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KNITTING FACTORY ENTERTAINMENT

Whiskey Myers, Brent Cobb

Events

Jun 27 Thu
Whiskey Myers, Brent Cobb8:00 PM | Doors: 7:00 PM
919 W. Sprague Avenue, Spokane, WA
All Ages
Every ticket for this show includes a physical CD of Whiskey Myers forthcoming album. You will receive an email with instructions on how to redeem this offer approximately 7 days after your ticket purchase.

Whiskey Myers

It would be an understatement to say that a lot has happened since Whiskey Myers was last in the recording studio. Over two whirlwind years, the gritty Texas band hit #1 on the iTunes Country Chart with their breakout third album 'Early  Morning  Shakes,'  earned raves everywhere from Rolling Stone to USA Today, and toured the US and UK relentlessly, slaying massive festival crowds and sharing stages with Lynyrd Skynyrd,  Hank Williams Jr.,  Jamey Johnson, and more along the way. You'd  be forgiven, then,  for expecting things to work a little differently this time around when the  band  reunited with acclaimed producer Dave  Cobb for their stellar new album, 'Mud.' But as  it turns out, success doesn't change a Southern gentleman, and they don't come any more Southern than Whiskey Myers.
 
Fueled by larger-than-life performances honed tight from countless nights on the road, 'Mud' finds the band scaling new heights of songwriting and musicianship, with searing guitars, soulful vocals, and indelible hooks. While their approach to the music and humble, hard-working attitudes may not have altered, there have been developments   in the Whiskey Myers world, most notably with the arrival of new faces. For the recording sessions, the band's five founding members—Cody Cannon on lead vocals and guitar, Cody Tate and John Jeffers on guitars, Gary Brown on bass, and Jeff Hogg on drums—fleshed out their sound with the addition of fiddler/keyboard player  Jon Knudson and percussionist Tony Kent, who are both now full-time members.
 
"They bring a great energy, and I think it's really helped our sound and makes the band more versatile," explains Cannon. "There's less room onstage now, but sometimes a family grows."
 
A glance through Whiskey Myers' lyrics will show you that Cannon is a man who chooses his words carefully, so it's little surprise that he describes the band as a family. The tight-knit group's roots stretch back decades into the red dirt of East Texas, where Cannon, Jeffers, and Tate first began playing together before rounding out their initial lineup with the addition Hogg and Brown (who is Cannon's actual cousin). They built up   a rabid local following on the strength of their 2008 debut album, 'Road Of Life,' and then notched their first #1 on the Texas Music Charts with their 2011 follow-up 'Firewater.' It was 'Early Morning Shakes,' though, that introduced the rest of the world  to what Texas already knew. The album cracked the Top 10 on the Billboard Country Chart, a remarkable feat for a fiercely independent band and a testament to their rigorous DIY work ethic and endless supply of passion and drive. Esquire called them "the real damn deal," while Country Weekly said they combine "greasy Southern rock riffs with countrified songwriting and Texas grit for something wholly unique," and Playboy dubbed them "the new bad boys of country music."
 
Even in the face of their rapidly-growing profile and expanding lineup, the band found they were able to pick up exactly where they left off when they returned to the studio for 'Mud.'
 
"We don’t want a high stress situation, and we don’t want to feel uncomfortable while we're recording, because we want to make sure everybody can get into their creative mode," explains Brown. "Dave has a laid back attitude as far as making music and that fits right in with the way we work. His ear is similar to ours and he has the same kind    of vision for what the music should sound like."
 
What the music sounds like is raw, visceral emotion: pride, faith, desire, defiance. The songs on 'Mud' are stories of ordinary men and women standing up for their families

and honoring their roots. Home is sacred ground for Whiskey Myers, not just a plot of land, but rather the cornerstone of an identity worth dying  for.  Fiddle-led  album opener "On The River" steps back to frontier times when the struggle for survival was a daily one, while the epic title track promises a home-foreclosing banker "Ain’t no man gonna take it away / Because it's deep down in my blood / So step across the ol'  property line / And you’ll die right here in the mud." "Frogman," written with Rich Robinson of the Black Crowes, follows a Southern man halfway around the world, as he risks his life to defend freedom and fight terror in the Middle East as a Navy Seal, and the Darrell Scott co-write "Trailer We Call Home" finds the beauty in simple things, concluding, "Times get tough but love is strong / Here in this trailer that we call    home."
 
"Where you come from and where you grew up influences your music a  lot," says Cannon. "As a band, we don't go into the studio with any preconceived theme. You just sit down and you write and the songs come out naturally."
 
As a result, Whiskey Myers' music fits neatly into no genre. Sure, it's heavily influenced by country music ("My first record was 'The Pressure Is On' / Ain’t it funny how your life can change with a song" Cannon sings on "Hank"), but the band credits everything from Alan Jackson and Waylon Jennings to Led Zeppelin and Nirvana as inspiration. "Some    Of Your  Love" channels old-school soul, while the bright, punchy horns of "Lightning  Bugs And Rain" flirts with Rolling Stones swagger, and "Good Ole' Days" captures a stripped-down, folky vibe, as the whole band sat in a circle singing together live. It all adds up to what Cannon perhaps describes best as "no frills, no bullshit rock and roll."
 
"The equipment we used on the recording process for this one was really important to the sound, too" he adds. "Dave has these amazing old amps and  we  recorded  everything to tape for the first time. The piano was from, like, 1904 or something, and  I don't think it's been tuned since. Little things like that make a big difference. It   sounds authentic when you actually use the real, old gear."
 
