BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//The Missoula Underground - ECPv6.16.3//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:The Missoula Underground
X-ORIGINAL-URL:https://missoulaunderground.com
X-WR-CALDESC:Events for The Missoula Underground
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Denver
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20240310T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20241103T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20250309T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20251102T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20260308T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20261101T080000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20251009T193000
DTEND;TZID=America/Denver:20251009T220000
DTSTAMP:20260615T121419
CREATED:20251007T160710Z
LAST-MODIFIED:20251007T160712Z
UID:10122869-1760038200-1760047200@missoulaunderground.com
SUMMARY:Old Crow Medicine Show - Circle the Wagons Tour at Wachholz College Center
DESCRIPTION:Old Crow Medicine Show brings their Circle the Wagons Tour with special guest Meels to Wachholz College Center in Kalispell at 7:30 pm Thursday\, October 9\n\n\n\n\n\nDoors @ 6:30 pm \n\n\n\nCome see Old Crow Medicine Show live in concert with special guest Meels for an electric night of American roots music – dancing is encouraged!**PLEASE NOTE**  FOR PATRONS THAT WISH TO STAND UP & DANCE AT THEIR SEAT\, THIS SHOW FEATURES GENERAL ADMISSION SEATING ON MAIN FLOOR OF McCLAREN HALL. THE BALCONY FEATURES RESERVED SEATING.“If this is any indication of what Old Crow Medicine Show still has in store after so many recordings in its career\, we should count ourselves lucky.” – NPR Music \n\n\n\n\n\n\n\n\n\nOld Crow Medicine Show got their start busking on street corners in 1998\, from New York state and up through Canada\, winning audiences along the way with their boundless energy and spirit. They eventually found themselves in Boone\, North Carolina where they caught the attention of folk icon Doc Watson while playing in front of a pharmacy. He invited the band to play at his festival\, MerleFest\, and the rest is history. \n\n\n\nIt’s been over twenty years since these humble beginnings. The band has gone on to receive the honor of being inducted as members of the Grand Ole Opry and have won two Grammy Awards: “Best Folk Album” for Remedy (2014) and “Best Long Form Music Video” for Big Easy Express (2013). Additionally\, their classic single\, Wagon Wheel \, received the RIAA’s Double-Platinum certification in 2019 for selling over 2\,000\,000 copies while the band’s debut album O.C.M.S. has been certified Gold (500\,000 copies). The band’s latest Grammy nominated album Jubilee (Aug 2023) released via ATO Records. \n\n\n\n\n\n\n\nOpening the show is MEELS \n\n\n\n\n\n\n\nMeels discovered her voice among the towering redwoods of her native California. Her music\, a fusion of small-town charm and the grandeur of nature\, traces her journey from the woods to NYU’s Clive Davis Institute in New York City to Los Angeles\, where she now resides with her dachshund\, Baltimore. Establishing herself as a fresh voice in Americana\, she released her debut album\, Tales from a Bird’s Bedroom\, in June 2024\, with her sophomore record “Across The Raccoon Strait” set for release this year. Rooted in nostalgia\, nature\, and intricate human connections\, Meels’ songwriting transforms melodies into stories and confessions. Her sound blends the warmth of ’60s and ’70s folk with timeless Americana and classic country influences. As of late she has been playing sets up and down the California coast\, picking oranges in the garden with her 85 year old Grandmother Marsha June\, and writing songs on her vintage quilted bed. As she continues to grow\, Meels strives to connect with listeners who see their own stories reflected in her music. \n\n\n\n\n\nPurchase Tickets LINK \n\n\n\n\n\nThis show is presented by WCC.  No outside food or beverages allowed in Wachholz College Center.Recommended age limit 10+
URL:https://missoulaunderground.com/mugevent/old-crow-medicine-show-circle-the-wagons-tour-at-wachholz-college-center/
LOCATION:Wachholz College Center at FVCC\, 795 Grandview Drive\, Kalispell\, Montana\, 59901\, United States
CATEGORIES:Americana,Banjo,Bluegrass,Country,Country Music,Honky Tonk,Music,Roots,Singer Songwriters,Violin,Western
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2025/07/Wachholz-College-Center-on-the-FVCC-Campus-in-Kalispell-Montana-graphic.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250916T200000
DTEND;TZID=America/Denver:20250916T233000
DTSTAMP:20260615T121419
CREATED:20250909T055024Z
LAST-MODIFIED:20250909T055027Z
UID:10120195-1758052800-1758065400@missoulaunderground.com
SUMMARY:That Mexican OT Recess Tour at The Wilma
DESCRIPTION:Logjam Presents welcomes That Mexican OT for a live performance on their Recess Tour with openers RNB.FOEMOB\, Drodi\, Lil Bubba and DJ Scales at The Wilma in Downtown Missoula at 8:00 pm Tuesday\, September 16\n\n\n\n\n\nDoors @ 7:00 pm \n\n\n\nLogjam Presents welcomes That Mexican OT for a live performance on their Recess Tour with openers RNB.FOEMOB\, Drodi\, Lil Bubba and DJ Scales at The Wilma in Downtown Missoula on Tuesday\, September 16. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. All tickets are general admission standing room only. 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 That Mexican OTBorn in Bay City\, Texas\, Virgil René Gazca learned quickly that he would have to make something of himself to get through his difficult upbringing. Gazca was always drawn to music\, listening to a mix of the in-your-face classic rock of AC/DC\, the pulsating nu-metal of Slipknot\, and the vivacious southern parking lot pimping music of Slim Thug\, Lil Keke\, Sauce Walka\, and the rappers who ushered in the mid-00s Southern rap takeover. He always gravitated towards music\, but after losing his mother early in life\, and dealing with his dad being in and out of jail\, Gazca faced a crossroads in seventh grade as he pondered how to change his circumstances. “Being a rapper is damn near impossible\,” Gazca says. “With the luck that I got\, I know I’m not making. What am I going to do in life? I couldn’t see myself doing anything else\, so it just had to happen.” With that realization\, Gazca got to work\, spending as much time in his uncle’s makeshift studio as possible and entering into rap battles around the city. But issues with self-esteem pushed him off the path in a bad way. Scared of repeating the mistakes of his other family members\, Gazca re-dedicated himself to his craft around junior year of