Listings are in the opposite order of appearance: headliner is listed at the top, next is the support band(s), and the last band listed is the opener.
Friday January 21
<<<rescheduled from 2/19/2021 <from 5/22/20
8:30PM doors -- music at 9:00PM
••• 21 AND OVER
punk, country, rock
Scott H. Biram [co-headlining]
blues, punk, country, heaby metal
Rod Gator --------- HeWhoCannotBeNamed is off the bill
-from Seattle, WA
-At a time when many alternative rock bands were either filtering hard rock tropes through a filter of irony (such as Urge Overkill, Big Chief, and Redd Kross) or reworking them into grunge (like Soundgarden, Pearl Jam, or Stone Temple Pilots), the Supersuckers stood out as a band who approached their music with tongue firmly in cheek while still making it clear they loved arena-ready hard rock, both for its absurdity and for its punch-to-the-gut power. Playing like they should be in a 20,000-seat arena even when they were playing bars that held 200 people, the Supersuckers sounded like the bastard sons of Foghat, AC/DC, and ZZ Top after being weaned on punk rock, unafraid of massive guitar riffs, outsized personalities, or pledging allegiance to sex, weed, and Satan with a wink and a nudge. Rising to nationwide recognition while signed to Sub Pop, they made their debut as a rather ordinary punk band with 1992's The Smoke of Hell, then dove head-first into speedy hard rock with 1994's La Mano Cornuda and 1995's The Sacrilicious Sounds of the Supersuckers; they then detoured into reefer-addled country with 1997's Must've Been High. While their Sub Pop era contained most of their best work, they were still capable of making their sound work in the studio, particularly on 2003's raucous Motherfuckers Be Trippin' and 2008's (relatively) thoughtful Get It Together.
The Supersuckers were formed in Tucson, Arizona, in 1988 by high school friends Eddie Spaghetti (born Edward Carlyle Daly III, bass, vocals), Ron Heathman (guitar), Dan "Thunder" Bolton (guitar), Dancing Eagle (born Dan Seigal, drums), and Eric Martin (lead vocals). After playing the local scene for about a year under the name the Black Supersuckers (taken from a pornographic novel), the band moved to Seattle, ostensibly in search of a climate more conducive to leather jackets. Martin left the band not long after, and Eddie Spaghetti took his place on lead vocals. Shortening their name to the Supersuckers, the band recorded singles for several indie labels, including eMpTy, Sympathy for the Record Industry, and Lucky; these were collected on the eMpTy compilation The Songs All Sound the Same, which became the band's first CD release in 1992. That year, they signed to Sub Pop and issued their proper debut album, The Smoke of Hell, which was produced by Jack Endino and featured cover art by renowned comic artist Daniel Clowes. Featuring one of the band's best-known songs in "Coattail Rider," the record also spun off the single "Hell City, Hell," whose B-side was a fan-favorite cover of Ice Cube's "Dead Homiez."
The Supersuckers came into their own with their second album, 1994's La Mano Cornuda, whose title translates as "the horned hand" (i.e., of Satan). It featured signature songs like "Creepy Jackalope Eye" and "She's My Bitch," and is still regarded by many fans as the band's best. Following its release, Heathman temporarily left the group due to drug problems and was replaced by one-time Didjits guitarist Rick Sims on their next album, 1995's The Sacrilicious Sounds of the Supersuckers. Produced by the Butthole Surfers' Paul Leary, the album was noticeably different from the Supersuckers' usual pedal-to-the-metal roar, owing to Heathman's absence, despite some worthy additions to the group's catalog (like "Born with a Tail"). Fortunately, Heathman made a full recovery and rejoined the band for 1997's Must've Been High, a full-fledged excursion into country music that even featured a guest appearance from Willie Nelson. It was released concurrently with a five-song EP that featured country maverick Steve Earle fronting the band.
