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Tucson sounds: Loveland, JT Rivers, Joyce Luna

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Tucson sounds: Loveland, JT Rivers, Joyce Luna

  • Loveland at The Wooden Ball
    Kerry WhelanLoveland at The Wooden Ball
  • JT Rivers
    Ian KnightJT Rivers
  • Joyce Luna
    Joyce LunaJoyce Luna

This week, it's another triple-shot as your favorite local music column continues a tour around the diverse and varied corners of Tucson's music DNA. Meet Loveland, Joyce Luna and J.T. Rivers. Plus, a dispatch from your favorite Bisbee rockers and the record store that loves them.

Loveland, population everyone!

There were a lot of stellar semi-acoustic performances at this year’s Wooden Ball (tip of the hat, for example, to the always excellent Miss Olivia and the Interlopers) but the hands-down stars of the show would have to be Tucson’s Loveland. An alt-folk-country ensemble that includes an impressive and ever-growing roster of some of the best players in Tucson, Loveland is less a band than a local institution. This week, your local columnist chatted up a few of its members to talk about love, jams, and band family unity. Loveland seems to have half the talent in Tucson! Who's who in the band?

David Bryan: "The current members are Damon Barnaby, David Bryan, Jonica Butcher, Joshua Butcher, Doug Floyd, Connor Gallaher, Anita Hershey, Clay Koweek, Randy Lopez, Mariah McCammond, Amy Munoz Mendoza, Ernie E. Mendoza, Dante Rosano, Grace Thomson, and without Nathan Sabatino there would be no Loveland."

Mariah McCammond: "It's hard to say sometimes who is actually in Loveland.  We have some pretty core members, but there are also some folks who weave in and out as commitments allow. Sometimes when we show up for gigs the venue will ask, how many are you? And we always say, we don't know!"

Doug Floyd: "I joined Loveland in May 2017 on bass to cover for Amy Mendoza while she was vacationing. Once she returned, I slid over to my natural spot on guitar. With several great guitar players in the band including Damon Barnaby holding down the main guitar parts, I play slide when we don't have Conner Gallaher, fill up empty spots when Clay Koweek isn't on the gig, function in a more ambient role when we don't have keyboards or acoustic guitar, and show off on lead any chance I get.I do also hop back into the bass seat when Amy isn't available."

"I grew up in Sierra Vista and started playing live in 1984 all over Arizona and California (a 19-piece variety/big band) and gigging and recording in Tucson in 1986 (Dover Trench). Spent the early '90s playing in a series of instrumental, rock and jazz groups, as well as co-running a local record label and music distribution company (while managing a record store) and being part of the crew that originally started the TAMMIES. I've played guitar in the band Funky Bonz for 22 years. I also play with Amy Mendoza & the Strange Vacation, Amber Norgaard, Bad Tourist, and occasionally Mark Insley."

TS: What's the origin story of Loveland?

DB: "Nathan Sabatino, Ryan Eggleston, and I met in Pinos Altos, N.M., and played together there with a guy named Don Young who used to play around Phoenix a lot. We didn't know we were doing it, but we had already started recording what would become the first Loveland record there, Pilgrim Soul. Nathan and Ryan moved to Tucson, and I started coming down to visit and every time I came down I'd show them another one of my songs and they'd figure out how to play it and we'd record it."

"One day Nathan and I figured out we had enough songs to make a record. We planned to find a place where he could have a studio, and we could have a rehearsal space, and I could hang out without sleeping on his couch all the time. I went to sleep that night thinking I had the whole world figured out."

"Ironically, that happened to be September 10, 2001. And I had a lot more to figure out than I thought, even without the world changing overnight."

"When we started out we weren't even thinking about having a band like Loveland, we were just going to make records, taking more of a flexible ensemble approach with a combination of singers, musicians and writers. I didn't even want to name anything but the records."

"There's no artist name, anywhere, on Pilgrim Soul. But Jacob Supak, who we all knew from Pinos Altos, came to Tucson and was playing drums with us, and then Damon came along, and Stefan George, and some more people and before we knew it it was a band. Nathan's studio had already been named Loveland after an inside joke about 'Float On' by The Floaters, and we went ahead and gave the band the same name. And instead of being bunch of folks that just made records without being a band, we turned into a band that hasn't put out a record in about 16 years." 

