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SUMMARY:Hailey Whitters with Special Guest Emily Nenni
DESCRIPTION:Under 21 with guardian \nHailey Whitters has an endearing habit of suggesting she’s perennially late to the party. “I’ve always just felt like a late bloomer\,” she says\, with a sigh that turns into a laugh. \nWith the release of her debut album Black Sheep (October 2\, 2015 via Carnival Music)\, Whitters proves she was well worth the wait. Produced by ace session guitarist Derek Wells\, Black Sheep is a soulful collection that turns sad stories into bold celebrations of people society often shames\, layered over honky tonk and rootsy rock. \n“It’s been really therapeutic for me to put it out\,” Whitters says of the album. “Just being able to know what I want to say and get that out to people has been cool on my end.” \nWhitters grew up in Shueyville\, Iowa\, population just shy of 600. “It’s such a little town. It’s getting bigger\, but we don’t even have a post office\,” she says. “We have two bars\, a wine cellar\, and a church.” \nThe oldest of six children born to a large Catholic family\, Whitters grew up a determined but unexpected artist\, drawn to songs and singers but unsure why. “I didn’t grow up in a super musical family\,” she says. “I just had a weird inkling to do music.” The Dixie Chicks\, Trisha Yearwood\, Patty Loveless\, and other women who drove 90s country radio were her gateway heroines\, which led to a deep dive into classic country\, and ultimately\, Americana storytellers such as Patty Griffin\, John Prine\, and Gillian Welch. \n“I took my first trip to Nashville when I was 16 and fell in love\,” Whitters says. “I immediately knew I wanted to move here.” A year later\, she did. She also enrolled in college\, and paid her proverbial dues as a nanny\, waitress\, and salon receptionist before signing with left-of-center lighthouse Carnival Music in 2012. \n“When I was younger\, I just mimicked people that I admired\,” Whitters says. “I learned how to tell a story.” With an arresting voice effortlessly rooted in honky tonk’s long tradition of angelic sopranos who are equally comfortable mourning and raising hell\, she has spent the last several years discovering that she has something of her own to say––along with a unique way to say it. \nWhitters often writes and sings songs that detail the search for acceptance––of self or of others––sometimes dreamily\, other times with rollicking irreverence. Features in No Depression and The Bluegrass Situation\, a Daytrotter Session\, several nods on 2016 artists-to-watch lists\, and other praise have introduced her to a larger audience\, who has responded with open arms. “I love to hear from people about how one of my songs has touched them. It just makes me feel like I’m doing something bigger than myself\,” she says. \nBlack Sheep’s title track\, written with the Wrights’ Adam Wright\, moodily canvasses the rewards and frustrations of sticking out\, and ultimately offers a defiant resolution keep going her own way. “I feel that way a lot\, especially in this town\,” she says. “To do what nobody’s doing…it’s kind of cool\, fuel for the fire. It’s invigorating to be different.” \nThe guitar-soaked stroll “Late Bloomer” is an autobiographical ode to lollygagging in a variety of situations. “I was the oldest of six\, so I was very naïve\, I felt like\,” she says. “But I finally came to accept that it’s actually okay to figure out who you are and what you want later in life.” \nWhitters penned live-show standout “One More Hell” alone after her little brother was killed in a car accident. “He was 19. It was awful\,” she says. “I went home to be with my family\, and we went out West that summer. We had no plan\, just got in the car and drove. It was really good being all together––we all just kind of disappeared for a month.” She sat down to write when she got back to Nashville\, and “One More Hell” came quickly. “The first time I ever played it live\, this stranger in the front row was bawling\,” she says. “It’s a sad song\, but it’s kind of a happy song\, I always say––people just feel it.” \nWhitters takes the only two songs on the album she didn’t write––“City Girl” and “Pocket Change”––and owns them confidently. Her blithe version of “City Girl\,” written by the Wrights\, was featured in the 2015 season ofNashville\, while her interpretation of Mando Saenz’s indignant “Pocket Change” gives the song a droll feminine spin. \nWritten by Whitters