high school\, continuing to hone his rapping with his uncle and his cousins. After locking in and releasing his first project\, Southern Texas Project\, in 2020\, Gazca got the attention of Greg Gates\, who offered to manage him. Gates changed Gazca’s life\, pushing him to learn to make songs\, rather than focus purely on rapping. “La Muerte” was the lightbulb moment for Gazca\, a rapid tempo\, Mexican guitar-influenced banger that acted as a template to the charismatic trunk rattlers Gazca would go on to make. From there\, Gazca stayed in the studio\, dropping projects and songs at a furious pace such as 2021’s 1 Double O and 2022’s Nonsense and Mexican Shit. But 2023 would be the year everything fell into place\, starting with his breakout track “Johnny Dang\,” which saw the Tejano rapper link up with Texas staple Drodi and the “Sittin Sidewayz” legend Paul Wall for a melding of Texas’ storied past and bright future. The track served as a perfect primer to his album\, Lonestar Luchador\, which meshed his love of wrestling\, comedy and hard-hitting bars into a raucous album that showcases his limitless ambition and knack for worldbuilding. In 2024\, he continued that momentum\, being named to the newest XXL Freshman class and finding success with his follow up project\, Texas Technician. The new project forgoes the conceptual approach of Lonestar Luchador in favor of paying homage to the state and sound that made him. Linking with fellow Texas titans such as Z-Ro\, Paul Wall\, Slim Thug and Le$\, while also finding contemporaries to match his energy such as DaBaby\, Fredo Bang and MoneyBagg Yo\, Texas Technician is a coming-of-age story best heard on the biggest subwoofers in the parking lot. “I like when people hand out CDs in the back of the slab\,” Gazca says. “You see that trunk and it’s glowing with the lights and the speakers\, and bumping their music. That’s the feeling I wanted to bring to this tape\, it just falls back to me loving the hustle and the grind of being a Texas Technician.” Tracks such as the eerie\, Screw-influenced flex fest with MoneyBagg Yo “Twisting Fingers\,” show off That Mexican OT’s natural ability to bring his features into his world\, sounding like a late night\, dirt road rager in Texas. While more introspective tracks such as the heartfelt “Muchos Gracias” reveals his somber side\, remembering everyone who helped him get to this point. Texas Technician shows all sides of Virgil Rene Gazca\, the man inside\, and the outlaw\, slick-tongued persona of That Mexican OT. With his Texas Technician tour in full swing\, new singles like the Denzel Curry vivacious team up “Black Flag Freestyle\,” and a new project he says has some of his most eclectic music to date\, That Mexican OT has all the support and momentum to ascend to Southern rap royalty\, and position himself as a new leader for Texas rap\, and beyond. \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\n\n\n\n\nAbout DrodiDRODi is a dynamic figure in the independent hip-hop scene\, with a growing portfolio of music and a strong digital presence. His work exemplifies the creative spirit of Texas rap\, blending traditional influences with modern production and an independent ethos. Fans can keep up with his latest projects on social media and streaming platforms. • Origin: DRODi hails from Freeport\, Texas\, and is known for his energetic and authentic approach to hip-hop. His roots in the Texas rap scene contribute to a style that often features hard-hitting beats and a distinctive flow. • Social Media Presence: He is active on platforms like Instagram\, YouTube\, and Facebook. His Instagram handle\, @_drodi_\, showcases his latest updates\, teasers for new projects\, and behind-the-scenes glimpses into his creative process .
URL:https://missoulaunderground.com/mugevent/that-mexican-ot-recess-tour-at-the-wilma/
LOCATION:The Wilma Theater\, 131 Higgins Avenue\, Missoula\, Montana\, 59802\, United States
CATEGORIES:Music,Rap
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2021/05/Wilma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250820T200000
DTEND;TZID=America/Denver:20250820T230000
DTSTAMP:20260615T121420
CREATED:20250818T150555Z
LAST-MODIFIED:20250818T150557Z
UID:10119610-1755720000-1755730800@missoulaunderground.com
SUMMARY:Alabama Shakes 2025 Tour with Y La Bamba at KettleHouse Amphitheater
DESCRIPTION:Logjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20\n\n\n\n\n\nDoors @ 6:30 pm \n\n\n\nLogjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. General Admission lawn\, 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\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\nAbout Alabama ShakesAfter an eight-year absence\, Alabama Shakes are poised to make their return announcing a 2025 Tour across the U.S. The Athens\, AL-raised band\, comprised of vocalist/guitarist Brittany Howard\, guitarist Heath Fogg\, and bassist Zac Cockrell exploded onto the scene in 2012 with their debut album Boys & Girls\, (ATO Records)\, which entered Billboard’s Independent Albums chart at No. 1. Boys & Girls earned the band multiple GRAMMY nominations and was hailed as one of the year’s best albums by numerous publications\, including Rolling Stone\, which also named lead single “Hold On” the #1 Best Song of 2012. Soon after its release\, the bandmates found themselves thrust into the global spotlight\, achieving such milestones as performing at the White House and on “Saturday Night Live.” \n\n\n\nThe band’s legacy continued to grow with the groundbreaking Sound & Color (ATO Records). Released 10 years ago\, the album debuted at No. 1 on the Billboard 200\, won GRAMMY Awards for Best Alternative Music Album and Best Engineered Album\, Non Classical. The first single\, “Don’t Wanna Fight\,” took honors in the Best Rock Performance and Best Rock Song categories. Sound & Color marked a profound evolution from Alabama Shakes’ debut album\, as The New York Times Magazine observed\, heralding the band’s “soul-stirring\, shape-shifting new sound.” Both Sound & Color and Boys & Girls were certified Platinum by the RIAA. \n\n\n\nThe Shakes’ Cockrell\, Fogg\, & Howard have also reunited in the studio promising new music to fans who have been eagerly awaiting their return. \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 Y La BambaTo declare one thematic narrative from Lucha\, Y La Bamba’s seventh album\, would be to chisel away a story within a story within a story into the illusion of something singular. \n\n\n\n“Lucha is a symbol of how hard it is for me to tackle healing\, live life\, and be present\,” Luz Elena Mendoza Ramos\, lead vocalist and producer of Y La Bamba\, says of the title behind