KIP MOORE .......................  Charlie Worsham & Sam Hunt

CMT On Tour 2014: Up In Smoke

KIP MOORE ....................... Charlie Worsham & Sam Hunt

Sat, October 25, 2014

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

$22.00 - $86.91

Tickets at the Door

This event is 18 and over

Outdoors - Seating is Limited, and Available on a First Come, First Served Basis. 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. $22 Advance/$25 Day of Show

KIP MOORE - (Set time: 10:45 PM)
Singer-songwriter Kip Moore combines a raw and rustic voice with compelling lyrics of honesty to create a unique sound that's simultaneously hypnotic and edgy. His voice is weathered by life's detours and disappointments and strengthened by his dreams and determination. His music is infused with relentless intensity, both of passion and frustration.

The boy who grew up daydreaming about life outside of the small town of Tifton, Ga., became a man who has been continually inspired by Bruce Springsteen and Kris Kristofferson to paint vivid portraits with his lyrics.

"I am not drawn to the fairytale kind of love," says Kip, who had a hand in writing every song on his debut album. "I am drawn to the real-life experiences between a woman and a man. I try to sing about the way it is, but yet at the same time, what you can hope for between a couple. I don't intend to paint of picture of what it's really not."

His music powerfully captures some of the contradictions that he grapples with personally. Although he's from a large family and enjoys musical collaborations and performing onstage, he's an introvert who is often more comfortable being alone. "There's a combativeness to the music too, a fight within," he says. "With 'Faith When I Fall,' I know how bad I need that spiritual realm, but yet I find myself on this other end a lot of times."

Despite its edge, his music remains desperately optimistic. "I am hoping for what I have yet to become," he says. "I feel like it's hopeful for what I've yet reached, how I look forward to feeling, but I haven't gotten there yet.

"I have truly lived my music to a sense, even the milestones I haven't reached yet," he says. "I have been in those moments. I've been at those crossroads with a girl: 'Are we going to take that next step?' I look forward to taking that next step, but I haven't wanted to yet. I look forward to being ready for that."

He was born in Tifton, near the Florida line, and was one of six children, the youngest boy who had three younger sisters. "You had to make your own fun, for sure," he says of Tifton. "I had a lot of time for daydreaming. It was a great town, but I dreamed about getting out. I do enjoy going back now."

His father was a golf pro and his mother was a painter who used anything handy for a canvas, whether it was cake plates or baby crates. She also taught piano and played the church organ. "I can remember sleeping in the pews," he recalls. "She would bring us blankets and give us a coloring book and we'd sit there while she played."

Weekends were often spent driving to the beach with his father for fishing expeditions. "He would play a lot of Jackson Browne, Willie Nelson, Bob Seger, Tom Petty and Bruce Springsteen," he says. "As early as I can remember, I always gravitated toward lyrics. Even when I hadn't lived enough to understand them, they still shaped me. "

During high school, he secretly began playing his brother's guitar because he was intimidated by the talent of his mother and older brother. "I would play when nobody was around, just figuring out stuff, watching his hands and trying to do the same thing."

He played point guard for Wallace State's basketball team and also played on its golf team in Hanceville, Ala., for two years and then transferred to Valdolsta State University on a golf scholarship. He wrote songs daily and joined a band that performed throughout the South, providing him with all of his income. "I was one of those kinds who didn't know what I wanted to do with my life," he says. "I didn't know music was an option. Maybe it was one of those things where I didn't quite believe in myself enough."

Although he devoted every free moment to music during college, his parents still didn't know about his musical activities. "They were all shocked when they found out about it because they didn't know I could sing or play," he says.

After graduation and a short stint as a bartender on St. Simon's Island, he moved to Hawaii on a whim with just a backpack, a surfboard and a friend. They slept on an airport bench the first night and then lucked into a hut that was $50 a month. They would walk or hitchhike the mile to the beach daily. After six months of this tropical paradise, Kip thought he had found his permanent home until his friend encouraged him to pursue songwriting as a living.

"I didn't know a whole lot about the world of songwriting," he says. "I just did it for my own enjoyment. We talked about Nashville and I ended up saying, 'I'm going to give it a shot.' I flew back home and told my folks. They thought I was crazy. Now they'll say different, that they knew all along."