In the end, there may be no better word for Whiskey Myers than authentic. This music   is in their blood, and it flows as naturally from them as a spring feeding a mountain creek. While a record this good is sure to send their (lone)star rising higher than ever before, you can rest assured that success still won't be changing this band any time  soon. They make music they're proud of that celebrates where they come from and makes people feel good. As far as they're concerned, that's all the success anyone    could ever ask for.
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Brent Cobb

With a Grammy-nominated album under his belt, Brent Cobb spent most of 2017 on the road, touring behind his major label debut, Shine On Rainy Day. It was a hard time to not be inspired. Anchored by southern storytelling and swampy,country-soul swagger,Shine On Rainy Day had become a critical and commercial hit, earning Cobb a long string of shows with artistslike Chris Stapleton and Margo Price. He embraced the road-warrior lifestyle, picking up ideas for new songs every time his band hit the highway.
 
Somewhere between the whirl of shows, hotels, and truck stops, Providence Canyonbegan taking shape. During breaks in the band’s schedule, Cobb would return to Nashville—his hometown for a decade, ever since he left his childhood stomping grounds of rural Georgia—and head over to RCA Studio A. There, in an historic studio run by his cousin, producer Dave Cobb, he brewed up a sound that nodded to his previous material while still pushing forward. The songs were faster. More upbeat. More personal, too. Together, they formed his sophomore album, 2018’s Providence Canyon.
 
Named after a Georgian gully that Cobb often visited as a teenager,Providence Canyon is an evocative, electrified album about a life lived on the run. There are road songs, half-lit drinking tunes, tributes to friends and family, and nostalgic nods to one’s younger years. There are songs about returning home and songs about getting the hell out of dodge. Gluing everything together is the unforced country croon and sharp songwriting of Brent Cobb, who credits his recent touring history for inspiring the album’s quicker pace.
 
“I’ve always liked the funkier side of country and the funkier side of rock,” he explains. “Those influences have been a part of me for years, but they’re really coming to the forefront now. When you’re touring with Chris Stapleton, and you’re performing to a crowd of 10,000 people before he hits the stage, you find yourself wanting to play something upbeat.”
 
If Shine On Rainy Day felt like a laidback country album for front-porch picking sessions, then Providence Canyon is built for something bigger. This is music for juke joints, pool halls, and roadhouses, filled with electric guitar (performed by Cobb’s touring bandmate, Mike Harris), B3 organ, percussive groove, and co-ed harmonies. And while the album’s recording sessions were spread out across an entire year, each song was captured in a small number of takes, with Brent and Dave Cobb relying on 
instinct and spur-of-the-moment ideas. The two cousins may have grown up on opposite sides of Georgia, but they share similar backgrounds and musical instincts—two qualities that lend an earthy authenticity to these 11 songs of the south.
 
“It’s in the blood,” Brent says of his connection to his cousin— who, in addition to producing Shine on Rainy Day, has also overseen award-winning records for Jason Isbell, Sturgill Simpson, and Chris Stapleton. “We didn’t grow up together,but we’re so similar in our approaches. It’s important to me to do this with him, because these songs are about the places I’m from, the places I’ve visited, and the people who’ve taken me there. My family is all over these songs.”
 
Songs like “Loreen” and “Come Home Soon” were partially inspired by Cobb’s daughter, while “King of Alabama” was written in honor of a close family friend, songwriter Wayne Mills, who passed away in 2013. “I keep his chain in my pocket, his son in my prayers / Every stage I’m on, I can feel him there,” Cobb sings during the latter song, which pays tribute not only to Mills’ life, but also to the struggle of roadbound musicians everywhere. During the final chorus, Cobb promises to honor Mills’ legacy by doing the very thing Mills did best: creating real, raw music. He urges his audience to do the same. “Honky-tonk’s the trick,” he sings. “Get a guitar and grab a pick / Let the old tunes possess you, and play.”
 
On the drawling, guitar-driven “Mornin’s Gonna Come” and “Sucker for a Good Time,” Cobb battles against the temptations of the road, where the drinks are free and the nights are long. He doubles down on his commitment to his wife and daughter with “Ain’t a Road Too Long,” whose mix of Bible Belt boogie-woogie and Southern rock channels influences like the Band. Then, on the album’s breezy title track, he casts his mind back to his teenage years, when a trip to Providence Canyon—a 150-feet gorge in the sandy clay of southwest Georgia, less than an hour’s drive from Cobb’s hometown—was enough to remind him of life’s fleeting, precious nature. “The night won’t last forever, after all,” he sings during the song’s chorus, while pedal steel and acoustic guitars chime in the background.
 
Technically one of the oldest songs in Brent Cobb’s catalog, “Providence Canyon” (like the album that borrows its name) glorifies the thrill of hitting the open road, while also pining for the comfort and safety of home. Those themes permeate the album. For Cobb—a longtime touring musician who’d already logged years on the road before Shine on Rainy Day’s success—there’s never been a better time to explore the interlocking worlds of family, work, home, the highway, and wanderlust. Providence Canyon is the soundtrack to that journey.
 
“Growing up, I didn’t know the definition of ‘providence,’” he admits. “I looked it up in my early 20s, and the definition is something like ‘the protective power of God—or nature—as a spiritual power.’ When I read that, it inspired the whole song. I was 23 at the time, and I missed the old days and the freedom of youth. Years later, I still try to keep my music honest and somehow sacred, which is why Providence Canyonfelt like the appropriate title for this collection of songs. Maybe it’s got something to do with the recurring feeling of me wanting to get home all the time, even while I’m enjoying my shows more than ever. Maybe home is a providence canyon in itself.”
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