perfect kismet\, she also launched her own signature Gibson J-45 guitar\, inspired by her 1960’s Gibson she’s had by her side for years as her career took off. It’s all part of the continuity that she wishes to create with her art\, not just with timeless songs but inspiring future generations of women\, mothers and artists in general who don’t want to sacrifice their vision\, moral compass or family life in favor of mainstream success. \n\n\n\nAt its core\, Hard Headed Woman is about that furious instinct to never waver\, especially when ourselves\, our values and our future is so clearly on the line. As she sings on the title track\, “I ain’t ashamed\, I just am what I am.” \n\n\n\n    “I hope this album inspires people to be fearless and take chances and just be unabashedly themselves\,” Price says\, “in a culture that tries as hard as it can to beat us into all being the same.” \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Logan LedgerA Nashville-based singer/songwriter with a smooth voice and classic tone\, Logan Ledger built a buzz around Music City in the late-2010s\, calling to mind names like and . His career got a significant boost when producer signed him and brokered a record deal with \, resulting in an eponymous full-length record appearing in 2020 as well as 2023’s Golden State. \n\n\n\nA native of California\, Ledger developed a fondness for bluegrass\, old-time\, and honky tonk music from a young age. After a brief post-college stint as part of a Bay Area bluegrass band\, he migrated east to Nashville and put in the requisite hours working on his songs and playing at venues around the city. Industry insiders quickly took notice\, and before long he was working with the legendary \, who signed him to his imprint and helped foster a deal for Ledger with . The first official release from these sessions arrived in early 2019 with the singles “Starlight” and “Imagining Raindrops.” \n\n\n\nFor 2023’s Golden State\, Ledger worked with producer \, along with such musicians as Nick Bockrath and Jamie Douglass; it also featured a cameo by on “Some Misty Morning.” ~ Timothy Monger
URL:https://missoulaunderground.com/mugevent/margo-price-wild-at-heart-tour-with-logan-ledger-at-the-wilma/
LOCATION:The Wilma Theater\, 131 Higgins Avenue\, Missoula\, Montana\, 59802\, United States
CATEGORIES:Country,Country Music,Music,Singer Songwriters
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2021/05/Wilma.jpg
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