Formed in 2014 by singer/songwriter Justin Taylor, the JTB underwent several changes in lineup before finally solidifying its sound. With J.T. fronting the band’s unique Texas Country sound, lead guitarist and backing vocalist Chris Fregia, bassist Michael Gorsuch, and drummer Greyson Smith, blend traditional country roots with modern influences and southern flair to deliver a remarkably singular style. Refreshingly youthful and invigoratingly energetic; this is one country show like you’ve never seen before!
Hailing from Deer Park, TX, The Justin Taylor Band hit the Texas Country Music scene hard in at the beginning of 2016 with their single, “Moonlit Night”. That summer, they released their first music video, “Trouble in the Dark” which featured as an exclusive on Texas Music Pickers. A month later, the band released their first EP and hit an impressive #72 on the iTunes Country Charts. With a solid country heart, a finely tuned sound, and fiery guitar licks, the JTB is a well-oiled machine that has taken the Texas Country Music scene by storm. Check out their current single, “Wide Eyed and Seventeen”.
The Good Heart
“The Good Heart is a 4 piece band out of Houston, Tx. They pride
themselves on their live performance and bold blend of many genres .
The Good Heart brings Southern Alternative Rock to the stage with deep
90’s roots combined with some underlying indie tones, but always with
a southern feel. Lyricism is not lost on The Good Heart, as they write
about real life experiences that are honest, emotional, and relatable.
TGH is a group of fun loving guys, always looking to crack a cold one
and have a good time. It’s all about the love of the music and
providing an escape for their listeners.”
THE CADILLAC THREE
It may be a ballsy move for The Cadillac Three to name their new album LEGACY, but if any country band has
the shared history to lay claim to such a weighty title, it’s the longhaired trio of Nashville natives.
Singer-guitarist Jaren Johnston, drummer Neil Mason and lap-steel player Kelby Ray have known one another
since they were teens and have been sharing stages together for nearly 15 years. This summer, they’ll headline
their hometown’s most famous venue, the Ryman Auditorium, just a few blocks from where Johnston and Ray
sat in high-school math class daydreaming about one day playing the legendary hall. Johnston’s connection to
the Ryman goes back even further: his father has been a drummer at the Grand Ole Opry since Jaren was a
child. And now he has a son of his own, who, like his old man, will be well-versed in all the sounds that make up
both Music City and The Cadillac Three, from country and blues to rock & roll.
So, yeah, “legacy” looks good on this band.
“We’re trying to build something and do it our way, which is always harder,” says Johnston. “If you’re going to
leave something that people are actually going to remember, you can’t take the easy way. So we took all of our
history, mixed it with the energy of The Cadillac Three and put it into a record that makes sense of where we’ve
been and where we’re going.”
After nearly a full year on the road in support of 2016’s BURY ME IN MY BOOTS, their first full-length album
recorded for Big Machine Records, the group returns with a more mature perspective. Johnston, Mason and Ray
have experienced a lot on tour, whether opening arenas across the country on Florida Georgia Line’s Dig Your
Roots Tour or headlining their own consistently sold-out string of sweaty club and theater shows in the U.K. and
Europe. As they prepare to head back in November for another big run, for The Cadillac Three, the old saying
really is true: this band is huge overseas.
“Europe showed us that we should bet on ourselves. It was a big gamble the first time we went over there,” says
Mason, “but the shows and the fans have continued to grow.”
“And going overseas reinforced that we wanted to get more music out more quickly,” adds Ray. “They go through
singles really quickly over there. They want more, more, more and that encouraged us to go into the studio,
knock this album out and keep going.”
All that travel, from city to state, country to continent, could decimate a lesser band, but it only served to
creatively inspire the mighty TC3. They wrote many of the 11 songs that make up LEGACY on the road, cut the
tracks on rare days off in Nashville and then recorded all of Johnston’s vocals – one of the most “country” voices
in the genre – in the back lounge of their bus in between shows, adding a crackling sense of vitality to LEGACY.
