Gary Allan

Gary Allan

Shane Smith & the Saints

Fri, May 19, 2017

Doors: 7:00 pm / Show: 9:00 pm

$35.00 - $40.00

This event is 18 and over

Outdoors - Standing Room Only. All Minors Will Be Charged an Additional $5 At the Door. Rain or Shine Show. General Admission. 17 & Under Admitted with Parent or Guardian Only. $35 Advance/$40 Day of Show

Gary Allan - (Set time: 10:30 PM)
Gary Allan
Dictionary.com defines freedom as "the power to determine action without restraint."

Thus, Gary Allan’s Set You Free is a perfectly named, well-conceived album that embodies his own evolution toward personal, creative freedom. The album, sequenced with a storyline in which a man breaks the restraints of a failed relationship and conquers the loneliness of its aftermath, is the result of Allan’s own journey as a man and as an artist.

He took a number of new steps during the recording process – by mixing up the production team, playing lead guitar on a number of tracks, writing more of his own material and using a handful of new co-writers. As a result, he came up with the most optimistic album of his career, one that acknowledges the hurdles of the past and the ways in which they’ve helped to shape his current sense of renewal.

"It’s all about healing," Allan says. "It’s all about the evolution of getting better."

He has, to be sure, drawn heavily from that viewpoint, mixing honky-tonk bravado and grainy isolation across eight previous studio albums, all the while mining the emotional turf that fuels a life well-lived: the joys of parenting, the heartache of personal loss, the testosterone of disagreement and the unpredictability of love. He registered four #1 singles – "Man To Man," "Tough Little Boys," "Nothing On But The Radio" and "Watching Airplanes" – in addition to such trademark hits such as the lonely "Best I Ever Had" and the swaggering "Right Where I Need To Be." Allan’s amassed seven gold albums in the process – three of them certified platinum, as well – and maintained the admiration of critics for his unwavering uniqueness.

Set You Free is at once familiar and enlightening. Fans who have followed Allan throughout his 17-year recording career will recognize the dark crevasses in the project – the gnarled anger of "Bones," the honest self-examination of "It Ain’t The Whiskey," the sinister self-abuse of "Sand In My Soul."

But as the album’s cinematic plot unfolds, it opens into a refreshing glimpse of self-acceptance. Allan falls into a carefree, quasi-reggae groove on the upbeat "No Worries." He couches past suffering as a tool for a promising future in the driving, penultimate "Pieces." And he closes the album with a dramatic, lush proclamation, "Good As New."

That latter title sums up the emotional place in which Allan finds himself, and he attributes much of it to music.

"There’s no better thing than to have all your best friends come over and to talk about the emotions that you’re having," Allan says. "Songwriting is the best therapy in the world."

Allan is also good as new in a literal, physical way. Set You Free is the first album he recorded since the removal of a polyp on his vocal cords that had doggedly restricted his range, his strength and his expression. The issue was discovered almost by accident during a routine checkup with a Nashville voice doctor. But it explained why his concerts had ever so gradually become a test of his endurance.

"Every time I would go out before the surgery, I would only last full force for about three songs," he says. "I could feel the fatigue, and I could feel my cords swell up, and I had other people hitting notes for me. They removed the polyp, and it was like I was 18 again. It was amazing how well it worked."

The difference is noticeable. There’s always been a gritty, gravelly edge to his performances, but confident that his voice will respond, Allan pushes himself on Set You Free, singing with more command, authority and pliability than he has in years.
Able to challenge himself vocally, he found other ways to draw from his creative muse. He devoted more time to writing songs and explored a new avenue by co-writing for the first time with a series of women. Of the five songs he penned, four are co-written with three different women – Sarah Buxton, Hillary Lindsey and Rachel Proctor – a step that unlocked an undefinable energy.

He particularly enjoyed many of the songs he wrote with Lindsey, who’s written a bevy of successful country titles in the last decade, including Carrie Underwood’s "Jesus, Take The Wheel," and Lady Antebellum’s "American Honey."

"Every time I’ve written with her and my buddy Matt Warren, we end up with like nine starts of a song, because it seemed like we were always branching off into some other subject," Allan notes. "Then we’d come back and we’d write one or two of those and have four or five more ideas. Eventually, we would come back and finish writing one or two more of those. It’s an amazing thing that we have. We’ve written nine or ten songs, but we’ve only been written together three times. It’s quality. Once you get those kind of rhythm going, you try to ride it out the best you can."

Their efforts included "Every Storm (Runs Out Of Rain)," the first single from the album – which features Lindsey as the harmony vocalist. It marks the first time a woman has provided the backing vocals on one of Allan’s singles, providing a softer contrast to his roughed-edged, ultra-masculine tone.

"Every Storm," in fact, is a distillation of the entire album, as well as the renewal that accompanied it. The singer bravely faces all of his demons – "Don’t be afraid of the thorns / ‘Cause we all have thorns" – as he moves forward, ending the chorus by hitting an extended high note on a line that just happens to be the album’s title, "Set you free."

"That line," Allan muses, "says so much."

The Southern California-born Allan has been exploring the thorns since the beginning of his musical life, when he played the clubs during his high school years. After graduation, he developed a following in the area, regularly attracting an audience that featured a rare mix of rednecks in western
boots and neo-Goths with piercings and spiked hair. Allan was particularly inspired in a concert by the Highwaymen – Waylon Jennings, Willie Nelson, Johnny Cash and Kris Kristofferson – to pursue music that mined the dangerous side of life.