TS: Favorite gigs of all time?

DB: "There have been so many. We had a really fun show at Cowtown Keeylocko once, which I've been thinking of now that Ed Keelocko's gone. I love our Christmas gigs at The Dusty Monk, and the holiday weekend shows we do at Che's. The shows where the women take over are really special to me."

MM:"Always the annual Christmas Shows at the Dusty Monk."

DF: "The show we did for Arizona Public Media at Che's was pretty great. Band was very focused and musical. Our Mercado series of shows last summer were awesome from a loose, improvisational standpoint.

TS: Favorite venues to play?

DB: "I love playing Che's, Mercado San Agustin, Tap & Bottle, Exo Roast Co., La Cocina, and the Dusty Monk. We play a more stripped-down version at the Coronet, and I love that too. It's supposed to be a trio, but that's kind of fluid. We had nine people play a trio show once. We got in one show at Cans, and they sure made a good impression on all of us. Had a lot of fun at the Red Room and Plush/Flycatcher, although when we showed up at the Red Room for our first gig ever, they were closed to clean the floors.  

MM: "I really love the Dusty Monk gigs.  It's such a great room, and when we pack this big band in there, it really feels intimate, Like we're playing for Tucson the family."

DF: "Che's is always fun, and the Mercado. Cans was my favorite; so sorry to see it close. Always loved playing at Plush/Flycatcher too."

TS: Thoughts on playing traditional forms of music and jamming and improvising with fellow travellers?

DB: "Shoot, that's a good question but I don't know.  I ain't smart enough to answer that kind of question, but I'm sure it's going to be right up somebody's alley."

MM: "Everybody's gotta be somewhere!"

DF: "I've always been an improviser. That's one of my favorite elements of Loveland. No song ever feels quite the same, twice. And as a guitar fan, sitting next to Damon, Conner and Clay and getting to steal their licks from close up is awesome. I'm not naturally a country player so I've thoroughly enjoyed the opportunity to immerse myself in it with such an amazing crew."

TS: What are everyone's favorite things about this vs. other projects

DB: "I just love doing this with these people. They're all fine and exceptional human beings, I love them all and they are a pure joy to make music with. Having Josh and Grace come in to sing with me has made me happy beyond words. When they all come to my house to rehearse I feel like Grandma at Christmas. Every single time. I appreciate that gift more than I can say."

MM: "My favorite thing about playing with Loveland is that it forces me listen and pay attention. When you have that many people on stage improvising you've really got to be paying attention! This is such a valuable skill set for any musician, and Loveland has really helped me develop that more than any other project."

DF: "The opportunity to develop the Americana/country side of my playing with Dave's amazing songs and with an exceptional cast of characters makes Loveland a joy to rehearse and perform with. Playing in a large and changing ensemble is a special beast compared to playing in a more polished rock or pop setting and or in support of a singer/songwriter. But the common thread in all of them for me — part of how I choose projects to be a part of — is having some improvisational element."

TS: Future plans as a band? Future gigs? Recordings?

DB: "'I'd like to have Josh and Grace just make me obsolete. Right now we have the Beatles thing coming up, and a show our ladies are the bosses of at Tap & Bottle on Valentines Day. I believe they've got another one coming up March 8 for International Women's Day. And, after years of putting it off, we are finally going to finish our second record, soon to be followed by the third. I really really mean it this time. I want very much for the band to have that."

MM: "Lady Loveland will be making an appearance at Tap & Bottle on Valentines Day! We're also trying to put some other things together for the future, but we don't want to take away too much of the mystery, stay tuned to find out!"

DF: "We do have plans for a recording; we've been looking for the opportunity to do it live. That's a bit tough when you have such a large group that is in a different configuration almost every gig. There's definitely a decent chunk of the current repertoire that hasn't been formally recorded yet.

TS: Tell us about Lady Loveland

DB: "Lady Loveland is one of my favorite things ever, but it's better for them to tell you about it themselves. It belongs to them."