the album which translates from Spanish to English as ‘fight’ and is also a nickname for Luz\, which means light. The album explores multiplicity—love\, queerness\, Mexican American and Chicanx identity\, family\, intimacy\, yearning\, loneliness—and chronicles a period of struggle and growth for Mendoza Ramos as a person and artist. \n\n\n\nLucha was born out of isolation at the advent of COVID-19 lockdowns\, beginning with a cover of Hank Williams’ “I’m So Lonesome I Could Cry\,” and following Mendoza Ramos as she moved from Portland\, Oregon to Mexico City\, returning to her parents’ home country while revisiting a lineage marred by violence and silence\, and simultaneously reaching towards deeper relationships with loved ones and herself. The album reflects “another tier of facing vulnerability\,” as Mendoza Ramos explains\, and is a battle cry to fight in order to be seen and to be accepted\, if not celebrated\, in every form—anger and compassion\, externally and internally\, individually and societally. As much as la lucha is about inner work\, fighting is borne from survival stemming from social structures designed to uplift dominant groups at the hands of suffering amongst the marginalized. \n\n\n\nWhile peeling back layers of the past to better understand the present has been integral to this period of growth for Mendoza Ramos\, time\, trauma\, and history can feel like interconnected\, abysmal loops and music has remained a trusted space for Mendoza Ramos to process\, experiment\, and channel her learnings into a creative practice. In this way\, Lucha has become cyclical\, documenting the parallel trust Mendoza Ramos has built with herself to allow the songs to guide how they should be sung\, or even sound. \n\n\n\n“I’ve been wanting to let whatever feels natural—with rhythm and musical instruments like congas and singing—to just let it be\, in the way that I’m trying to invoke in myself.” Lucha reflects on\, “the continuing process of learning how to exercise my producing skills\,” explains Mendoza Ramos. “I have so many words\, ideas to work with all the time\, and the hardest part for me has been learning to trust my gut. And figuring out how I work best\, and with who.” \n\n\n\nThe result is a collection as sonically sprawling and bold as its subject matter. On “La Lluvia de Guadalajara\,” Y La Bamba leans into a minimal\, avant-garde soundscape as Mendoza Ramos recites a spoken word poem. Later\, rhythms veer into bossa nova territory on “Hues ft. Devendra Banhart\,” a full-circle collaboration for Mendoza Ramos as she reminisces on the significance of finding Banhart’s work nearly two decades earlier: “He was the first young Spanish-speaking musician that wasn’t playing traditional Mexican music I heard when I was 21. There was nothing like it around that time.” \n\n\n\n“Nunca” is a warm\, wind-rich track dedicated to her mother\, Maria Elena Ramos whose poetry is published alongside the Lucha lyrics booklet. “I decided to put my mom’s poem\, which is a poem that she wrote to me\, letting me know how she felt\, exploring her heart in new ways she’s never imagined. Sharing it on the record is me paying attention that she’s expressing herself.” \n\n\n\nWhile each song holds personal significance to Mendoza Ramos\, part of growing into her identity as an artist has been allowing space for protection and boundaries\, and choosing to withhold some of that meaning from the public. Lucha is her own story of the complexity of trauma and nonlinear healing and growth processes\, but she imagines it is also the continuation of her ancestors’ stories and might also be a mirror to the story of others. “Even though I’m trying to fight\, I never want to demonize suffering\, because that’s part of growing. And it’s hard\, because we’re living in times where that [stigma] is what’s happening. So if this—me talking about my mental health and finding healing in my queerness—is a risk\, I hope that I find a community that protects it and protects me\, because they know I have their back. I am also trying to be my mom’s community.”
URL:https://missoulaunderground.com/mugevent/alabama-shakes-2025-tour-with-y-la-bamba-at-kettlehouse-amphitheater/2025-08-20/
LOCATION:KettleHouse Amphitheater\, 605 Cold Smoke Lane\, Bonner\, MT\, 59823\, United States
CATEGORIES:Music,Rock,Rock & Roll
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:20250819T200000
DTEND;TZID=America/Denver:20250819T230000
DTSTAMP:20260615T121421
CREATED:20250818T150555Z
LAST-MODIFIED:20250818T150557Z
UID:10119609-1755633600-1755644400@missoulaunderground.com
SUMMARY:Alabama Shakes 2025 Tour with Y La Bamba at KettleHouse Amphitheater
DESCRIPTION:Logjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20\n\n\n\n\n\nDoors @ 6:30 pm \n\n\n\nLogjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. General Admission lawn\, 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\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\nAbout Alabama ShakesAfter an eight-year absence\, Alabama Shakes are poised to make their return announcing a 2025 Tour across the U.S. The Athens\, AL-raised band\, comprised of vocalist/guitarist Brittany Howard\, guitarist Heath Fogg\, and bassist Zac Cockrell exploded onto the scene in 2012 with their debut album Boys & Girls\, (ATO Records)\, which entered Billboard’s Independent Albums chart at No. 1. Boys & Girls earned the band multiple GRAMMY nominations and was hailed as one of the year’s best albums by numerous publications\, including Rolling Stone\, which also named lead single “Hold On” the #1 Best Song of 2012. Soon after its release\, the bandmates found themselves thrust into the global spotlight\, achieving such milestones as performing at the White House and on “Saturday Night Live.” \n\n\n\nThe band’s legacy continued to grow with the groundbreaking Sound & Color (ATO Records). Released 10 years ago\, the album debuted at No. 1 on the Billboard 200\, won GRAMMY Awards for Best Alternative Music Album and Best Engineered Album\, Non Classical. The first single\, “Don’t Wanna Fight\,” took honors in the Best Rock Performance and Best Rock Song categories. Sound & Color marked a profound evolution from Alabama Shakes’ debut album\, as The New York Times Magazine observed\, heralding the band’s “soul-stirring\, shape-shifting new sound.” Both Sound & Color and Boys & Girls were certified Platinum by the RIAA. \n\n\n\nThe Shakes’ Cockrell\, Fogg\, & Howard have also reunited in the studio promising new music to fans who have been eagerly awaiting their return. \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 Y La BambaTo declare one thematic narrative from Lucha\, Y La Bamba’s seventh