"They were so powerful," Allan reflects. "It was like punk rock to me. It was so hardcore. I really, really wanted to be a part of that lifestyle."

In Set You Free, Allan found even greater artistic clarity, building a cohesive narrative from a collection of songs directed by three different producers. Longtime friend Mark Wright (Gretchen Wilson, Lee Ann Womack) tracked three songs, while the versatile and mysterious Jay Joyce (Eric Church, Cage The Elephant, The Wallflowers) turned in five and Allan co-produced the final four with engineer Greg Droman (Brooks & Dunn, True Blood theme).

"Getting in and doing it myself with some of my band guys was a big deal," Allan observes. "It was a big breath of fresh air."
Which is what Set You Free represents. The album’s lyrical journey from darkness to light reflects much of what went on behind it – the progression of Allan’s own life as an adult, the restoration of his voice, the renewed energy from working with new songwriting partners and the challenge of producing his own tracks and playing his own lead guitar. All of those changes have given him a new sense of freedom.

"I seem to gravitate musically toward wherever I’m at in my life at that time," Allan says. "And I’m in a real good place."
Shane Smith & the Saints - (Set time: 9:00 PM)
Shane Smith & the Saints
Play just the first 10 seconds of "The Mountain," which opens Geronimo, the latest and most ambitious release from Shane Smith & The Saints. Robust a cappella, four-part harmonies set the stage for a saga of family tragedy, a young son's revenge and a blaze burning eternally in a Pennsylvania mine. The vivid lyrics, powerful vocals and thumping four-beat drums throughout this song are reason enough for lovers of creative roots music to celebrate.

From their home base in Austin through performances across the country (17 states) and abroad (Ireland), these five gentlemen have not just stuck stubbornly to their musical and lyrical convictions. They've defied audience expectations by delivering incendiary shows, each one ignited by the band's ability to unleash, feed from and feed back the energy of the crowd -- in spite of the fact that they don't fit easily into any musical category.

With Geronimo, they've dared themselves to exceed their own expectations.

Each song begins with Smith creating its "bones," in the form of chords and lyrics. He then joins fiddler Bennett Brown, lead guitarist Tim Allen, bassist Chase Satterwhite and drummer Bryan McGrath in the studio to bring those bones to life. Aside from a bit of cello, some horns and a few keyboard parts, the band lays down each note on Geronimo. Their ability to bring songs to life has even earned them opportunities to record instrumental tracks for other artists.

Smith's ability to draw images from everyday life into poetry goes back to his earliest days in Terrell, Texas, an hour east of Dallas.

"There was an old Catholic church right next to our house," he recalls. "To this day, I remember those church bells ringing. In fact, I use that reference in a song from Geronimo called 'Suzannah,' which is about a guy who's fighting a war and is thinking of his hometown -- and he also remembers being raised with a church bell ringing on the hour every day."

Before he ever thought of himself as a songwriter, Smith was concerned mainly with tennis. He played for the formidable program at Tyler Junior College before transferring to St. Edwards University in Austin, Texas. Smith soon began getting into music as well, playing solo gigs in local bars. And he began writing, inspired by looking at life as it played out around him.


"I'd be in a restaurant and overhear someone saying something, and I'll have to excuse myself, walk outside and write a note to myself about it," he says. "These days, I make little iPhone recordings. The other day I made one about this homeless guy I saw by the side of the road out in the middle of nowhere. He was dirty and worn out but he was picking these gorgeous flowers. I constantly see moments and images and statements, put them in the bank and have them there to reflect on and make into honest lyrics down the road."

Even when he writes a love song, Smith almost can't help but turn the mundane into something transcendent. On Geronimo, he does this with "All I See Is You": "The storm's running through the Midwest like a bandit on the loose. / All the clouds are black as night and all I see is you. / The rain's pouring through the window panes and the cracks of this roof. / Tea's boiling from the spout of the pot, but all I see is you."

Recorded and self-produced while on the road throughout Austin, Dallas and Nashville, Geronimo weaves these images into story lines, each enhancing the other, together coming alive. "I love trying to tell stories through songs," Smith observes. "There's something that fascinates me about echoing old tales in songs to carry them on for years and years, like old folk songs."

And so we travel with a newly freed slave in the nineteenth century, hearing the music and feeling the exuberance of dancing in Congo Square on "New Orleans." We feel the rueful reflection from a sinner who "spent time on the wrong side of the church door" on "Right Side of the Ground." We stand shoulder to shoulder with the Alamo's doomed heroes as their final seconds near on "Crockett's Prayer." And the title track serves a dual purpose, taking us to a heroic time and place while making a broader statement about this project.

“On one end, it is an attempt to pay tribute to the life of Geronimo, the Apache warrior,” says Smith. “I've always been fascinated by Geronimo and the principles he stood for. This also presented the perfect opportunity to relate the term 'Geronimo' with our intensions of this album and the 'jumping from a cliff' idea that it symbolizes. If we are going to attempt a career in music, this album is our commitment to give it everything we've got.”

“Our goal with this album was never to put out a bunch of catchy singles and be all over the radio,” explains Smith. “It was to set us apart, with meaningful lyrics, huge harmonies and the sound of a hard-working band that has played some crappy gigs and come out stronger for it. We always had the options to either make a 'safe' record or put something out that sounds like us and no one else.”

"We took that second option and named it Geronimo."
Venue Information:
John T. Floore Country Store
14492 Old Bandera Rd.
Helotes, TX, 78023