MM: "Lady Loveland has been a dream of Dave's for a long time. And we're so happy to be going into the third show for that concept. All of the women who have participated in all of the different combinations have been just great, not only as musicians, but as human beings. Dave really wanted to showcase the female talent in this town, because he didn't feel like we got enough credit.I think that's an attitude that's quickly changing in this town, but I do feel that Dave's vision is part of the reason for that shift."

TS: Tell us about Loveland's role in the upcoming Beatles tribute at Club Congress.

DB: "I think we're playing last. I am almost certain that that is so we don't run too long and mess up everybody's time slot, but Rich Hopkins called it 'headlining.' I like Rich, he really is a sweet guy. This is a great thing he does, and we're just happy to be a part of it."

MM: "We don't want to give too much away on that, but I would like to say that I'm pretty excited about how reversals have been coming together. That's definitely something you won't want to miss."

DF: "We'll be exploring the Americana/standards side of the Beatles catalog, or at least that's the plan. I'll also be playing the show with Amy Mendoza & the Strange Vacation and sitting in on one song with Mark Insley."

TS: Other upcoming events and gigs?

DB: "Oh gosh, I guess I already answered that! One other thing we do have planned is a live record."

MM: "Keeping track of everything that's going on with Loveland and the other various projects each member is involved in can be challenging.  There's so much talent, and it get's around.  I recommend following Roy the Cat on Facebook. He does a great job!"

Doug: "After the Beatles tribute comes the Valentine's Day show that's half Lady Loveland and half full Loveland. I think that's it for what's on the books but there always seem to be more gigs right around the corner."

Get Back! A Beatles Tribute and Casa Maria Benefit featuring Loveland (and a fabulous assortment of other Tucson bands) takes place at Club Congress this Wednesday night, Jan. 30, at 7 p.m.

J.T.Rivers' Wild Ride 

Your friendly neighborhood music columnist first encountered J.T. Rivers and his psych rock band Dogmatic Addict at a long ago Sky Bar local band night. 

The weeknight showcase had been a long one and the lineup was a bit disjointed, so your trusty scribe was a tad exhausted and planning to head home, when she was lured back into the venue by the purple hazy gorgeous fuzzy riffs of an obvious worshipper at the altar of Saint Jimi.

These days, J.T. Rivers is a fixture at "Roach Ranch" house shows and still as fuzzy and Hendrixy as ever. I’m going to start with the question I ask pretty much all local musicians. How'd you fall in love with music?

J.T. Rivers: “Growing up in the late '90s, MTV was the place to go for music and that's where I was exposed to the Gorillaz, Limp Bizkit, Eminem, Snoop Dogg, and Rage Against the Machine. It was simply magic how melody made me feel. Shortly after that, I found my mom's record collection which consisted of old school rap, soul music, and gospel. I begged my mom for a guitar that Christmas, and sure enough I got one!”

 “I didn't really take [music] seriously until I discovered the music of Jimi Hendrix. His style absolutely blew me away, and after that I was so hungry to learn the guitar that I taught myself by ear and got good very quickly.

“My first band was a ska group called the Extricated in which I played trombone. At the same time I was rediscovering guitar music - and witnessing how cool my buddy Alex looked rocking out as the guitarist in that band!  Between Hendrix and Alex, it was the perfect storm. If it weren't for that period in my life I'd likely not be here talking to you today. Now I've fallen in love with dreamy distorted guitars and enchanted leads like Dinosaur Jr, My Bloody Valentine, and Smashing Pumpkins.”

"My number one inspiration is without question Jimi Hendrix. But before I paid any mind to that legend there were bands like Linkin Park, Built To Spill, Blink 182, Hüsker Dü, Souls of Mischief, Dinosaur Jr, A Tribe Called Quest, NoFX, Me First and the Gimme Gimmes. Also, Reel Big Fish, David Bowie and even jazz artists like Bill Watrous and John Coltrane. It's been an eclectic musical journey for me.”

TS: What made you make the leap from guitar crazy kid to professional musician?