He drove to Nashville on Jan. 1, 2004 in an old black Nissan truck that contained one bag and his guitar. He immersed himself in the songwriting community, observing songwriters' rounds for two years and honing his craft before gaining the confidence to join in. After four years of performing locally, he caught the attention of Creative Artist Agency's Marc Dennis, who called Universal Music Group Nashville's Joe Fisher. Not only did Joe's encounter lead to his record deal with MCA Nashville, but it also brought about his introduction to songwriter Brett James, who produced Kip's debut album.

"Brett gave me the freedom to find who I was as an artist, the freedom for writing a different kind of thing, a different kind of melody and lyric," he says. "He gave me room to grow."

He also found important relationships with songwriters Dan Couch, Scott Steppakoff, Westin Davis and Kiefer Thompson, two of whom didn't have publishing deals when he began writing with them. "There was definitely a special thing when we got in the room together," Kip says. "I got offers to write with a lot of the bigger guns in town, but I enjoyed what I was doing with them. They were open to my ideas of being different."

And different his debut project is, as evidenced by the album's first single, "Mary Was the Marrying Kind," the story of the one who got away. The dreamy and spell-binding song is the true story of one of Kip's friends, who returned to his hometown after about six years and saw the once tall, lanky girl who had since come into her own and become a model.

"It's the story of what every man in this world goes through at some point," he says. "It's the story of the one that got away that you should have paid attention to. Every town, every city, everybody knows one. Every girl believes they are Mary."

The anthemic "Drive Me Crazy" is the story of two troubled teens who find a safe harbor in each other, if only for a few fleeting moments. "They are the getaway car for each other from everyday life," he says. "When they're together, what they live in is in the rear-view mirror and it's just one big infatuation love story that lasts for a very short time.

With its irresistible bass line and drums, "Up All Night" is about continuing to live life to its fullest. "'Up All Night' is the story of not wanting to give into your age and how life is supposed to be lived once you reach a certain age," he says.

When Kip plays shows, he's often asked for advice by aspiring songwriters. "Everybody's experience is different, but I do believe it has to be the only thing," he says. "I don't think it can be a gray line. Either you want it and there's nothing else or it's not going to happen."

For instance, Kip was offered a sales position with an enticing salary, but it required working six days a week, leaving no time for creating music. "You come to the crossroads: do you really want this? Are you willing to sacrifice everything, including relationships? I can't tell you how many relationships have been doomed from the get-go because of this.

"It only took me a few minutes to decline it. It's such a risk and it's an alone feeling – you feel like you're on an island by yourself – but it's worth every single minute. Had I taken that job, I wouldn't be sitting here today."
Charlie Worsham - (Set time: 9:30 PM)
Charlie Worsham
For the last seven years, singer-songwriter Charlie Worsham has devoted himself to honing his musical vision by collaborating with many of the most innovative musicians in Nashville today, working as both a session player and writer, while serving as a central member of a high-profile band of players. Now, the 27-year-old multi-instrumentalist is gearing up to release his debut album – Rubberband on August 20th via Warner Bros. Records – which not only reveals his refined musical talent, but announces Worsham as a country artist of uncommon ingenuity, substance, and soul. Joined by musicians carefully assembled through his years of dedication to the Nashville scene, as well as through his studies at Berklee College of Music, Worsham infuses each track on Rubberband with a reverence for country’s rich heritage while ultimately delivering a bold sound entirely his own.

“They say you’ve got your whole life to make your first record, and that couldn’t ring more true for me,” says Worsham of Rubberband, which he co-produced with Ryan Tyndell and recorded at engineer Eric Masse’s East Nashville studio. “On this album I took so many things I’d wanted to say in song form for years, and channeled them into lyrics and melodies and guitar solos in a way that shows my influences but also takes some crazy turns.” Worsham also draws immense inspiration from artists of remarkable longevity, such as Vince Gill and Marty Stuart (who once gave Worsham an autograph reading “Follow your heart”—a message Worsham later tattooed onto his arm).

Boundary-pushing but endlessly catchy, Rubberband offers a selection of songs that integrate elements of bluegrass, country, pop and rock and roll. The album also finds Worsham revamping classic country with intricate arrangements, left-of-center flourishes (including guest vocals by indie vocalist Madi Diaz), and deeply inventive riffs. On the album’s title track, “Rubberband,” for instance, Worsham sets the groove with a low-toned guitar lick created by the extremely-warped loose tuning of his E string. “Could It Be,” the album’s first single, opens with a shimmering, delicate tumble of notes achieved with an in-studio experiment playing slide on the mandolin, leading into soaring harmonies. An incurable self-proclaimed gear hound, Worsham favors playing his 1963 Martin D-28 through a pedal board and amplifying the guitar, resulting in a sound that’s a startling departure from traditional acoustic playing.