album\, would be to chisel away a story within a story within a story into the illusion of something singular. \n\n\n\n“Lucha is a symbol of how hard it is for me to tackle healing\, live life\, and be present\,” Luz Elena Mendoza Ramos\, lead vocalist and producer of Y La Bamba\, says of the title behind the album which translates from Spanish to English as ‘fight’ and is also a nickname for Luz\, which means light. The album explores multiplicity—love\, queerness\, Mexican American and Chicanx identity\, family\, intimacy\, yearning\, loneliness—and chronicles a period of struggle and growth for Mendoza Ramos as a person and artist. \n\n\n\nLucha was born out of isolation at the advent of COVID-19 lockdowns\, beginning with a cover of Hank Williams’ “I’m So Lonesome I Could Cry\,” and following Mendoza Ramos as she moved from Portland\, Oregon to Mexico City\, returning to her parents’ home country while revisiting a lineage marred by violence and silence\, and simultaneously reaching towards deeper relationships with loved ones and herself. The album reflects “another tier of facing vulnerability\,” as Mendoza Ramos explains\, and is a battle cry to fight in order to be seen and to be accepted\, if not celebrated\, in every form—anger and compassion\, externally and internally\, individually and societally. As much as la lucha is about inner work\, fighting is borne from survival stemming from social structures designed to uplift dominant groups at the hands of suffering amongst the marginalized. \n\n\n\nWhile peeling back layers of the past to better understand the present has been integral to this period of growth for Mendoza Ramos\, time\, trauma\, and history can feel like interconnected\, abysmal loops and music has remained a trusted space for Mendoza Ramos to process\, experiment\, and channel her learnings into a creative practice. In this way\, Lucha has become cyclical\, documenting the parallel trust Mendoza Ramos has built with herself to allow the songs to guide how they should be sung\, or even sound. \n\n\n\n“I’ve been wanting to let whatever feels natural—with rhythm and musical instruments like congas and singing—to just let it be\, in the way that I’m trying to invoke in myself.” Lucha reflects on\, “the continuing process of learning how to exercise my producing skills\,” explains Mendoza Ramos. “I have so many words\, ideas to work with all the time\, and the hardest part for me has been learning to trust my gut. And figuring out how I work best\, and with who.” \n\n\n\nThe result is a collection as sonically sprawling and bold as its subject matter. On “La Lluvia de Guadalajara\,” Y La Bamba leans into a minimal\, avant-garde soundscape as Mendoza Ramos recites a spoken word poem. Later\, rhythms veer into bossa nova territory on “Hues ft. Devendra Banhart\,” a full-circle collaboration for Mendoza Ramos as she reminisces on the significance of finding Banhart’s work nearly two decades earlier: “He was the first young Spanish-speaking musician that wasn’t playing traditional Mexican music I heard when I was 21. There was nothing like it around that time.” \n\n\n\n“Nunca” is a warm\, wind-rich track dedicated to her mother\, Maria Elena Ramos whose poetry is published alongside the Lucha lyrics booklet. “I decided to put my mom’s poem\, which is a poem that she wrote to me\, letting me know how she felt\, exploring her heart in new ways she’s never imagined. Sharing it on the record is me paying attention that she’s expressing herself.” \n\n\n\nWhile each song holds personal significance to Mendoza Ramos\, part of growing into her identity as an artist has been allowing space for protection and boundaries\, and choosing to withhold some of that meaning from the public. Lucha is her own story of the complexity of trauma and nonlinear healing and growth processes\, but she imagines it is also the continuation of her ancestors’ stories and might also be a mirror to the story of others. “Even though I’m trying to fight\, I never want to demonize suffering\, because that’s part of growing. And it’s hard\, because we’re living in times where that [stigma] is what’s happening. So if this—me talking about my mental health and finding healing in my queerness—is a risk\, I hope that I find a community that protects it and protects me\, because they know I have their back. I am also trying to be my mom’s community.”
URL:https://missoulaunderground.com/mugevent/alabama-shakes-2025-tour-with-y-la-bamba-at-kettlehouse-amphitheater/2025-08-19/
LOCATION:KettleHouse Amphitheater\, 605 Cold Smoke Lane\, Bonner\, MT\, 59823\, United States
CATEGORIES:Music,Rock,Rock & Roll
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:20250801T170000
DTEND;TZID=America/Denver:20250801T200000
DTSTAMP:20260615T121421
CREATED:20250724T041014Z
LAST-MODIFIED:20250724T041015Z
UID:10118279-1754067600-1754078400@missoulaunderground.com
SUMMARY:First Friday Art Show hosted by Judy Anne Johnson at Bernice's Bakery
DESCRIPTION:Bernice’s Bakery in Missoula hosts a First Friday Art Show by abstract photographer Judy Anne Johnson 5:00 pm to 8:00 pm Friday\, August 1\n\n\n\n\n\nPhotographer Judy Anne Johnson makes Missoula her home. In her upcoming solo exhibition\, she explores abstraction by photographing locations around Missoula. Her photographic approach is instinctual and her subjects diverse. Her photography is more about the how and why than the what\, about what grabs her emotions and captures her imagination. She photographs the land\, places\, decay\, history\, animals and people. She is drawn to the whimsy and humor in life which often makes its way into a photograph. \n\n\n\nShe has lived in Oregon\, Washington\, Indiana\, and New York state. She travels extensively\, most recently making several solo road trips to the American Southwest. She traveled across America in 2021 and 2023\, keeping to the small highways and byways. She has traveled to France\, Iran\, Jordan\, and Lebanon. And Phoenix. It was in Phoenix at a workshop this spring that she discovered the magic and freedom of abstract photography. \n\n\n\nMs. Johnson developed an interest in photography at an early age. She has studied photography at every opportunity over the years\, the technique and the art of it\, beginning with film. She drew early inspiration from her mother and from the black & amp; white masters of the 20th Century. Black & white photography remains her enduring love though she makes color images as well\, depending on the story she wants to tell.These days she takes her digital camera almost everywhere she goes. Photography “sharpens mypowers of observation and fills my world with a sense of wonder and well-being.”