They also produced the album themselves.
“We knew what we wanted to do with this record. Instead of putting it together in bits and pieces, we started with
a batch of songs and then picked a single,” Johnston says. “That’s how this shit should be done.”
That back-to-basics approach to making music yielded the band’s most infectious single to date: the woozy singalong
“Dang If We Didn’t.” Written, as is most of the album, by Johnston and Mason (here, with Jonathan
Singleton; other times with songwriters like Laura Veltz and Angelo Petraglia), “Dang If We Didn’t” teases fans
with its ambiguous title, before revealing what the guys actually did in the chorus: get drunk last night.
“When you’re a songwriter, you can be critical of song titles,” says Johnston. “But with ‘Dang If We Didn’t,’ I
thought it was a little bit mysterious. It makes you wonder, ‘Dang if we didn’t do what?'”
“Eat pizza last night,” quips Mason. “It could be anything.”
“American Slang” rivals “Dang If We Didn’t” in its grandeur. It’s a huge song, akin to Tom Petty’s “Free Fallin'” or
The Cadillac Three’s own “Graffiti,” off BURY ME IN MY BOOTS. Lori McKenna (Little Big Town’s “Girl Crush”)
began writing the tune with the intention of having The Cadillac Three finish it. “We are vampires on Hollywood
Boulevard / angels and sinners of our hometown streets,” go the lyrics, painting a picture of life’s rebels, before a
massive country-radio chorus kicks in: “We are the back roads, dirty water shore banks…we are born and raised
on American slang.”
The constant throughout LEGACY, however, lies in the players: as on all three of The Cadillac Three’s albums,
only Johnston, Mason and Ray are the musicians. There’s no guest keyboard player, no second percussionist
and certainly no bassist. Ray holds down the low end on his lap steel.
Especially on the standout LEGACY track “Take Me to the Bottom,” which features Johnston reaching high for a
breathtaking falsetto. “‘Take Me to the Bottom’ has the best bass sound of anything I’ve ever done,” says Ray,
who also keeps things greasy on the intense “Tennessee.” A thrashing love song, it evokes the stomp of ZZ Top
– a favorite of TC3 – and features a lyrical shout-out to progressive country hero Sturgill Simpson, a kindred spirit
of the band.
No matter the influence, though, the trio stays faithful to their own unique sound throughout LEGACY. “Hank &
Jesus” glides along with Tennessee twang; “Demolition Man” is distinguished by the space between the notes;
and the swaggering “Cadillacin'” is a band anthem. “We don’t put anything on our albums that we can’t re-create
live,” says Mason. “If there is a TC3 rule, it’s that: keep it honest.”
Honesty, or authenticity, is a favorite buzzword around Nashville. But few artists come to it as naturally as The
Cadillac Three. These guys couldn’t fake it if they tried. In the album’s title track, they offer a heart-on-the-sleeve
testimony to what’s really important at the end of one’s days: love and a family tree.
When Mason and Ray heard “Legacy,” co-written by Johnston, they flipped, and pushed for it to be the title of the
record. “We’re far enough along in our careers where doing an album called LEGACY doesn’t feel presumptuous
to me,” says Mason.
Not when you run through The Cadillac Three’s milestones. It’s all there, from boundary-pushing albums,
Grammy-nominated No. 1 songwriting across genres and fan-favorite singles to sold-out club shows and massive
festival gigs alongside Aerosmith.
“With this album, we’re continuing to build this thing we’ve created. We’re touring nonstop, headlining shows in
the U.K., playing the Ryman, and putting out a new record,” says Johnston. “Shit, that’s a pretty good legacy so
The Reed Brothers
Adrian Johnston, Dallas native and fourth generation Texan, is paying close attention to the passage of time these days. Whether she’s quickly touring the state on a whirlwind of gigs or radio stops, or pausing long enough to revel in her family’s deep Texas roots (her great grandfather was a cotton farmer in west Texas and a baseball player who played against Babe Ruth!), she fully realizes that time seems to stand still while rushing past you simultaneously. Seeing that the time is now to make a mark in the Texas Country Music scene, Johnston has spent the last several years winning over fans and industry with her southern drawl and charming them with resounding vocals by bringing a bold voice that is unmatched in today’s country music. And it’s paid off as she recently became the first female to win the Ranch Factor 2017 competition put on by 95.9 The Ranch in Fort Worth!
