Rival Sons

Rival Sons

Welles, Big Mama Shakes

Tue, May 8, 2018

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

The Broadberry

Richmond, VA


Tickets at the Door

This event is all ages

Venue Information: 

Parking is available in side lot (by Exxon)

No Smoking/Vaping permitted anywhere inside venue

Bags/purses will be checked at the door. 

Must have ID for entry 

If you do not have access to a printer, we can scan ticket from your cell phone. Be sure to have your brightness turned all the way up at the door. 

Children under 3 years old are Free. 

Kitchen is open during all hours of operation. 

For additonal FAQs click here

Rival Sons
Rival Sons
Band from Long Beach, Southern California

‘Fizzing with freshness’ - BBC
‘Sunkissed psychedelia and irresistible hooks, with the band’s soul, funk and blues influences thrust joyously to the fore... If you thrilled to the Black Keys’ El Camino, it’s time to meet your new favourite band ‘- Guardian
Released in June 2014 via Earache Records, Great Western Valkyrie puts Rival Sons freewheeling fuzz and improvisational stage ethos to wax and cements their position as America’s next great rock’n’roll band. With a ‘conscious decision for this band to be just what it is’ (Jay Buchanan) this album is more cohesive than any Rival Sons album before.
From the beach cities of Southern California, the time was ripe for Rival Sons. Guitarist Scott Holiday had long been searching for something that would fit his psychedelic vision and fuzzy garage rock tones, then things fell into place when blues singer/songwriter Jay Buchanan put the solo career on the backburner and gave rock ‘n’ roll a chance. Scott Holiday: ‘a random find on the Internet points me to Jay Buchanan. In 13 seconds I realize I have just come across the singer I've looked for over the last 10-12 years of my life.’
Jay was invited to record vocals on the band’s debut release ‘Before the fire’ ‘Singing On My Way in a single take. We never even ran tape a 2nd time. That was a first to witness for me. And so it was born... Rival Sons.’
Four albums on, with an ever-growing fan base the band go from strength to strength and have never looked back.
Emerging from a scene where over-production was commonplace, writing and recording in a hotbox of activity without prior discussion or preparation came to be what Rival Sons is about. ‘We have a reputation for recording our albums very quickly and keeping things very live - off the floor.’
As Holiday puts it after recording Before The Fire: ‘This is just the simplest way to not cheat ourselves or the listener. Rock and Roll can’t be over-thought, and if it is, it loses its immediacy and instinct … it needs to be a knife fight, not a choreographed knife dance’

Jay Buchanan (vocals)
Scott Holiday (guitar)
Michael Miley (drums)
Dave Beste (bass)
Jesse Welles has no problem giving it to you straight. It’s in his nature to pull no punches. Ask him about the current state of rock music and the rock singer and multi-talented musician will tell you how few things in life make him so equally prideful and angry as people bemoaning its death. He’ll readily tell you that despite others constantly talking up his once-in-a-generation, jarringly emotive voice, to him it often sounds like nothing short of “burnt toast.”

“I hate to experience anything that isn’t just the cold-hard truth,” the Arkansas-native who performs as Welles, and has a knack for penning at turns tender, melodic and gut-punching rock music, says without hesitation. “But music definitely takes me away from it all,” he offers with a nervous laugh. “Well, for three to four minutes anyway.”

Welles understands the best singers wield their instrument with a stealth utility; they’re readily able to unleash a wealth of emotion from little more than a murmur, if, in his case, an occasional manic howl. Where vocal precision belies sterility, depth and character are blood let out from a deep wound. To that end, where Welles may not deem himself a storyteller in the classical sense — he fancies himself a rock lifer, tattoos and all — on record his aching voice does plenty of heavy lifting. He’ll tell you responds most profoundly to “road-weary” singers like David Bowie, John Lennon, and early Bob Dylan. He recalls drawing instant inspiration from Kurt Cobain when first hearing Nirvana’s “Lithium” in middle school. “I heard this American just barely getting through the lyrics and I was like ‘OK. This is cool. I can do this.’” Now, after nearly a decade of pointed urgency and a year spent on the road opening for some of rock’s hottest acts, not only does he have a desire to share “everything that’s been going on in my head, but he finally feels right where he belongs.

“I don’t want to say I feel comfortable but I think we’ve got a good little beginning going,” he says with supreme humility of a breakout year that included gigs at Bonnaroo and Austin City Limits as well as opening stints for tastemaking acts including Royal Blood and Greta Van Fleet.