JTR: “Let's call me 'semi-pro.' My friend Bryan Thomas Parker is a true pro because he grinds it out making his living in music. Go check him out!”

“I started playing shows purely for the high of feeding off of a crowd’s energy. Nothing like it! My gymnastic antics on stage purely reflect what I feel the audience is giving me. Now that I have made a little bit of a name for myself locally I do make some money here and there, but I will have to keep cutting carpet for now.”

“The  journey so far has been way more wild than I could ever anticipate! It's surreal considering I only sought out music for the joy of creating and satisfying myself as an artist. The fact that it reaches people and provides something for them is a very nice cherry on top that I'm extremely thankful for.”

TS: How would you describe your music?

JTR: “Pop rock guitar hooks often hidden under a layer of velvet chainsaw fuzz guitars, and somewhere between ironic falsetto vocals and downright temper tantrum screaming.’

 “Irony and autobiographical analysis are big in my lyrics. That is mostly the formula with my band, Dogmatic Addict. My solo music is typically a cross between shimmering, clean guitars with Ringo like pop drums, and desperate vocal performances. I'm a brutal perfectionist with my recordings and not until recently have I had the equipment to make music that is of sonic fidelity that I wouldn't be totally embarrassed to release.”

TS: Any favorite local venues and bands?

JTR: “As far as venues go there have been so many fantastic spots to come and go. Most recently Cans. Frank Bair crafted the most epic sound design for Dogmatic Addict there. I'll never forget that.”

“Gary's Place was epic. The Rialto brings that beautiful classic concert hall feel to downtown, right along with the epic vibes of Club Congress.”

“My friend Joby runs a house venue called 'Roach Ranch' that is, low key, the most popping music scene in town. My favorite bands right now in the Old Pueblo are Taco Sauce, Black Medicine, Alien Jacket, Bruja and the Coyote, and Lethal Injektion.” 

TS: Any future plans?

JTR: “My future plans are simply to wrap up the music I've been recording and to share it amongst the local music scene, both online and in the live circuit. 

TS: Favorite gig of all time?

JTR: “Definitely December 31st, 2015, at 'The Ballroom' which was a (now defunct) local house show venue. With the help of our friend Lucille, Dogmatic Addict played a blistering set that captured an energy that I've yet to feel again. It was a true rockstar moment for us, if only for 45 minutes. An unforgettable night!”

TS: Tell us about the Harm Reduction Show series. 

JTR: “Joby is seriously the most caring, stand up dude I know. He runs the Roach Ranch here in town (his home) where he has assembled one hell of a crowd of kids that all come out to hear music in the name of harm reduction and unity.”

“I jumped at the opportunity to be a part of it. The donations provide for clean needles, fentanyl test strips, HIV testing advocacy, and mental health support for people that are struggling with these things locally. He has achieved so much. Proud to call that dude a friend. Reach out to Joby De La Rosa on Facebook, donate, and come out to shows!”

TS: What’s next?

JTR: “My next show is January 28 at the next Harm Reduction House Show! Also, I'm always recording both solo and with Dogmatic Addict so anticipate new music dropping very soon. Follow JT Rivers and Dogmatic Addict on social media. Stay updated - you won't be disappointed.

TS: Anything else you want to share?

JTR: “Tucson has an AMAZING music scene. Let's become another Seattle 1991?”

J.T. Rivers plays the Harm Reduction House Show with Sauced Up! and Tonight's Sunshine on Sunday, Jan. 27, at 7:30 p.m. at local house pary venue Roach Ranch. Contact the bands via social media for details!

Listening in with Joyce Luna 

Tucsonan by way of New England Joyce Luna was bit hard by the folk bug as a kid and the feeling never left. But how does one make a mark as a folkie in a rock and roll world? Well, pretty much the way guitar slinging troubadours have been doing it since Dylan first went acoustic: by starting her own series of shows. This week your trusty columnist checked in to learn more about Luna's Fourth Saturday Concert series. You play mainly in the acoustic and folk/folk rock tradition vs. mainstream indie pop or rock. But what's your full musical background? How'd you get the music bug? 