As the music of Amy Grant, Vince Gill, Eric Clapton, The Eagles and James Taylor filled Johnston’s household, it provided a background for her fondness of “singing on the fireplace like it was my own personal stage, and talking and putting on shows and dances and dressing up.” Enlisting the assistance of a vocal coach during high school, Johnston began singing at area Opries and open mics during college. Crafting a style of equal parts “Wynonna’s soul, Carrie’s power, Miranda’s sass, Dixie Chicks don’t give a sh*t attitude, and Dolly’s sweetness and business sense,” she took the leap and started “gigging,” writing music and working with producers to fully insert herself into the scene. By observing other artists, and heeding advice from a host of mentors, she caught a break when she performed during an open mic at the famed Billy Bob’s and was asked to do gigs with other artists in attendance.
“It was surreal and it happened so fast that the next thing I know, I was accepted into a radio contest and learning the ins and outs of having original music and putting together a band,” Johnston recalled. “I wrote some songs, rounded up some A-list Dallas players and put on a show! It literally just snowballed from there and hasn’t stopped. I learned quickly that being an artist isn’t just ‘feeling the music’ but learning that you have to have a solid head on your shoulders to be a smart musician.”
Currently promoting the Top 30 single, “Adult Beverages,” to radio, Johnston achieved her first Top 15 radio single, “Rather Have You,” (written by Johnston and producer Zac Maloy) last spring. Beginning the long haul of achieving a successful music career in 2014 she debuted her single, “Just Another Blonde,” and introduced a sassy-spit-fire of a woman determined on making a name for herself. Following that momentum, she released a self-titled EP that achieved Top 200 iTunes album status, and released the single “Avalanche” in 2015 (#21). As a “New Female Vocalist of the Year” nominee, Johnston showed off her chops by launching her third, and most heartfelt single, “It’s A Song” (#36) in September 2015. In the wake of such success, she is partnering again with Maloy and releasing her sophomore EP, IT TAKES TIME.
“I’ve taken a long time to put this record together,” Johnston admitted. “I have so much to say and I didn’t want to just throw something out to stay current. I’ve been writing for two years on this project and, by not rushing the process, I had the TIME to find my sound, and given others the TIME to really understand where I fit (and don’t fit).”
Johnston feels her growth as an artist is illustrated heavily on this new project. By being wholly involved in the studio process, and by co-writing each of the songs on IT TAKES TIME, the result is songs that are true representations of her personality and style. From the big ballad “It Takes Time” to “Adult Beverages,” which is Johnston’s version of a drinking song, the record also has a tearjerker (“Tear It Down”) while a good ole Texas song (“Lone Stars”) rounds out the introduction of its spirited first single, “Rather Have You.”
“I like to write stories about wine in case you haven’t noticed,” she jokes. “In all seriousness, the songs may be influenced by my life experiences, but they are also something that everyone can relate to and sing along with. It’s also important to me that the lyrics paint a mental picture; lyrics that you can literally envision, like ‘those magnolias made a tunnel that led us to the porch,’ are what we really focused on this time around.”
Making a name for herself on the live music circuit, Johnston “and the boys” take to the road every weekend and have opened for Texas artists like Jack Ingram, Zane Williams, Turnpike Troubadours, Reckless Kelly, Johnny Cooper, Mark McKinney, Mockingbird Sun and more. Covering some classics (Fleetwood Mac, Dixie Chicks & Bonnie Raitt) to compliment her original radio hits, she puts on one of the most entertaining live performances of any female artist currently in the scene.