URL:https://missoulaunderground.com/mugevent/first-friday-art-show-hosted-by-judy-anne-johnson-at-bernices-bakery/
LOCATION:Bernice’s Bakery\, 190 S. 3rd St. W.\, Missoula\, Montana\, 59801\, United States
CATEGORIES:Art,First Friday,Photography
ATTACH;FMTTYPE=image/png:https://missoulaunderground.com/wp-content/uploads/2021/08/Bernices-Bakery-logo-400x400-GIF.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250627T200000
DTEND;TZID=America/Denver:20250627T230000
DTSTAMP:20260615T121421
CREATED:20250528T064724Z
LAST-MODIFIED:20250528T064726Z
UID:10116478-1751054400-1751065200@missoulaunderground.com
SUMMARY:Andy Frasco & The U.N. with Cordovas at The Wilma
DESCRIPTION:Logjam Presents welcomes Andy Frasco & The U.N. for a live concert on the Growing Pains Tour with Cordovas at The Wilma in Downtown Missoula at 8:00 pm Friday\, June 27\n\n\n\n\n\nLogjam Presents welcomes Andy Frasco & The U.N. for a live concert on the Growing Pains Tour with Cordovas at The Wilma in Downtown Missoula at 8:00 pm Friday\, June 27. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. All tickets are general admission standing room only. 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 Andy Frasco & The U.N.With curly tufts of a recognizable Jewfro peeking out from his omnipresent knit cap\, Andy Frasco is a cross between John Belushi’s “Joliet” Jake Blues and Jimmy Buffett. He’s a band-fronting\, songwriting party animal who turns into a swirling rock ‘n’ roll Tasmanian Devil onstage leading his U.N.\, not unlike Bruce Springsteen and the E-Street Band. From switching instruments mid-song to Frasco stagediving into the crowd or kibitzing with them\, an Andy Frasco & The U.N. show is a celebration of inclusivity and tolerance where “You do You” and “let us do us.” \n\n\n\nThe band has grown from playing bars to touring more than 250 days a year all over the country\, with Frasco describing that 15-year journey on Growing Pains\, the group’s landmark 10th studio album and first full-length effort since 2023’s L’Optimist\, showcasing Andy’s growth as a tunesmith in his own right. \n\n\n\nProduced by Frasco himself for the first time\, the collection’s centerpiece is the anthemic “Try Not to Die\,” a glass half-full anthem to seizing the day that combines country twang with an easy island breeze in its affirmative message. \n\n\n\n“Life is Easy\,” featuring bluegrass superstar Billy Strings\, Daniel Donato’s Cosmic Country and co-writer/frequent collaborators Steve Poltz (Rugburns\, Jewel) and Chris Gelbuda (Meghan Trainor)\, is a folk protest anthem. “Swinging for the Fences\,” featuring cameos by G. Love and Eric Krasno (Lettuce\, Tedeschi Trucks Band Soulive)\, is a Motown-flavored paean to dating someone out of your league. The playful “They Call Me Hollywood (But I’m from LA)\,” co-written with frequent partner Kenny Carkeet\, features rapper ProbCause\, while the title track is a sing-song\, hip-hop-influenced rhyme about embracing change and taking it day-to-day. \n\n\n\nFrasco wrote most of Growing Pains in Nashville with his longtime guitarist Shawn Eckels and frequent songwriting partners Chris Gelbuda\, Steve Poltz\, and Andrew Cooney. \n\n\n\n“I came into this life wanting to write songs\,” said Frasco. “It took 15 years\, but I feel I’m starting to get credit for it. My cup is full. I’m really starting to see my dreams come true.” \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 CordovasThe story of Cordovas is one of rock ’n’ roll seekers\, hammering away in search not just for a platonic ideal of their freewheeling sound\, but also for some greater truth about our experience as humans. The band is fueled by the long strange trip of frontman Joe Firstman\, who had a circuitous path through his young adulthood — spat out from the major label system\, a stint as a bandleader on Last Call With Carson Daly\, and finally finding his way back to himself\, a mystic classicist who has guided Cordovas through their own series of twists and turns. That includes their new record The Rose of Aces\, which finds them returning with their finest collection of music yet. \n\n\n\nCordovas’ origins go all the way back the early ‘10s\, when Firstman decided he was best with a band around him. After releasing a self-titled debut and undergoing various iterations\, things really started cooking when guitarist Lucca Soria joined the fold. Firstman describes him as “the one soldier that understands what I’m doing best.” Soon the band’s vision cohered further\, and they signed to ATO\, releasing the quick one-two of That Santa Fe Channel in 2018 and Destiny Hotel in 2020. \n\n\n\nWhile it might seem like Cordovas were away a bit longer this time\, the music never stopped. The group\, in whatever form it currently exists\, is always active. “When you finish your record\, you’re starting the next one\,” Firstman explains. Cordovas is a state of constant flow: Firstman\, Soria\, and their various co-conspirators gathering in their twin outposts — a farm in Nashville\, and a hideout in the artist community of the Baja California town Todos Santos — to jam out ideas. Before the dust remotely began to settle on Destiny Hotel\, Cordovas were already back in the shop\, working up a trove of songs from which The Rose of Aces would emerge. \n\n\n\nOnce Cordovas had about 20 songs they were happy with\, they linked up with producer Cory Hanson. Firstman bemusedly describes the theoretical mismatch of the pairing — Hanson the Southern California kid coming out to Nashville to work with “a whole bunch of\, you know\, Americans.” Whatever culture clash might’ve been there was just extra gasoline. “He brought a super-charged way of thinking because he’s a genius\,” Firstman says. “He’s built his life wanting to sound like himself.” Hanson ended up contributing vocals and guitar to the album as well. \n\n\n\nThe Rose of Aces begins with a conjuring. “Your song comes on like a cure/ And you remember who you were before/ How many times did music save your soul?” Firstman asks on opener “Fallen Angels of Rock ’n’ Roll.” He goes on to trace rock history from Memphis to Muscle Shoals — though he’ll also quip he’s never actually been to Muscle Shoals. “I’m also aware of all the stuff that came through those places\,” he says. “The criss-cross of American highways\, you can’t take that away from me\, man. I’ve ridden those dirty roads a lot.” \n\n\n\nAs is their custom\, Cordovas held on to “Fallen Angels of Rock ’n’ Roll” for years\, road-testing it and letting it come into its own before it was time to really get it into shape for recording. Firstman