Along with creating the lushly textured soundscapes on the album, each of Worsham’s songs have a heart-on-your-sleeve emotionalism that showcases his natural storytelling ability. On “Trouble Is,” he weaves scorching electric guitar into delicate acoustic plucking while detailing an encounter with a dangerously irresistible object of affection (“I spend days building up walls/Just for you to tear down/With one touch of your hand”). And on “Mississippi in July,” Worsham spins a gorgeously rendered and regret-soaked tale of returning home for an old flame’s wedding (“My heart might as well be one of those cans tied to the back of your limousine/It was hanging by a thread so I went ahead and cut the string”).

As a songwriter, Worsham builds those varied moods and sounds by mining his expansive musical background and venturing into new sonic territory at the same time. According to Worsham, that sense of adventurousness is fueled by a passion for music that arose at a very early age. “One of my earliest memories of music is going to see my dad play in a local band—he’s a banker by trade, but a drummer at heart,” says Worsham, who grew up 100 miles south of Memphis in Grenada, Mississippi. “During sound check I sat in his lap and hit the drums, and that’s the first time I got the bug to make music.” Worsham began taking piano lessons in kindergarten, and in second grade caught a performance by bluegrass banjo player Mike Snider while visiting Opryland with his family. “When we got home my parents bought me a banjo and got me lessons. After that, I got into the habit of taking on a new instrument every year, including the guitar, mandolin and fiddle,” Worsham recalls. He won the Junior National Banjo Championship at age 12 and later that year, joined Snider on stage at the Grand Ole Opry.

In high school, Worsham scored his first electric guitar by busking in front of a guitar shop to raise the final hundred bucks on the price tag and joined a band. After graduating, he headed for Berklee, but left after two and a half years to move to Nashville to pursue music. Along with working as a writer—as well as a session musician for Eric Church, Dierks Bentley, and others artists—Worsham continued penning his own songs and recording demos, eventually landing a deal with Warner Music Nashville and opening on tour for the likes of Taylor Swift and Miranda Lambert.

Considering Worsham’s musical history, it’s no wonder that Rubberband emerges as such a sophisticated yet refreshingly simple collection of songs. “For me, the best songwriting comes when you get out of your own way and let the lyrics and music happen together,” he says. “Those moments are pretty elusive—they kind of strike like lightning—but when it happens, it’s amazing.” And in the recording studio, he adds, a number of “beautiful accidents” went a long way in helping to shape the album’s sound. “It’s that sort of unplanned thing that happens when old friends and new friends get in a room and make music together,” Worsham explains.

That sense of community—and the creativity it breeds—is crucial to Worsham as he forges ahead with his musical career. “I feel really lucky to have been a part of the Nashville music scene for a while now and have worn all these different hats. I gained a broader perspective on the importance of surrounding yourself with other musicians you know and trust,” he says. “One of my main goals as a musician is to respect the past of country music as well as its future.” Worsham adds, “I hope that I can someday be one of those folks who represent the music in a greater sense, and carry it somewhere forward that’s different and exciting.”
Sam Hunt - (Set time: 9:00 PM)
Sam Hunt
Hailing from rural Cedartown, Georgia - Sam Hunt is quickly becoming one of Nashville's most talked about young talents.

After finishing his football career as quarterback for the University of Alabama Birmingham - Sam made the move to Nashville to try his hand at songwriting.

Shortly after settling into the Nashville scene, he was given the
opportunity to write full-time for a publisher. Using the work ethic and discipline he accrued as a ball player, Sam began to develop his craft and quickly gained recognition as a gifted songwriter.

Sam made a name for himself in the country music community cowriting Kenny Chesney's #1 single "Come Over", as well as upcoming singles "Cop Car"/Keith Urban and "We Are Tonight"/Billy Currington. He is currently writing/recording songs for his debut album - due out in 2014.

Sam's sound owes it's roots to country music but has an eclectic style that's based on pop, urban, folk and R&B influences.

He's currently bringing his high-energy live show to eager fans on a winter/spring tour and his hometown anthem "Raised On It" is giving the world a taste of what's to come!
Venue Information:
John T. Floore Country Store
14492 Old Bandera Rd.
Helotes, TX, 78023