JL: "I had brothers and sisters who were a lot older than me, so I would hear them playing James Taylor and the Beatles and Joni Mitchell and CSNY records. When you’re listening to contemporary folk and acoustic music, it’s all about the song and the story and the voice. Everything else is there to support it—even though James Taylor and Joni Mitchell are amazing guitarists and Carole King and Aretha Franklin played a mean piano, it’s not usually the primary reason people are listening to their music or going to their concerts. Songs that were about expressing emotions and telling personal stories captured my attention. And I have always been especially drawn to beautiful voices and singers who either write their own music or put their individual stamp on any cover that they do, rather than trying to replicate the original."

"The stories sung in the wonderful voices of so many of those '70s-era singer-songwriters pulled me in and gave me an escape from the chaos of my household. And as I got older, I also understood more of the social issues that many of those folks were writing about. Hearing music about social justice issues — and not just by the more folkey artists but also Marvin Gaye and Sly & the Family Stone & John Lennon and so on — that had been played on mainstream radio (which does not really happen anymore), gave me a blueprint of how music is entertainment but also inspires and educates and challenges us.

TS: How'd your Listening Series come about?

JL: "When I started playing music in my twenties, it was in the north east part of the country. It seemed that every small town and city there had a monthly concert series featuring folk and acoustic music. And there were lots of small music clubs that would see anywhere from 50 to 200 people. At all of these places, there would be a cover charge or ticket price, and the primary reason people would go would be to listen to the music. If any of them served food or alcohol, that was secondary to coming for the show."

"When I moved here, it was completely different. Most places advertise free music with no cover. And music was often the backdrop for eating and drinking and chatting. I never played for tips until I move to Tucson! And that’s not necessarily a bad thing. But, as a singer-songwriter, I was really longing for a true concert experience at least some of the time, where people are giving their full attention to the music.Strangely, there were no small Listening Room-type venues until Exo started doing some shows like that. And, though they are doing more solo or singer-songwriter based shows now, at that time they were doing a larger bands and groups. So, I decided I should stop complaining about it and see if I could start something monthly where I got to play and I also got to share the evening with musicians I really respect in Tucson." 

"The first concert was my album release show; after not finding a venue that had a date open soon enough and that was a listening room, I decided to rent a space and do it that way. That show went really well, so I decided to see if I could do something like that monthly. Thus '4th Saturday Listening Room Concerts with Joyce Luna & Friends' was born."

TS: How have people in the local music community responded so far? 

JL: "I’ve gotten great feedback from the folks who’ve attended the concerts, and I’m having a wonderful time sharing the stage with different musicians each month. So I’ve continued to do it monthly. And the cool thing is that there’s a community forming of folks who come each time, as well as well folks who might attend a specific concert only. Although of course I always hope that they’ll return for others."

TS: How important is it for us to create these opportunities (like the listening series) when they don't exist to begin with? How does it help creatively and in terms of building networks?

JL: "I think it’s hugely important! If I am going to talk about festivals or venues or music series that either don’t have parity in gender and racial and ethnic representation, I might as well spend that energy in creating something where I can walk my talk and show people that it can be done. And that it can be lucrative. And that people will come to the shows." 

TS: In the mainstream rock scene, there seems to be more and more gender parity as women pick up instruments from a younger age. Are folk and traditional music circles similar or different these days? How can we as artists do more to balance things?

JL: "I don’t do traditional pop or rock music so I cannot speak to that. In terms of contemporary folk an Americana music, last year when conversations were started about who was tending to headline at our local Folk Festival, I looked at the lineups of various folk festivals all over the country and noticed there was a lot of gender and racial diversity in the artists that were headlining. When I looked at bluegrass and Americana and rock festivals, not so much. In fact, I was quite shocked at the lack of women being hired. Brandi Carlile wrote last year about how things are going backwards, in terms of less and less women being booked as headliners at festivals but also at larger venues.There’s this myth that women won’t draw a large crowd. Or that we can’t command a larger stage. All people have to do to see how blatantly untrue this is to go see some of the concerts at the Fox this year such as the female trio I’m With Her and Joan Baez. Women are selling out shows when given the opportunity to have them!"