After issuing their country project, the Supersuckers signed a major-label deal with Interscope. Unfortunately, in the wake of some massive label mergers at the time, Interscope underwent a restructuring and wound up dropping the band without ever releasing the straight-ahead rock & roll album they had recorded. Strongly disenchanted by the experience, the Supersuckers landed on the small Twenty14.com label and finally recorded the proper follow-up to Sacrilicious, recycling some of the material from their ill-fated Interscope debut. The result, The Evil Powers of Rock 'n' Roll, was released in late 1999, and featured the band's affectionate look back on their high school days in Tucson, "Santa Rita High." The same year, Sub Pop issued a generous 27-track retrospective of the Supersuckers' stay on the label, How the Supersuckers Became the Greatest Rock and Roll Band in the World. After contributing two songs (including a collaboration with Pearl Jam's Eddie Vedder) to the benefit album Free the West Memphis 3 in 2000, the group cut a split-LP with Electric Frankenstein in 2001.
Burned by Interscope and seeking a permanent home, the Supersuckers formed their own label, Mid Fi, in 2002, and inaugurated it with a live document of their country phase, Must've Been Live. A new, hard-rocking studio album, Motherfuckers Be Trippin', followed in 2003. After its release, longtime drummer Dan Siegel left the group and was replaced by Mike Musburger. While tinkering with a new studio album, the Supersuckers kept the Mid Fi release schedule full with a pair of archival live albums and a collection of singles and non-album material, Devil's Food. The Paid EP and Live at Bart's CD Cellar & Record Shop followed in 2006. 2008 saw the release of Get It Together, one of the band's strongest and most thoughtful releases to date, which also returned Dan Siegel to the lineup. The Supersuckers took a breather as Eddie Spaghetti released a pair of solo albums through Bloodshot Records, and didn't return until 2014, when Steamhammer Records released the tough, hard rock set Get the Hell, which featured Spaghetti and Bolton joined by new members Metal Marty Chandler on guitar and Captain Von Streicher on drums.
In June 2015, it was announced that Spaghetti had been diagnosed with Stage 3 oropharynx cancer, which impacts the back of the throat, close to the tongue and tonsils. Undaunted, Spaghetti underwent surgery and radiation treatments, and the Supersuckers were back with a new album in October 2015, the country-leaning Holdin' the Bag. The album debuted a new three-piece lineup of the Supersuckers, with Bolton out of the band and Spaghetti, Chandler, and von Streicher still on board. The group were back in fighting shape for 2018's Suck It, which found the Supersuckers once again flying the flag for hard rock, and they sounded even stronger on 2020's Play That Rock N' Roll, which included a revved-up cover of Ernie K-Doe's R&B classic "A Certain Girl" as a bonus track. ~ Steve Huey
Scott H. Biram
-from Austin, TX
- Scott H. Biram unleashes a fervent display of conviction through, not only the genuine blues, classic country, bluegrass, and rock n roll, but he seals the deal with punk, heavy metal, and frankly, anything else he wants to. He’s The Dirty Old One Man Band. He will still the room with haunting South Texas blues, then turn it upside down, into a truck driver's mosh pit. Like he says, it might be baptism, or it might be murder, either way...you gonna see the light.
This legally ordained preacher’s singing, yodeling, growling, leering and brash preachin' and hollerin' is accompanied by sloppy riffs, and licks literally yanked, one at a time, out of his collection of crusty, worn out, Gibson hollowbody guitars, and battle axes. All this held down with a pounding backbeat brought forth by his amplified left foot, and self customed stomp board. The remainder of this brutally charming one-man band consists of an unwieldy combination of beat-up amplifiers and old microphones strung together by a tangled mess of guitar cables. Don’t get too close! You gonna get some grease on ya! Years of compulsive touring, along with a steady diet of down and dirty blues, rock, punk, country, and hillbilly have developed Scott H. Biram's signature concoction, attracting a hefty array of fans who dig the bizarre and twisted sides of the rock and roll spectrum. His live shows, performed all over the world, deliver a take no prisoners attitude, a stomping, pulsing John Lee Hooker-channeling, and cockeyed tales of black water baptisms and murder, all while romanticizing the on-the-road lifestyle. SCOTT H. BIRAM IS THE DIRTY OLD ONE MAN BAND.