reflects on how Cordovas’ always sharpening chops — the band’s playing\, but also his ability to push his voice further — let the song be what it always wanted to be over the years. While the song gives the album a rallying cry\, it’s not without its wistfulness — its title reflecting on friends back in the day who didn’t make it. “The important part is don’t forget what music does for you\,” Firstman says. “It can make you sad\, it can make you happy\, it can remind you of a better time.” \n\n\n\nThere’s no better way to kick off The Rose of Aces and Cordovas’ new chapter. The band has long cited influences like the Allman Brothers Band\, Grateful Dead\, and The Band. And while Cordovas can certainly jam\, they’ve also long been acclaimed as tapping into the more songwriting-oriented side of those forebears. From “Fallen Angels of Rock ’n’ Roll” onward\, you can hear the band honing their craft across The Rose of Aces. “What Is Wrong?” is a sunburnt twilight sigh of a song — originating with some ideas of Soria’s that the band then toyed with\, adding some lyrics (“Are you ready?/ If you’re free enough to do it on your own”) that Firstman worked on with his girlfriend. Throughout his career\, Firstman has taken fragments of various American traditions and turned them over into new lights\, and you can almost hear Cordovas’ music as a travelogue — easy-going yet careening forward\, from the laidback rollick of “Sunshine” to the swamp grooves of “Deep River” to\, eventually\, nodding to their home south of the border with closer “Somos Iguales.” \n\n\n\nIn true rock spirit\, joints are lit and roads are rambled down. Salvation is sought\, but characters stumble into sordid corners\, too. “High Roller\,” another highlight of the album\, tells the story of the narrator and his compatriot Stanley having a chaotic bender at a casino. \n\n\n\nWhen they’re camped out\, friends and artists come and go. The band jams\, and writer pals gather to dissect Marcel Proust or Marcus Aurelius. There’s an almost old-school\, utopian scene at play — like-minded individuals not just improvising and seeing where it goes\, but seeking a purpose through that discourse. There are all kinds of characters in Cordovas’ orbit\, including the namesakes of the album — hotel owners Ace and Rose down in Mexico\, who Firstman paid tribute to via an imagined Tarot card of an album name. \n\n\n\nIf the whole thing sounds like some kind of fantasy\, it didn’t come without a lot of missteps and rebirths\, sweat and hard work. Now 43\, Firstman has already lived more than a few lives. Raised by a weed dealing vet father and an opera singer mother in Charlotte\, the young Firstman took a Greyhound to Los Angeles in the early ‘00s and quickly became a buzzy young songwriter. He was signed to Atlantic\, and released a solo debut called The War of Women in 2003. While the album led to some burgeoning success — including opening slots for Sheryl Crow and Willie Nelson — Firstman embarked on era of self-sabotage. “I was a fucking drunken nightmare\, and the songs weren’t as good the second time around\,” he admits. Soon\, he was dropped from Atlantic\, but landed on his feet with the bandleader gig on Carson Daly’s show\, where his band included Kamasi Washington and Thundercat. \n\n\n\n“I wanted to sing songs I wasn’t embarrassed of\,” Firstman says of the transition from those years to Cordovas. As matter-of-fact and self-deprecating as he can be about his early LA days\, Firstman also holds that time dear as a crucible\, all the hard lessons he had to learn to become who he is now. “Everything is victory as long as you can pull it out of the trash and polish it off and identify it as such\,” Firstman reflects. “That’s a big part of Cordovas. We wanna be better people — but not just for nothing.” \n\n\n\nThat brings us to the parables of Cordovas\, the stories on The Rose of Aces arriving 20 years on from Firstman’s initial stint in the music industry. “With the philosophy\, I’m trying to get you to change your brain and work in a useful way for society\,” Firstman says. “What happens when you let that stuff in and you become it? What does your brain tell you then? Go feel that\, and the standard you set and the call you make to your friends and the thing you said you were gonna do that mattered. How did you feel the next morning? What song did you write?”
URL:https://missoulaunderground.com/mugevent/andy-frasco-the-u-n-with-cordovas-at-the-wilma/
LOCATION:The Wilma Theater\, 131 Higgins Avenue\, Missoula\, Montana\, 59802\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2021/05/Wilma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250624T200000
DTEND;TZID=America/Denver:20250624T233000
DTSTAMP:20260615T121422
CREATED:20250609T065720Z
LAST-MODIFIED:20250609T065722Z
UID:10116679-1750795200-1750807800@missoulaunderground.com
SUMMARY:Little Feat & Nitty Gritty Dirt Band at KettleHouse Amphitheater
DESCRIPTION:Logjam Presents welcomes Little Feat & Nitty Gritty Dirt Band for a live concert performance at the KettleHouse Amphitheater in Bonner at 8:00 pm on Tuesday\, June 24\n\n\n\n\n\nLogjam Presents welcomes Little Feat & Nitty Gritty Dirt Band for a live concert performance at the KettleHouse Amphitheater in Bonner at 8:00 pm on Tuesday\, June 24. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. General admission seated pit\, reserved premium stadium seating\, reserved stadium seating\, general admission lawn 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 Seated Pit: General Admission Seated Pit tickets allow access to the pit area\, located closest to the stage. This section is fully seated and available on a first-come\, first-served basis. \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\nReserved Stadium Seating: Reserved Stadium Seating tickets allow access to the seating section located behind the main pit of the amphitheater. \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\nPremium Box Seating: Premium Boxes are sold in bundles of two tickets and located in the private box area between the Reserved Stadium Seating the General Admission Lawn. These tickets include one parking pass or two shuttle passes\, a separate entrance for expedited venue entry\, and a dedicated cocktail server offering an expanded menu in addition to concessions. \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 Little FeatFifty-two years of great music doesn’t squeeze down to one page very easily. \n\n\n\n“Dixie Chicken\,” “Oh Atlanta\,” “Willin’\,” “Let it Roll\,” “Spanish Moon\,” and “Fat Man in the Bathtub” are just the merest