"It’s never been so much that less women play music, whether instruments or as lead vocalists. It’s about whether female artists can get the jobs in bands or can get bookings when they are either solo artists or the leader of a band. I encourage folks to look at the venues in their own cities and towns and see how they are doing in terms of gender and racial/ ethnic representation.  And then they can make up their own minds about how we’re doing with all of that.

"I’ve noticed that there are a few women who are now booking some of the smaller venues in town. And there are also some men who book venues in Tucson who are working really hard to hire more women performers. So now those of us who are music fans, and I certainly am somebody who loves to go out to hear live music! We have to support those venues by turning out for the shows."

"For those of us who crave more places to play that have a listening room/concert setup as listeners and as performers, I think it’s up to us to create those places and to support the ones already in existence. Exo has become that kind of venue. And with the rise in local wineries and local breweries with tasting rooms, the owners and managers of those places know that if they have live music some nights of the week, that will draw more people in. So, some of those are becoming Listening Room environments as well. Sand-Reckoner is a great example of that, they have beautiful wine, local artisanal foods, and a space with great acoustics. And there are other spaces like this at which I’ll be playing over the next few months. I enjoy those gigs because I can do my favorite covers as well as originals and I can try out new material in a supportive atmosphere."

TS: What's involved in making the Listening Series nights happen?

JL: "It’s a bit scary, to commit to renting a space. To cover the rent and compensate musicians, I'm using the model that I learned from the monthly coffeehouse series prototype that suggests a donation at the door with the motto, 'more if you can and less if you can’t, no one turned away for the inability to pay.' This promotes the two ideals in which I deeply believe: that everyone should have access to live local music regardless of income level, and that musicians should get paid for their work."

TS: Thoughts on the subject of compensation rates in the arts?

JL: "Music and the arts is the only area where there is this prevalent idea that because we love what we do, we don’t really need to get paid for it. No one says to a doctor or a lawyer or a furniture maker, hey you love what you do so, so I’m sure you don’t need to be paid for it! And believe me, being a performing singer-songwriter is extremely hard work. There is so much unpaid time involved, from writing songs to booking concerts to rehearsing for those concerts to lugging sound equipment to the shows and unloading and loading back up at the end of the night. Coming up with setlists. Driving to various venues. Hours spent on publicity for each show. Practice, practice, practice. And even the time on stage is hard work! Musicians are constantly battling repetitive strain injuries.

"Yes, we love what we do. This would not be a job to do if you don’t love it. It’s hard physically and hard emotionally, since we’re constantly opening ourselves up to potential criticism. Patients don’t get to observe a surgeon doing surgery and critique his or her every move. Accountants don’t have clients standing over their shoulders and watching them do calculations. But we have people observing us closely as we do our work! It’s quite nerve-racking, even though we love it. If we live in a society that believes people should be compensated for employment, whether or not we love what we do, then music and art of all kinds should fall into that category as well."

TS: When's the next edition of the Listening Series?

JL: "This Saturday is the first 4th Saturday Listening Room concert of 2019. It’s a split bill with Teodoro Ted Ramirez, where we will each do a full set of music as well as do a couple of songs together. Ted is a real treasure in Tucson. He comes from a family that has lived in Tucson for generations, and he has played with a couple of generations of Ronstadts. He writes his own music as well as performing traditional music from his Tucson, Mexican and indigenous roots. And I will do mostly originals, with a couple of my favorite covers sprinkled in. It should be a special night and I hope everyone reading this can join us! The concert starts at 7 p.m. and the doors open at 6:30.

This month's Fourth Saturday Listening Room with Joyce Luna and Teodoro Ted Ramirez takes place at Congregation Chaverim in East Tucson Saturday night, Jan 26 at 7 p.m. 

Wooden Tooth at bat!

It’s that Bat time! Bisbee’s funnest and finest (and an unapologetic fave of this column) The Exbats are releasing their newest vinyl this month - a full-length vinyl compilation of their best tracks to date. 