Rod Gator --------- HeWhoCannotBeNamed is off the bill
-from Austin, TX
- You can take the Gator out of Louisiana, but you can't take Louisiana out of the Gator.
Years before launching his career as an internationally-celebrated southern songwriter, Rod Gator grew up in the Louisiana backcountry, making trips to his family's crayfish pond while absorbing the sounds, stories, and swampy swagger of his surroundings.
"My dad is an old-school Cajun guy who wanted to name me 'Gator,'" he says. "He's got a good sense of humor, and I think he was also a big fan of Burt Reynolds' Gator films, which were a hit at the drive-ins in the '70s."
Gator's mother didn't approve of the suggestion, and the boy was christened "Rod Melancon" instead. It was under that name that he first made his stand as a musician, releasing four albums — including 2019's critically-lauded Pinkville — that blended Louisiana soul with greasy country-rock, Texas blues, and electrified funk. Rod's music didn't just nod to the American South; it created its own sonic geography, too, channeling everything from the dark, cinematic sweep of Los Angeles (where he moved as an 18 year- old actor) to the amplified twang of Austin (his adopted hometown for nearly half a decade). With 2021's For Louisiana, he blends that diverse sound with sharply-written songs that take a hard look at his old stomping grounds. This isn't just a love letter to Louisiana — it's also an examination of the state's hard-to-love struggles with social justice, political reform, and natural disasters.
For a frontman who's at the top of his game — writing every song, leading a multi-cultural band of road warriors, and whipping up his own musical gumbo — there's never been a better time to level up while still embracing his roots. That's why he's adopting a new name. A name with humor, heritage, and a bit of a bite: Rod Gator.
"For Louisiana is a product of where I grew up and where I've been since I left town," Gator says, speaking in the southern drawl he picked up during his childhood in Vermilion Parrish. "It's also a product of a group of players from different backgrounds, coming together to create. Any time you have a unique group of musicians from all kinds of cultures, the sound is going to be special. That's emblematic of Louisiana, too. It's emblematic of the Cajun people."
These are the strongest performances of his career, laced with Muscle Shoals-worthy grooves, overdriven amplifiers, sharp storytelling, and Gator's unique blend of spoken- word delivery and southern crooning. He doesn't just sing; he rasps, twangs, talks, and howls, dipping into his background as an actor for a larger-than-life approach that's every bit as evocative as the songs' arrangements. There's something equally cinematic about songs like the moody, guitar-driven "Chickenhawk" (a war song delivered from a military man's perspective), the funky "Mermentau Bridge" (a nostalgic look at the places we're from, and the vices that are slow to leave us), and the heartland-rock title track, all of which were co-produced by longtime collaborator (and son of Emmy-winning composer Snuffy Walden) Will Walden along with GRAMMY®-nominated producer and Black Pumas leader, Adrian Quesada. Meanwhile, "August 29" is a talking-blues anthem punctuated by Stax- sized organs and thick vocal harmonies — the sort of song that might have blasted from the AM radio dial of a muscle car as it pulled into the drive-in for a Gator showing — and
"Out Here in Echo Park" is a slow-building, piano-driven power ballad fit for slow dances and lighters hoisted into the air.
The first album to be tracked at Quesada's new studio, Electric Deluxe Recorders, For Louisiana also features contributions from Melancon's longtime drummer, Adam Nurre, and Black Pumas' keyboardist, JaRon Marshall. On an album that's heavy with A-list collaborators, though, it's Rod Gator who swims to the top. His source material may be heavy — with songs inspired by the aftermath of Hurricane Katrina, the murder of George Floyd, and the long-simmering racial tensions that continue to plague Louisiana — but his writing is elevated, full of the cadence, characters, and charisma of his home state. For Louisiana is equal parts love letter to the motherland and rallying cry for cultural progress, delivered by a Bayou State export who's still happy to let his freak flag fly."