alone\, stunner “Low All Afternoon” takes pity on a jilted other woman. Forlorn but commiserative\, the song tells a true story Whitters witnessed a friend endure. “I like to write without a hook in mind sometimes––to just let the song move toward what it’s trying to say\,” she says. “That’s how I approached this one. For about three months\, I’d work on it\, leave it\, and then come back to it. That was a luxury.” \nMartina McBride heard “Low All Afternoon” and recorded the song for her upcoming album\, gifting Whitters with the first cut of her career. When asked about song’s journey\, Whitters is grateful and amazed. “They say this doesn’t happen much anymore––a song written alone\, a waltz\, a ballad––being cut\,” she says. “I feel like I created something real and honest\, and it’s been so rewarding.” \nLately\, Whitters has taken to gigging all over the country. She joined the lineup at the 30A Songwriters Festival for the first time and makes her SXSW debut this spring. She’s opened shows for acts ranging from Randy Houser to Chris Knight\, and is sincerely grateful for every opportunity. “I will play just about anywhere\,” she says with a laugh. “There’s something about getting out on the road and traveling that I just love.” \nWinning over a crowd delivers an inimitable high for Whitters\, who relishes connecting live. “I love performing ‘One More Hell\,’” she says. “You think no one’s listening\, and then the middle of that song\, you see them raise their beer glasses in the air and know that they’re listening and that you’re all on the same page.” \n“I’m a risk taker\,” Whitters says. “My friends always laugh because I’m kind of one extreme or the other. I’m not really a middle ground kind of person. You take these risks\, and then the reward is just…” She trails off for a moment. “I feel like the part that feels so awesome about it afterwards is knowing that you were scared to do it\, but then you did — and it paid off.” \nhttps://haileywhitters.com/ \nEmily Nenni\n \nEmily Nenni has a confession: she didn’t always plan on being a performing artist. “I thought I was just going to be a songwriter\,” she admits. Clearly\, life had something else in store. The singer and guitarist has emerged as one of the freshest and most electrifying voices in Nashville\, with a sound rooted in classic honky-tonk and spiked with serious country\, soul and rock ‘n’ roll fire\, and sweet-and-sassy lyrics that chronicle hard living\, hot nights\, heartbreak and other universal truths about the human condition. Over the past several years she’s enraptured audiences across Music City with sizzling sets in smoky bars and clubs\, honing her command of the stage\, perfecting her skills as a band leader and sharpening an already astute world view\, all of which are on full display on her newest studio album\, Drive & Cry.The record is a marked departure from her previous full-length\, 2022’s celebrated On the Ranch. Whereas that effort saw Nenni uproot herself to lend a hand – and write – while assisting at a ranch in southern Colorado\, Drive & Cry drops the listener smack in the middle of her boisterous and bustling Nashville world. The album kicks off with “Get to Know Ya\,” a honky-tonk rave-up that celebrates the end of the work day and the beginning of a music-filled\, come-what-may night. Nenni busts out her biggest hoops\, jumps into the jeans she can “really only stand up in\,” and heads to the local bar. “Play ‘til the sun’ll come / when the daylight’s done\,” she sings as the instrumental accompaniment races in step behind her. \nFrom there\, Nenni leads into “Greatest Hits\,” a pedal-steel-inflected Dolly Parton-style number in which she tips her hat to underground honky-tonk venue Santa’s Pub\, a dive bar squeezed inside a double-wide trailer that has become her home-away-from-home in Nashville. “When I first came to town\, I was 21 and singing at clubs with folks who were twice my age\,” Nenni recalls of moving to Music City from her native California. “Then a buddy of mine said\, ‘There’s a place where people are making this music that are actually your age\, and where you’d really fit in.’ And that was Santa’s Pub. It’s where I learned that music doesn’t have to be perfect – everybody is just having fun and there’s no judgment. You can show up however you’re feeling that night\, have a good time and be surrounded by friends.” \nA stellar cast of those friends stepped up to assist Nenni on Drive & Cry\, beginning with producer John James Tourville of New West labelmates the Deslondes. “He brought in half the musicians and I brought in half\,” Nenni says. “And he gave me so much space to make the record that I wanted to make.” \nIt’s a record that is her most personal to date. Save for an album-closing cover of Terry Allen’s classic “Amarillo Highway” (a staple of her Sunday-night sets at Santa’s)\, Nenni penned the remainder of the dozen tracks entirely on her own. “It’s the first time I’ve done that\,” she says. “I had a few weeks alone at my house in Nashville\, and I just sat with all my thoughts and feelings from the last couple years and put it all down. So this is an album that’s truly ‘me.’ ” \nThe results put the full range of Nenni’s singular musical voice on display\, from the soaring “Changes\,” influenced by her love of Sixties girl groups\, to the swampy\, strutting empowerment anthem “I Don’t Have to Like You\,” in which she declares “I’m a grown-ass woman and I don’t trust a word you coo.” There’s also the Tina Turner homage “I Don’t Need You” (“Got my own boots to fill and you know I will\,” Nenni assures)\, the wistful\, late-night honky-tonk ode “We Sure Could Two Step\,” and the playful title track\, in which\, over a tight country-funk groove\, Nenni jokes\, “Don’t you worry ‘bout me / I’m gonna have a bawl.” It’s a lighthearted lyric\, but one that is\, like everything on the album\, true to Nenni’s life. “I do actually cry a fair bit\, and I love to do it while I’m driving\,” she admits. \nNenni will have plenty of opportunities for that in the near future\, as she plans to take Drive & Cry on tour\, far and wide. “I love to be on the road\,” she says. “I love to be with my buds\, I love to play shows\, and I love to make people happy and make people cry with my music. That’s what truly makes me happy\, too.” \nNenni laughs. “So I maybe never thought I’d be a performer\, but I sure am glad that I am. \nhttps://www.emilynenni.com/
URL:https://b1047.com/concert/hailey-whitters-with-special-guest-emily-nenni/
LOCATION:Knuckleheads\, 2715 Rochester Ave.\, Kansas City\, MO\, 64120\, United States
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DTSTART;TZID=America/Chicago:20250925T200000
DTEND;TZID=America/Chicago:20250925T230000
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SUMMARY:Charles Wesley Godwin
DESCRIPTION:The Lonely Mountain Town Tour \nWith Special Guest Kolton Moore and the Clever Few \nAll Ages\nSupport acts subject to change.\nWear your Cotillion merch and jump to the front of the GA line. Coat check is open during events to check your coats\, hats\, merch and more. Coat check is located next to merch by the front doors. All sales are final. No exchanges or refunds unless a show is cancelled or postponed.  \nFollowing Charles Wesley Godwin’s 2023 critically acclaimed Family Ties — a highly personal\, 17-song diary-like LP that was both universally praised and catapulted the West Virginian singer-songwriter to new heights in his career — the rising musician now returns with a stunning 7-track EP\, Lonely Mountain Town\, due out February 28\, via Big Loud. A quieter\, more contemplative affair than Family Ties\, Lonely Mountain Town contains some of the most thrilling songs of Godwin’s career. Written principally on the road\, Lonely Mountain Town is at its heart a collection of on-the-move snapshots and quiet moments in life set to tune: these are tales of a traditional country-songwriting mindset. Godwin worked on the EP with key collaborators\, from his longtime producer\, guitarist and bandmate\, Al Torrence\, to his Big Loud labelmate ERNEST (“Dead To Rights”)\, and even one of his musical heroes\, Scott Avett (a cover of Jason Molina’s “Hammer Down”). \nGodwin has been on a steady upward climb following his beloved debut album\, 2019’s Seneca. Alongside his longtime band\, the Allegheny High\, the musician has developed a reputation as a thrilling and beautifully raucous live performer. In 2024\, Godwin appeared on ESPN’s Sportscenter\, performed on The Late Show with Stephen Colbert\, Jimmy Kimmel Live! and CBS Saturday Sessions. He also made his Stagecoach and Bonnaroo debuts. This year\, Godwin returns to the road for a slew of sold-out shows in conjunction with the release of Lonely Mountain Town.
URL:https://b1047.com/concert/charles-wesley-godwin-2/
LOCATION:The Cotillion\, 11120 W. Kellogg St.\, Wichita\, KS\, 67209\, United States
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