hint of a repertoire that has inspired more joy and more dancing than you can imagine. Little Feat fused a broad span of styles and genres into something utterly distinctive\, a mix of California rock\, funk\, folk\, jazz\, country\, rockabilly\, and New Orleans swamp boogie and more\, all stirred into a rich gumbo that can only be Little Feat. \n\n\n\nTheir album Waiting for Columbus is a consensus contender for the finest live rock and roll album ever recorded. \n\n\n\nBill Payne (keyboards\, vocals)\, Kenny Gradney (bass)\, Sam Clayton (percussion and vocals)\, Fred Tackett (guitars and vocals)\, Scott Sharrard (guitars and vocals)\, and Tony Leone (drums) are Little Feat in 2021. \n\n\n\nScott (Gregg Allman Band) and Tony (Olabelle\, Chris Robinson Brotherhood\, Midnight Ramble Band) will be new to most Feat fans. Fortunately\, they’ve both crossed paths with the band many times over the past decade\, and they fit as elegantly and comfortably as a perfectly broken-in pair of jeans. They were born for this. \n\n\n\nSo is the audience\, which is why they’re going to join the band and choose the setlist for every show on this first post-pandemic tour. For more info on that\, go to www.littlefeat.net. \n\n\n\nMore than fifty years in\, they’ve been up and they’ve been down and they know where they belong—standing or sitting behind their instruments\, playing for you. \n\n\n\nAnd anything’s possible\, because the end is not in sight. \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 Nitty Gritty Dirt BandLord\, it was nearly sixty years ago. \n\n\n\nLong Beach\, California. Jeff Hanna was in high school\, a holding zone where hormones and anxiety are left to fester until they explode like Langston Hughes’s dream deferred. \n\n\n\nSuddenly\, a sound burst through the middling morass at laser speed\, deflating the balls of confusion that teenaged Jeff was holding. That sound came from the iron ore town of Hibbing\, Minnesota\, by way of Greenwich Village. It was Bob Dylan\, a young man who at first recharged old folk and blues songs\, but who became known for his own wild-eyed compositions. \n\n\n\nHanna didn’t know what was going on. But\, at the same time\, he knew Dylan was the man who would lead him to know most everything that was going on. \n\n\n\nAfter school\, he’d go home\, lock himself in his bedroom\, and haltingly play the picking pattern to Dylan’s “Don’t Think Twice\, It’s All Right” until the halting gave way to the feeling that he’d mastered a magic trick. \n\n\n\nAnd when Dylan came to play at the Wilson High School auditorium\, Hanna paid $4 to sit in the balcony with his girlfriend and a group of pals that included Bruce Kunkel\, with whom he would soon start the Nitty Gritty Dirt Band\, a fluid combo that would make a beautiful and necessary mark on American music. Another key member of that band was a boy named Jimmie Fadden\, who would sit and play Dylan songs with Hanna\, transfixed by the way Dylan’s music blended seemingly every roots music strain. \n\n\n\nFadden would become Hanna’s lifelong partner in the groundbreaking\, hit-making\, Grammy winning\, long-lived (since 1966)\, Dirt Band. Hanna considers Jimmie’s harp to be another lead vocal\, and\, indeed\, Fadden’s harmonica is to the Dirt Band what Mickey Raphael’s is to Willie Nelson: It is instantly recognizable\, and instantly satisfying. \n\n\n\nWhat’s all this about Dylan\, then? Well\, the Dirt Band’s new album\, Dirt Does Dylan\, is a romp through some of the gems in Dylan’s catalog\, as played by Hanna\, Fadden\, keyboardist/songwriter/vocalist Bob Carpenter (who joined in 1980)\, and three new members: fiddle specialist Ross Holmes; singer-songwriter and bass player Jim Photoglo (who wrote one of the Dirt Band’s biggest hits\, “Fishin’ in the Dark”); and Hanna’s son\, the absurdly talented singer and guitarist Jaime Hanna. \n\n\n\nBetween Long Beach high school days and the release of Dirt Does Dylan\, the Dirt Band brought folk music to the national forefront with “Mr. Bojangles\,” recorded the volumes of the multi-artist Will the Circle Be Unbroken series of albums\, featuring Mother Maybelle Carter\, Doc Watson\, Earl Scruggs\, Emmylou Harris\, Taj Mahal\, John Prine\, Dwight Yoakam\, and dozens more. \n\n\n\nThey’ve won three Grammys and placed an album and a single in the Grammy Hall of Fame\, and scored country hits including “Voila (An American Dream)\,” “Modern Day Romance\,” “Stand a Little Rain” and many more. They’ve undergone numerous lineup changes\, the latest of which has just recorded its first studio album together. The album was produced by Ray Kennedy (Steve Earle\, Lucinda Williams) and Hanna in a nondescript building located behind an auto parts store in Nashville’s Berry Hills neighborhood. In that studio\, with vintage microphones and instruments and this newly reconstructed Nitty Gritty Dirt Band\, the group added a definitive album to an unprecedented catalog. \n\n\n\nDirt Does Dylan opens with a rousing take on “Tonight I’ll Be Staying Here with You\,” one that finds the joyful middle ground between Dylan’s Nashville Skyline version and the electrifying performances of the song on the mid-70s Rolling Thunder tour. Then it’s on to a gorgeous “Girl from the North Country\,” with father and son sharing vocals and a wistful\, autumnal electric guitar outro. \n\n\n\n“It Takes a Lot to Laugh\, It Takes a Train to Cry” finds Fadden sharing vocals with Jeff Hanna and playing a signature harp solo. “Country Pie” is a string-band session\, recorded around one microphone with Carpenter\, Jaime Hanna and Holmes whistling for their just desserts. And Carpenter is joined by Rebecca and Megan Lovell of Larkin Poe on “I Shall Be Released\,” which promises imminent emancipation from a prison of iron bars or worried mind. \n\n\n\nThe Hanna men sing “She Belongs to Me\,” from Bringing It All Back Home\, Dylan’s surrealist step forward from 1965. And the Dirt Band follows that with “Forever Young\,” an unattainable prayer set to one of Dylan’s rare soaring choruses. Jeff\, Jaime\, and Carpenter each sing lead on different verses of this classic. \n\n\n\n“The Times They Are A-Changin’” further expands the circle the Dirt Band created on past albums when they joined contemporary talents with long-held heroes of music. In this case\, though they’d never admit it\, the Dirt Band itself is the long-held hero\, and their acolytes are Rosanne Cash\, Michael and Tanya Trotter of the astonishing duo The War and Treaty\, Steve Earle\, and a man many consider to be a new generation’s Dylan or Prine\, Jason Isbell on vocals