Still, playing the underdog remains a highly appealing notion to the soft-spoken musician. “I hope we catch everyone off guard,” he says of his steady ascent with a sly chuckle. “I love it. It’s how I’ve always done everything. Just be quiet ,come in and do your work. Come out of nowhere. The thing is,” he notes, “you can really only pop out of a cake once.”

The reality however is Welles has been preparing for his grand reveal for years now. The 23-year-old takes a deep breath and slowly begins to recall those halcyon days back in his native, small-town Ozark, Arkansas, when he’d record music off the radio straight to cassette tape; or the nights when he’d lie awake and dream of playing gigs at roadside bars in nearby Fayetteville; or when in 2015 he finally threw caution to the wind and high-tailed it to Nashville to begin recording songs with acclaimed producer Dave Cobb (Jason Isbell, Sturgill Simpson) much of which ended up comprising his forthcoming debut album.

Welles is forever trying to best understand how his genre-blurring music, inspired by an equal parts love of the Beatles pop craft, sweaty classic-rock riffs, psychedlia and confessional singer-songwriters, acts as his salve. Still, the singer says, “I hate to admit to any kind of escape mechanism because I’m really conscious of being tricked. I can get too heavy and way too into my own head and spiral downward. Oftentimes unintentionally I take everyone else in my life along for those rides with me. Every once in awhile though I come back up for air.”

It’s in his own contradictions and self-revelation in song that Welles best proves himself an undeniable talent. Where “Do You Know How To Fuck?” rides over a slashing, barbed wire electric guitar riff, Welles’ voice pleading “love me tender!” and bellowing with ache, moments later he’s exhaling, his breath stretching into smooth curves, on the acoustic-and-Mellotron-anchored “Summer.”

And on his latest single, “Seventeen,” the musician flexes his psychological muscle like never before. A slow plea for intellectual empathy, the song, a translation of a poem he wrote several years back about gender fluidity, finds the singer at his most vulnerable and expressive. “Being from a small town, boys are boys and girls are girls. Gender fluidity was something I hadn’t really thought about much,” he says. Once he began contemplating the subject, however, “it really intrigued me and I got my whole head blown off by the notion. I fell in love with it and I had to write a tune about it.”

If the singer finds a principal power in his own art it’s in its ability to foster contemplation, a songwriting trait he picked up from his early fascination with the Beatles (“I got Sgt. Peppers on cassette tape when I was in second grade from my grandfather. I listened to that thing like mad. It was all I would do.”). Oftentimes this leads to his most profound self-analysis. “Sometimes I get so heavy and I drag you around,” Welles admits. “But I’m happy and I love to have stupid fun and laugh and make blanket forts and play video games and get high. But every once in awhile I crack open a book that reminds me it’s all fleeting. It’s like I’m trying to hold water in my hands and it keeps slipping away.”

Welles is constantly writing new material (“The songs will just fall out”) and yet he’s highly self-critical of his work. “It’s just running with an egg and a spoon and sometimes the egg falls off before you get to the end,” he says of the oft-nerve-wracking songwriting process. “But every once in awhile a good one comes along.” He wrote the bulk of his debut album first when living in a communal art compound in the college town of Fayetteville, Arkansas and then on the road over the past year. When living in Fayetteville, friends of varying artistic disciplines all shared an apartment building they dubbed “Space Mountain.” “Some of us worked on bicycles, some of us were doing painting and art,” he explains. “It was our own little Andy Warhol experiment. It was crazy.” While attending college, Welles led several bands. However in moving to Nashville a few years back and then recording with Cobb, the artist acknowledges he’s entering a new chapter in his musical life. “I’ve had this sense of urgency towards music since I was 14 or 15,” he says of diving headfirst into his career as a recording artist in recent years. “Now it’s all about ‘How do I move this forward?’”

For starters, Welles has been pounding the pavement playing live gigs. “We’re running around with this show in a box and whatever stage it is you get out and you open the box up,” he says. “It’s just about making that show good. It’s also helped him expand his horizons. “In a year’s time I became a well-traveled guy after spending 22 years just in Arkansas. And I mean not leaving. Hell, driving an hour and a half was a big trip. So this really felt like moving forward.”

Though he notes of performing, “I don’t much like being in a crowd but I can be in front of one as long as they’re at my will,” he offers. “Plus it would do no good to sit around and think on these things and write this much and make this much noise alone in my room if I don’t get to show it to everyone else.”

What Welles is undeniably certain about though is there’s no time like the present to share his artist creation with the world. “I’ve dedicated a small period of my life to this rock n’ roll lifestyle so if this doesn’t pay off I’m going to be old with all these tattoos and gonna look like a piece of old leather.” He stops and laughs before cracking a smile. “It’s just time.”
Big Mama Shakes
Big Mama Shakes
Big Mama Shakes
At its core: Big Mama Shakes is synonymous with rock and roll. I don't mean that in the pretentious "I'm an artistic genius" kind of way that John Lennon or Robbie Robertson might have; I mean it in the most painfully fun and raucously raw way one can experience rock and roll.