Johnston also came up with the idea for “GRITS: Girls Raised in Texas,” an all-girl acoustic tour where everyone drinks wine, tells stories and just hangs with their girlfriends. Taking her favorite downtime activity of hanging out on her patio with a drink in hand to the stage, The Rankin Twins, Kylie Rae Harris, Charla Corn, Sarah Hobbs and Kensie Coppin have all joined in on the fun.
“I like to put on a high-energy show, but I’m just as fulfilled sitting with a guitar in a silent listening room,” she said. “No matter the venue, the band and I like to make sure everyone is having a good time and connect with the crowd from the first song to the last.”
Fitting every bit the part of the man in black, Carter Winter is country music’s modern traditionalist. Singing heartfelt and relatable songs landscaping heartbreak and the American dream poured over ice, the singer/songwriter from rural Ohio has seen firsthand the effects of connecting with an audience through a fresh sound that like Carter himself, is surprisingly familiar, yet raw and honest. From behind his guitar and sleeves of tattoos, Carter began playing local bars around his hometown and quickly grew an incredible fan base of loyal listeners from California to the Carolinas. First well-known for his cover songs of artists that inspired him early on (Garth Brooks, George Strait), Carter’s ability to take three chords and his own truth and deliver a compelling live performance has contributed to the incredible success of Some Kind of Fire, his first independent six-song release. With his rich, traditional country vocal and compelling live performance, Carter has gained recognition from some of the biggest names in country music and shared the stage with artists such as Sam Hunt, Chase Rice and Travis Tritt. Recently completing his second studio album with multi Grammy Award-winning producer Chad Carlson (Taylor Swift, Chase Rice, Cole Swindell) and producer Mark Bright (Carrie Underwood, Rascal Flatts), Carter Winter’s sophomore release The Whiskey In Me makes a solid entry into country music that firmly establishes his bad boy brand as a natural force in country music.
Ohio’s own Carter Winter is becoming one of the most sought after talents in the Midwest and is gaining national recognition along the way. Known for his true natural country vocal tone, a creative writing style and an incredible work ethic, Carter is definitely an artist to watch. Carter is humbled and appreciative of all of his support as the number of his fans grows after each show. He has played with a number of major label artists, including most recently a sold out concert with Thomas Rhett, The Cadillac Three and The Swon Brothers. When asked, “What do you want out of music, what do you want from a career?” He said, “I want to make people dance, I want to make a difference and most of all I want people to enjoy themselves.” We have no doubt he will do just that!
Carter Winter has packed the house of many local bars and venues as well as in many other states. Notably, Carter has played a show at Nashville’s Bluebird Cafe. Carter has been support for a number of major label acts at sold out concert venues including most recently, a show with Thomas Rhett, The Cadillac Three and The Swon Brothers
Joe Barron –
Born and raised in EL Paso, TX currently residing in Nashville, TN Joe bases his roots in Country Music, but has been influenced by R&B as well as Rock and Roll. Joe blames his mother and fathers collection of George Strait and early 90’s country for his career path today. After a sports injury ended Joe’s baseball and football career he soon found a new passion in the guitar and singing. Since that day, Barron has had a driving passion for writing music and playing live gigs. In early 2011, Joe took the initiative to form a full band and start gigging. The musicians that make up the Joe Barron Band all come from different backgrounds musically. Blending Texas Country with these other genres is what gives the Joe Barron Band its unique style. The band has quickly made a name for themselves with their energetic live shows that captivate the audiences. Joe currently holds a residency at the World Famous Tootsies Orchid Lounge singing 6 days a week. He has shared the stage opening for such names as Brantley Gilbert, Josh Abbott Band, Kenny Rogers, Dwight Yoakam, Stoney LaRue, Josh Grider, Dirty River Boys, Bleu Edmonson, Eric Paslay, Matt Wayne, Curtis Grimes, Cory Morrow, John Anderson, Robert Earl Keen, Johnny Cooper and more…
Born and raised in the Texas Hill Country, Jesse Stratton plays modern folk music that is chock-full of truth and raw emotion. From his upbeat cover songs to his relevant originals, this multi-talented artist plays his guitar, saxophone, and harmonica at every performance.