and slide guitar. \n\n\n\nAsked at the session whether he was comfortable singing the song’s second verse\, Isbell said\, “I’m cool with singing any verse\, because they’re all amazing.” “Times” was written in 1964\, and it promises a rapidity of reform that has yet to be achieved. But there’s an insistent hope that we carry to the present-day\, and if the times haven’t changed\, they’ve at the very least evolved. \n\n\n\n“Don’t Think Twice\, It’s All Right” is a song that has mesmerized Jeff and Jimmie since adolescence. Most songs lose some significance as the years roll by and experiences pile up\, but after all these years it still explicates a poignant blend of grace and blame\, hurt and pining admiration\, with which most of us grow well-familiar. \n\n\n\nDirt Does Dylan closes with the jovially inscrutable “Quinn The Eskimo (The Mighty Quinn)\,” with this new Dirt Band lineup driving things home with genre-bending musicality that could not have been mustered by the boys who gathered to form the Dirt Band back in the mid ‘60s. The joy of discovery led to the smiling certainty of the ages. \n\n\n\nThere have been dozens\, and maybe hundreds of albums devoted to the songs of Bob Dylan. If adding another to the stack seems superfluous\, it’s not. (Is it a stack if we’re streaming? That’s a question for another day.) Dirt Does Dylan provides a damn good listening experience and a new perspective on the greatest songwriter of the 20th century (and his 21st century works are as mighty fine as The Mighty Quinn). \n\n\n\nDon’t think twice\, it’s more than alright. It is\, as Dirt Band collaborator Kris Kristofferson would (and did) say\, “A table-thumpin’ smash.” \n\n\n\n-Peter Cooper
URL:https://missoulaunderground.com/mugevent/little-feat-nitty-gritty-dirt-band-at-kettlehouse-amphitheater/
LOCATION:KettleHouse Amphitheater\, 605 Cold Smoke Lane\, Bonner\, MT\, 59823\, United States
CATEGORIES:Americana,Country,Covers,Folk,Folk Rock,Jazz,Music
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:20250622T170000
DTEND;TZID=America/Denver:20250622T180000
DTSTAMP:20260615T121423
CREATED:20250521T061919Z
LAST-MODIFIED:20250521T061920Z
UID:10115826-1750611600-1750615200@missoulaunderground.com
SUMMARY:Reading and Signing with author Brandy Schillace at Fact & Fiction
DESCRIPTION:Reading and Signing with author Brandy Schillace at Fact & Fiction in Downtown Missoula 5:00 pm to 6:00 pm Sunday\, June 22\n\n\n\n\n\nAbout the Author: Dr. BRANDY SCHILLACE (skil-AH-chay) PhD is a historian\, novelist\, and television show host. Formerly an editor for two journals\, Brandy works as a freelance journalist as well as a writer of nonfiction and fiction. Brandy has written about death and dying\, Cold War medicine\, bioethics\, and organ transplant and the history of accidents. Her most recent book\, THE INTERMEDIARIES\, tells the forgotten\, daring history of trans activists\, gender affirming surgeries\, and the fight for LGBTQ rights in the shadow of the Third Reich. In fiction\, Brandy is author of THE FRAMED WOMEN OF ARDEMORE HOUSE\, and THE DEAD COME TO STAY\, the first two novels in a mystery series featuring a neurodivergent protagonist. Brandy has bylines at WSJ\, Scientific American\, Globe and Mail\, HuffPo\, WIRED\, and UNDARK. She is host of Unsolved Mysteries of Medicine (2025) and the popular YouTube livestream\, Peculiar Book Club\, featuring bestselling authors of unusual nonfiction\, from Lindsey Fitzharris and Mary Roach to Ed Yong and Deborah Blum. She has appeared on Mysteries at the Museum with Don Wildman\, The Unbelievable with Dan Akroyd\, Secrets Declassified with David Duchovny\, and Histories Greatest Mysteries with Laurence Fishburne. Brandy gives regular keynotes and participates in other speaking events\, and is a tireless advocate for social justice\, disability and LGBTQ+ representation. \n\n\n\nAbout “The Intermediaries”: An expert in medical history\, Brandy Schillace tells the story of the Institute through the eyes of Dora Richter\, an Institute patient whom we follow in her quest to transition and live as a woman. While the colorful but ultimately tragic arc of Weimar Berlin is well documented\, The Intermediaries is the first book to assert the inseparable\, interdependent relationship of sex science to both the queer rights movement and the permissive Weimar culture\, tracking how political factions perverted that same science to suit their own ends. This riveting book brings together forgotten scientific and surgical discoveries (including previously untranslated archival material from Berlin) with the politics and social history that galvanized the first stirrings of the trans rights movement. Through its unforgettable characters and immersive\, urgent storytelling\, The Intermediaries charts the relationships between nascent sexual science\, queer civil rights\, and the fight against fascism. It tells riveting stories of LGBTQ pioneers—a surprising\, long-suppressed history—and offers a cautionary tale in the face of today’s oppressive anti-trans legislation. \n\n\n\nAbout “The Framed Women of Ardemore House”: Jo Jones has always had a little trouble fitting in. As a neurodivergent\, hyperlexic book editor and divorced New Yorker transplanted into the English countryside\, Jo doesn’t know what stands out more: her Americanisms or her autism. And that was before the body on the carpet… After losing her job\, her mother\, and her marriage all in one year\, Jo couldn’t be happier to take possession of a possibly haunted family estate in North Yorkshire. But when the moody town groundskeeper is murdered on her property\, Jo finds herself in potential danger—and as a potential suspect. At the same time\, a mystifying family portrait vanishes from a secret room in the manor\, bearing a strange connection to both the dead body and Jo’s mysterious family history. With the aid of a Welsh antiques dealer\, the morose local detective\, and the Irish innkeeper’s wife\, Jo embarks on a mission to clear herself of blame and find the missing painting\, unearthing a slew of secrets about the town—and herself—along the way. And she’ll have to do it all before the killer strikes again…
URL:https://missoulaunderground.com/mugevent/reading-and-signing-with-author-brandy-schillace-at-fact-fiction/
LOCATION:Fact & Fiction\, 220 N. Higgins Avenue\, Missoula\, Montana\, 59802\, United States
CATEGORIES:Author Live Reading,Book Readings,Book Signing,Literature,Storytelling
ATTACH;FMTTYPE=image/png:https://missoulaunderground.com/wp-content/uploads/2023/04/Fact-and-Fiction-logo-PNG.png
END:VEVENT
END:VCALENDAR