Kings of Leon:
Initially embraced as "the Southern Strokes" for their resurrection and reinvention of Dixie-styled rock & roll, Kings of Leon steadily morphed into an experimental rock outfit during the 2000s. The Tennessee-bred quartet debuted in 2003 with the Holy Roller Novocaine EP, whose blend of raw, unpolished boogie rock was further explored on their debut full-length, Youth & Young Manhood. Such revivalist music was matched by a similarly revivalist appearance -- including long hair, mustaches, and tight-fitting denim -- and Kings of Leon experienced immediate popularity in the U.K. (where they would later enjoy platinum album sales, despite an initially lukewarm reception at home). As the band explored different sonic textures with subsequent releases, most notably on 2007's Because of the Times and 2008's Only by the Night, those tenuous links to the Strokes were finally dissolved.
Comprised of three Followill brothers -- Caleb (guitar), Nathan (drums), and Jared (bass) -- as well as first cousin Matthew Followill (guitar), Kings of Leon formed in 2000. The Followill siblings had spent their youth traveling across America's heartland with their evangelist father, decamping at Pentecostal churches and tent revivals for several days at a time before moving onward. When their father resigned from the church and divorced his wife in 1997, the boys relocated to Nashville and embraced the rock music (not to mention the accompanying lifestyle) they'd previously been denied. Cousin Matthew was added to the lineup, and a Southern garage rock sound quickly emerged. RCA took note, signing the band in 2001 and facilitating a partnership with Nashville-based producer Angelo Petraglia, who furthered the band's rock & roll education and co-wrote the material for 2003's Holy Roller Novocaine EP.

Tours across North America and the U.K. coincided with the release of the band's full-length debut, Youth & Young Manhood, that same summer. Thanks to the popular single "Molly's Chambers," the album found moderate success in the U.K. However, it was their sophomore effort, 2004's Aha Shake Heartbreak, that made them European stars, with three songs cracking the U.K. charts. The album saw an American release in February 2005, and Kings of Leon toured the country alongside U2 before retreating to work on their third effort. The darker, expansive Because of the Timesfollowed in 2007. Featuring production from Ethan Johns (who had helmed the band's previous releases as well), the album proved to be the band's biggest release to date, debuting at number 25 on the U.S. Billboard 200 and topping the album charts in the U.K., Ireland, and New Zealand.
Kings of Leon returned one year later with Only by the Night, a colossally popular album whose lead single, "Sex on Fire," gave the band its first number one hit in the U.K. The album itself fared similarly well, topping the U.K. charts upon its release and debuting at number four in America. It eventually gained platinum status in eight countries, including America, and its success allowed the band to tour heavily throughout much of 2008 and 2009. Live at the O2 was released in late 2009, capturing one of the band's midsummer performances in London. Kings of Leon briefly holed up in Manhattan's Avatar Studios to work on a fifth record, but they returned to the road during the summer of 2010, taking the opportunity to play some of their new material in concert. By the time the tour wrapped up in September, the group's newest single, "Radioactive," had already been released. The accompanying album, Come Around Sundown, followed in October. The record was a worldwide hit and reached number one in 15 countries, including the U.S., U.K., Canada, and Australia.

Later that year they embarked on a marathon tour; however, a disastrous show in Texas resulted in frontman Caleb walking off the stage without returning for the end of the set. After this incident, the brothers decided to undertake a self-imposed hiatus in 2011 and canceled the rest of the tour while the band attempted to reconcile their personal and group problems. In the time apart, bassist Jared released music with Mona frontman Nick Brownunder the moniker Smoke & Jackal, while Caleb found sobriety after moving to New York and the birth of his son. They returned to the band with a batch of new material and set to work on their sixth record, Mechanical Bull, which appeared in September of 2013. Buoyed by the single "Supersoaker," the album reached number two on the Billboard 200 and garnered a nomination for Best Rock Album at the 56th Annual Grammy Awards.
Following the end of the band's 2014-2015 Mechanical Bull tour, Kings of Leon revealed they had already begun work on a follow-up. In 2016, they released their seventh studio album, WALLS. Produced in Los Angeles with Markus Dravs (Florence + the Machine, Arcade Fire, Mumford & Sons), the album featured the single "Waste a Moment." - All Music
Venue Information:
The Broadberry
2729 W. Broad Street
Richmond, VA, 23220