Jesse Stratton plays in and around the surrounding areas of the Hill Country. His new CD ‘Broken Strings’ is a defining compilation of his original tunes that display his instrumental accomplishments, as well as his gripping, slightly raspy vocals.
Along side Jesse Stratton is his good friend, Kenneth Martinez, on the cajon. At live performances, the percussion from Martinez adds a memorable and fun-filled vibe to every heart-felt show. Many times, it is just the duo on stage, but the four-member Jesse Stratton Band takes the stage with full force at appropriate venues.
Jesse has been playing music since the age of 10. He started with the saxophone, eventually landing him a scholarship to college for Music composition and Music business. He continues to play and learn an array of different instruments, but has always stuck to writing and performing songs with meaning and inspiration.
Jesse has also been the front man for two other bands, playing different genres during and right after college. More recently, he played as a guitarist, saxophonist, and additional vocalist in the Texas Chart-topping, Cameran Nelson Band. He decided to leave the band in 2013 to pursue his own music and remain close to his roots in Wimberley, TX.
“I don’t really know, why I want to sing, all I have to show, is heartache and broken strings.” – Jesse Stratton – off the title track to his newly released CD ‘Broken Strings’
Come and support growing and new talent at the earliest ages. Various ages at different times, show times are Three shows: 11am, 1:30pm, 4pm
It’s the School of Rock spring/summer performances for the students at School of Rock. If you’re not familiar with the program here’s a bit of background. Students at the school work hard both in individual lessons on their instrument and in group rehearsals over a four month period to prepare a themed show. This isn’t a recital, but a learning experience for the students to understand the work that not only goes into learning songs, but also performing in front of a live audience, mistakes and all. They perform twice every season, once at a local venue in Katy and then at a venue in downtown Houston. This gives our students the opportunity to explore the music scene beyond the borders of suburbia and see what’s out there if they continue to work hard.
Welcome to School of Rock Katy, where students learn to rock their worlds. School of Rock Katy has the best combination of instructors, instruments, and captivating programs to get your student strumming, drumming, playing, or singing their way to rockstar status.
At School of Rock Katy, we believe as much in the power of the band as we do in the thrill of a killer solo act. We bring our kids and the community of Katy together to create excellent performers who learn from cool, real life experiences in the world of music. Our performance-based approach amps up our students for serious fun and serious success.
Music in a team-based environment is today’s gateway to education, confidence, fun, friendship, and so much more. Visit School of Rock Katy today.
At School of Rock Katy, our Performance Program puts our students front-and-center on a real stage for real performances. Students get to show off their killer music skills while learning serious teamwork as they and their bandmates refine their abilities through some of rock and roll’s greatest hits.
Katy students will blow your mind with advanced performances chock-full of hits by famous artists such as Pink Floyd, Led Zeppelin, Van Halen, The Rolling Stones, AC/DC, Frank Zappa, Queen, and many, many more! For our students, real performances breed real skill, and real fun.
All students in Katy’s Performance Program can expect:
• Weekly private music lessons on guitar, bass, keyboard, drums, and/or vocals
• Weekly band rehearsal to get students prepared for real shows
• The experience of performing on stage with their band at real venues
• Key learning in fundamental areas such as stage performance, harmonies, musicianship, and more
• Fun, music, and education wrapped into one all-inclusive experience!
Contrary to doomsayer rumor, rock music doesn’t need saving. But a wake‐up call is long overdue, and this is it. Actually, not just a wake‐up call, but a joyous reunion of rock with its oft‐forgotten prodigal twin, the roll ‐ with papa blues and mama soul along for the ride, too. All of which makes Pardon Me the perfect introduction to one of the most electrifying young bands in America ‐ or at least the next best thing to experiencing Jonathan Tyler and the Northern Lights live. Literally.
