Friday, December 21st

BUY TICKETS: Early Show – 7:30pm / doors at 6:30pm

BUY TICKETS: Late Show – 10:00pm / doors at 9:30pm

Advance general admission: $12

At the door: $15

Table of 4 reserved seats: $60


Independent singer-songwriter, RYAN HORNE, brings his insatiable creative thirst to the table with his latest release, The Whistler and the Majestic. Six albums into his 10-year career, Horne has arrived at a clear musical vision, and it is grand: “I want a really emotional, big, and beautiful record with a lot of character,” he wrote, as he conceived of an album laced with strings and other “tasty” instruments like bells, banjo and organs that interplay with vocal harmonies, delicate reverb and thumping percussion. Expertly, he has integrated his library of musical influences, from Patty Griffin to Tom Waits to Wilco. Paying close attention to every aspect of his craft, from lyrics and melody, to vocals and musicianship, Horne has delivered his most focused and polished album to date.

Helping to execute this vision was Grammy Award winner Mitch Dane, who previously produced Horne’s Love and War in 2007. Like yin and yang, the pair achieves balance between restraint and excess, between more and less. Take the elegance of the album’s opening track, “Come on! Come on!” Bold in its sparsity, the song’s spaces are left deliberately, tantalizingly untouched. “That was all Mitch,” Horne explains. “Me, I want to take a thousand different instruments and chuck them all on. But Mitch is very reserved, which is good because if I didn’t have him there would probably be way too much going on.” Conversely, Horne fought to include the convict’s lament, “Terrible Tommy,” whose reckless, wacko blues infuse the album with some well-placed intemperance. Horne and Dane’s collaboration results in a sonic texture as unusual as it is captivating.

The Whistler and the Majestic is, in short, what’s right with Nashville. After spending a month in Music City to record at Sputnik Studios, Horne moved from his native Atlanta into the artistic community of East Nashville. “There’s so much talent up here,” he says, “I can co-write with a different person every day of the year if I want to. And it’s great to be surrounded by such supportive artists.” Allowing Nashville’s deep talent pool and incredible standard of professionalism to push him, without defining him, Horne feeds furiously off the creative energy around him. “I’m already trying to envision my next album,” he says, “which is bad because I’ve got to put out this one first. That’s my problem, I get so excited, I love diving into a new record, and as soon as I get one done, I want to do another one!” With such passion and intensity moving him forward, maybe that’s not such a problem. “I want a long, long career,” he adds, “And I want to put out better and better records every time.”

He may sound like an earthier, cleverer Ben Harper, but musically, MICAH DALTON, suggests mid-’80s Prince in the way he defiantly straddles so many styles, requiring an enormous musical arsenal to get his point across. These juxtapositions of sounds and style rarely feel forced or even deliberate, courtesy of Dalton’s soulful vocals and incisive songwriting.”- PASTE MAGAZINE

“When you combine an earthy, easygoing songwriting style, the influence of Donny Hathaway and Paul Simon and a penchant for warm, understated instrumentation, there’s a good chance you’ll get ear-pleasing results. Micah Dalton has, and he calls it ‘alt. soul.’”-THE NASHVILLE SCENE

“Micah Dalton is a bright light of hope in a dark tunnel that lets me know that the real soul of music is in the roots of the songwriter.-BURNSIDE WRITER’S COLLECTIVE

“Though I have never met him personally, it is quite easy to tell that Micah Dalton is a risk-taker. Apart from the fact that his musical style is an appealingly intrepid mixture of folk, blues, soul, and R&B, Dalton has provided an extremely unique experience for the release of his third album, Pawn Shop.”-OBSCURE SOUND

An Atlanta transplant and minister’s son, NATHAN ANGELO, discovered music at an early age where he spent much of his youth as his church’s Director of Music, developing his vocals and finding a home on the keys. With no plans of pursuing music professionally, Nathan stumbled into songwriting more as catharsis than ambition. What started as a hobby after college quickly turned into a passion, one which he soon felt necessary to share with an audience. His first two projects Through Playing Me (2006) and These ‘Ol Keys (2009) reveal a soulful disposition and a natural affinity for provocative songwriting.

Coupled with an incessant touring schedule and attention paid to the ever-changing landscape of social media, Nathan has managed to sell over 15,000 albums independently. He’s also toured with national acts such as the Fray, Zac Brown Band, Marc Broussard and Matt Wertz. In 2009, Nathan caught the attention of a major publishing company, Warner/Chappell. Compelled by his ability to mix modern-pop with classic songwriting, Warner/Chappell signed Nathan to a publishing deal, a rare occasion for an independent artist, and has since been called upon to write for the likes of Kelly Clarkson & Justin Bieber.

A commercial spin on soul-infused pop, Nathan’s latest project Follow Your Heart (2011) emerges as his strongest work to date. Laced with both whimsy and candor, songs like “Love Is On the Line,” “Make Up Your Mind,” “Forgetting You” and “Hurt Me” treat the intricacies and frustrations of youth and relationships with due weight yet have a playfulness that lightens the situation. In reference to Follow Your Heart, Nathan calls it “a very personal project yet one that I believe to be universal in its ability to relate to what we all go through.”

As much an album title as it is an anthem, Follow Your Heart displays Nathan’s ear for melody and keen understanding of story and reveals that he has much in store for fans both new and old.