The ‘bats are also gleefully and joyously at work on new recordings at Midtown Island Studio and if we’re very lucky, we might get to hear a taste of them this Saturday night at the all ages E is for Exbats vinyl release show at Wooden Tooth Records. The last couple of Exbats live shows were a beautiful Club Congress floor show and a Saint Charles pool room glorious, noisy, ecstatic mess and either flavor of show is bound to be a blast, complete with  bass player Bobby Carlson’s TWGS bandmates pogoing and singing along in true punk spirit. 

In addition to the Exbats show, Wooden Tooth is hitting the road for a pair of offsite events - inyl nights. Wooden Tooth Records Vinyl Night takes place at Tucson Hop Shop this Friday night and Wooden Tooth DJ night at Che’s Lounge later in the week on Thursday, Jan 31. Support your local vinyl purveyors!

The E is for Exbats record release show takes place at Wooden Tooth Records this Saturday night, Jan. 26, at 8 p.m. The all-ages show is free! 

Wooden Tooth Vinyl night at Tucson Hop Shop takes place Friday night, Jan 25 at 5 p.m. and Wooden Tooth DJ night at Che’s Lounge kicks off Thursday night, Jan. 31 at 8 p.m.

Check your local listings...

Friday, Jan. 25

  • Gabe Rozzell - 7 p.m. Che's Lounge 
  • Wooden Tooth DJ night - 5 p.m. Tucson Hop Shop
  • Jacob Acosta Band - 6 p.m. Playground
  • Still Life Telescope, Miller's Planet, The Time Being - 7 p.m. House Of Bards
  • The Living Deads, Taco Sauce, Pigmy Death Ray - 8 p.m. Sky Bar
  • Naim's Jazz Trio - 8 p.m. Exo
  • Black Cat Bones - 9 p.m. Chicago Bar
  • Cicada, The Acoustinists, Kimberly Scarsella - 9 p.m. Brodie's 
  • Rhea Butcher - 8 p.m. 191 Toole
  • Whitey Morgan - 7 p.m. Rialto

Saturday, Jan. 26

  • E is for Exbats Vinyl Release Show - 8 p.m. Wooden Tooth Records
  • Speakeasy Sessions - 6 p.m. Dillinger Brewing
  • Fourth Saturday Listening Series w/ Joyce Luna, Ted Ramirez - 7 p.m. Congregation Chaverim
  • Febbo Fuentes, Bones Brothers - 9 p.m. Saint Charles
  • Infinite Beauties, Eric Underwood, Eugene Boronow Duo - 9:30 p.m. Sky Bar
  • Hunny and Hockey Dad - 7 p.m. Club Congress
  • Greg Brown - 7:30 p.m. 191 Toole
  • Fab Four Tribute - 8 p.m. Rialto

Sunday, Jan. 27

  • Juliana Warkentin - 1 p.m. El Saguarito
  • BreakingGlass - 6 p.m. Che's
  • Jacques Taylor and the Real Deal - 7 p.m. Royal Sun
  • Willetta, Language Barrier, Amateur Palm Trees - 8 p.m. District Eatz
  • Supersucker's 30th Anniversary - 8 p.m. Club Congress
  • Harm Reduction House Show: JT Rivers, Tonight's Sunshine, Sauced Up! - 7:30 p.m. Roach Ranch (private house show - contact bands for an invite or details)
  • History Has Its Eyes On You: Hamilton Revue - 7 p.m. Rialto

Monday, Jan. 28

  • Black Market Trust - 7 p.m. Club Congress

Tuesday, Jan. 29

  • Duster - 8 p.m. Club Congress
  • Paris Monster, Turkuaz - 7:30 p.m. 191 Toole
  • Blackberry Smoke - 8 p.m. Rialto

Wednesday, Jan. 30

  • Get Back: Beatlers Tribute - 7 p.m. Club Congress
  • Tucson Poetry Festival KickOff  - 7 p.m. Owls Club

Thursday, Jan. 31

  • Wooden Tooth DJ NIght - 8 p.m. Che's Lounge

Each week this column compiles a choice selection of live gigs in and around Tucson with the help of good venue and band event announcements and other resources. If you've got a gig coming up and you'd like your event listed in this space (or if your local band has a major announcement or a new release) drop me a line at


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