Don’t be fooled by the good Southern manners implied by the title of Pardon Me, the major‐label debut by Dallas’ Jonathan Tyler and the Northern Lights. The walloping roundhouse punch of Pardon Me’s lead‐off title track and everything else packed into Tyler and Co.’s Texas‐sized can of rock ‘n’ roll whoopass. “Hey!’ Tyler shouts after the opening salvo of guitars lands like a gauntlet slap across the face. “Can you hear me? Can you feel me, coming through your stereo?’ Then comes the coup‐de‐grace, a shot of Hendrix‐laced adrenaline plunged deep into the listener’s heart and soul by a diabolically persuasive Dr. Feelgood. “Maybe it’s been too long since rock ‘n’ roll turned you on,’ sneers Tyler, with equal measures of promise and threat. “So pardon me, just let it set you free.’
And that’s when things get loud.
“We recorded it live,’ Tyler says of the Pardon Me sessions in Nashville with producer Jay Joyce (known for his work with Cage The Elephant, John Hiatt, Patty Griffin, Audio Adrenaline, Crowded House). “We were really critical about keeping things in the pocket and giving it a groove, but letting the songs breathe and feel alive was the main thing that was really important to us. And because we’d played those songs so much before going into the studio, for the most part it wasn’t that hard. We didn’t really pull our hair out over any of the songs.’
It’s clear from the finished results ‐ be it storming rockers like “Young & Free’ and “Gypsy Woman’ or gut‐wrenching, slow‐burning beauties like “She Wears a Smile’ and “Paint Me a Picture’ ‐ that the band expended just as much sweat and passion in the studio as they do night after night onstage. Time was when the idea of a band honing its craft and reputation one show at a time was the rule rather than the exception, but in this era of American Idol insta‐stars and overnight hipster blog sensations, Tyler and the Northern Lights are a throwback in the best sense of the word. The core lineup of lead singer, guitarist Jonathan Tyler, guitarist Brandon Pinckard, drummer Jordan Cain and bassist Nick Jay may have only made its public debut at the dawn of 2007, but the ensuing three years have been a blur of full‐tilt rock ‘n’ roll showmanship worthy of prime James Brown and the early Rolling Stones or the E Street Band at their hungriest. The inspired addition of singer Mo Brown to the fold early on pushes the sass and swagger needle into the red, with a supporting cast of horn and organ players on deck when whim or venue calls for even more firepower. But no matter how many people are onstage, the exhilarating energy is the same. And that goes for whether the band’s playing it in front of a few dozen strangers in a bar, a few hundred diehard fans in a packed club or arena crowds in the thousands while opening for heavyweights like AC/DC, Kid Rock, Lynyrd Skynyrd, Deep Purple and even fellow Dallas maverick Erykah Badu.
The best shows, enthuses Tyler, are those where the band and audience become one. And it happens a lot more often that not, even at massive gigs like the Austin City Limits Music Festival. “To be honest, I try to make every show like that,’ says the 24‐year‐old singer, who can play a mean lick but happily shares lead guitar duties with Pinckard ‐ freeing him to work crowds up into a wild frenzy. “I see my role as being less of a rock star ‐ like, ‘I’m up here, look at me!’ ‐ and more like we’re all in the same place, hanging out together and having a party, and the band’s just driving the car. At the end of the day, you are entertaining people, but I’ve tried from the beginning to be really uninhibited and free. The idea is letting everything be exactly what it is ‐ not trying to control the show, not trying to control yourself, but rather, letting yourself be out of control. That’s what makes it great.’
Learning to be out of control was more than just a revelation for Tyler and the rest of the band ‐ it was their genesis. The friendships in the group actually go a lot farther back than 2007. Tyler moved to Dallas from Birmingham, Alabama when he was 16, three years after teaching himself guitar via a Slash (Guns ‘N Roses) guitar book and obsessive studying of Eric Clapton, Stevie Ray Vaughan, Jimi Hendrix, Robert Johnson and even Metallica. It was in the Big D that he met Texas native Pinckard and soon after, Oklahoma transplants Cain and Jay. Together they played the local all‐ages circuit and even generated a smattering of label interest. Problem was, they were all too young and inexperienced to have much of anything to say. “We just hadn’t lived yet, you know?’ Tyler says with a laugh. “It was just a bunch suburban middle‐class kids trying really hard, but not having any substance because we didn’t have any problems yet. I didn’t have anything to write about.’ So they pulled the plug and split up.
“We played until we were about 20, and that’s when we discovered booze and drugs, and we quit. Just basically started experimenting with everything. I’m not trying to glamorize any of it, but we went from pure as driven snow to really into some really crazy stuff. It was a real wake up call when one of my closest friends was lost to an overdose.’
Fortunately, Tyler maintained just enough control during that time to keep writing, channeling all of those eye‐opening (and frequently harrowing) new life experiences into songs that he started performing solo acoustic from any stage or street corner he could find. In stark contrast to his earlier songs, these postcards from the edge had teeth and hard‐ earned soul to them, and it wasn’t long before he’d gained enough traction to warrant hitting the studio. With a band. So he rounded up his old friends, all of whom had lived just as hard and wild as he had over their year apart, and the slightly older but much more torn and frayed gang knocked out their independent debut, Hot Trottin’, in five days. They had no idea what they were doing, but this much was certain: The second time around, everything about the music they were playing felt real. And it only got more so once they took their new songs on the road. Crowds, critics, fellow musicians and music industry scouts all seemed to agree, too. Within a year, they were showcasing for virtually every major label in America, winning fans like Rich Robinson of the Black Crowes and racking up glowing reviews across the country.
But when they signed to Atlantic’s F‐Stop Music in late 2008, Tyler wanted to do more than just bottle that thunder and lightning on disc for the band’s major‐label debut. He wanted to make sure that the songs ‐ all born on acoustic guitar ‐ maintained that close‐to‐the‐bone integrity that spawned the whole wild ride in the first place. The band was introduced to a half‐dozen different producers before finding the perfect fit in Joyce ‐ a name Tyler threw into the hat himself. A guitarist, songwriter and producer whose studio credits span everything from modern garage rock (Cage the Elephant) to mainstream country (Jack Ingram), Joyce was Tyler’s pick first and foremost because of his penchant for working with great songwriters, most notably John Hiatt and Patty Griffin. “There’s usually two schools of thought in the studio:
there’s guys who are really good at getting sounds, and there’s guys who are really good at getting better songs,’ says Tyler, “but I wanted both of those. Jay was a guy who could do all around anything, so going with him was a no‐brainer for me. I really wanted to find a producer who would be like another person in the group, who would sit down with us and we’d all go, ‘OK, let’s listen to this song on acoustic guitar, and then work on making it better from there.’ Because songwriting, to me, that’s the most important part.’
After you’ve got the songwriting down, well, that’s when you just let go and let the spirit of the performance and moment take over, and follow it wherever it takes you ‐ right up to and over the edge. The only rule ‐ and, looking back to band members’ own pre‐rock‐’n’‐roll‐wake‐up‐call days, it’s one they’ve all learned from experience ‐ is that the songs must always be 100‐proof real.
“The bottom line is, we love playing music and making music, but we want to have a clear conscience about everything we’re doing,’ insists Tyler. “Music can bring out a lot of your soul, it can bring out deep parts of you, but I can’t write songs or sing songs or do any of it if any part of it feels contrived. I don’t know what’s going to happen next, but we’re happy with what’s happening now, being able to live the way we are. I can only hope our music moves people as deeply as it moved us in making it.”
And so it begins. The story of Jonathan Tyler & The Northern Lights has yet to be written, but it is sure to be a page‐ turner and one‐hell‐of‐a wild ride
Houston native Nathan Quick belts out his bluesy, raspy growl atop lush boogie/roadhouse guitar rhythms and soaring lead guitar. His sound draws from a vast pool of genres including classic rock and roll, blues and contemporary Americana. He is a multi Houston Press Music Awards winning singer/songwriter and looks forward to sharing his sound with you.