Dave Washburn and the 3/4 Fast Jazz Band take the stage at Swingin' at the Sons for an End of Summer Blow Out.

Beginner Lesson starts at 8.

The band band plays from 9-12. $12 cover.

Pabst Sound Society Presents: Medicine Man Revival and Friends, plus Crystal Rippers, DJ Luv Ssik, and a Special Guest.

Pabst Sound Society is a concert series focused on amplifying emerging local music and art talent in cities, fostering an inclusive community that brings like-minded people together through our shared love of music.

For the first Dallas edition, we are taking over the oldest bar in Dallas, Sons of Hermann Hall, and filling it with fresh music, art installations, custom lighting, and food trucks for an experience like no other.

TICKETS:
The first 50 tickets are $1, then the rest are only $5. No fees. This show will most certainly sell out so grab them now:
https://decent.ticketleap.com/pabst-sound-society/

MUSIC LINEUP:
Medicine Man Revival + friends
Crystal Rippers
DJ LUV SSIK
Special Guest (to be announced soon)

ART + INSTALLATIONS from:
Decent Collective
Mariell Guzman
Travis Ragsdale
Dyad Ventures

PLUS:
- Discounted Pabst Blue Ribbon Tall Cans
- Food Trucks
- Artist Vendors
- Projected visuals and custom lighting
- Huge outdoor patio

DOORS OPEN AT 8:00PM.

VENUE:
Sons of Hermann Hall
3414 Elm St, Dallas, TX 75226
in Deep Ellum at Elm St and Exposition Ave

MORE INFO:
https://pabstblueribbon.com/soundsociety/

If you would like to be a vendor or have any questions, please contact us via email: hello@decentcollective.com

Presented by Sons of Hermann Hall

Justin Tipton and The Troublemakers

with The Gawd Almighties + Kirk Holloway

Doors at 7, first band at 8pm.

$10 advance / $12 door

On Friday, September 6th, join us at the Sons for this month’s First Friday event: Electric Campfire Acoustic Jam! As always, there’s NO COVER charge, and friends and potential members are encouraged to come say hello and see what we’re all about. Bring your favorite instrument if you’d like to jam with us.

—$2 pizza slices and Shiner Bock beer specials all night.

—An agent will be there to sign up new members! A good time will be had by all!

Off-Tropic Rock Revue  
Sunday, Sept. 8th - Don't miss a rock concert for a good cause! Off-Tropic is an end of summer DFW rock revue presented by Eiffel Enterprises. 

6 amazing DFW acts will perform a variety of rock styles with proceeds to benefit The Promise House for homeless youth. The show will be held in the Old Bowling Alley of Sons of Hermann Hall. Family-friendly event so bring everyone. Hawaiian shirts are encouraged! Tix are under $10! 

Get tickets and info here 
Doors at 5pm, show starts at 6

Appearing: 
The Atomic Waves 
Radio Television 
Claire Hudson 
After Thoughts 
Kellsey 
The Seekers 

Sons of Hermann Hall presents Gal Holiday and the Honky Tonk Revue.

Pull on your boots and get down to the Sons. You don’t want to miss Gal Holiday and the Honky Tonk Revue! Plus, come early for the opening act - DJ Bryan C’s Honky Tonk Juke Box, where he spins 45s of classic country.

Door at 7pm.

DJ Bryan C at 8.

9:30-11: Gal Holiday and the Honky Tonk Revue

Tickets: $10 advance, $15 door.

William Tyler at the Sons of Hermann Hall

Doors at 7pm.

Get tickets here

More about the artist here

Since William Tyler released his debut solo album in 2010, the Nashville guitarist and songwriter has wielded his instrument like a poet’s quill that never runs out of ink, all swift strokes and vivid imagery in his instrumental songs. “Fail Safe,” the lead single from his upcoming fourth record Goes West, is a musical snapshot of bliss.

On “Fail Safe,” Tyler patiently fingerpicks his way through scales, each one tumbling out of his acoustic guitar like tiny rays of light. His backing band softly pulses behind him, guiding the momentum along. Tyler offers warmth with an intricate but amiable playing style of simple chord strums and a playful melody. “Fail Safe” is the musical equivalent of the sun coming out from behind the clouds, and Tyler’s ability to recreate the feeling of happiness washing over you is a testament to his virtuosity as a guitarist.

Inspired by a range of different musical genres, Blanco White weaves together Anglo-American folk with an Andean and Flamenco sound.

Doors at 8, Show at 9

All Ages

$13 advance | Door: $16

Get tickets here

Doors at 7 / Show at 8

This show is seated. First come, first serve.

Get tickets here

Don’t miss Oktoberfest at the Sons of Hermann Hall. Two days of beers, brats, music and dancing!

More details coming soon.

This is a very special First Friday for members and friends of the Sons, especially those interested in learning more about our great organization.

Join us for swing dancing - normally with a cover charge on Wednesday nights - FREE this Friday! Plus beer specials and $2 pizza slices.

Don’t miss The Gray Havens at the Sons of Hermann Hall!

Doors: 7pm | Show: 8pm

Get tickets here

Don’t miss Tyrone Wells on The Lift Me Up Tour, with special guest, Dan Rodriguez.

Get tickets here

Doors: 8pm | Show: 9pm

Tyrone Wells still sort of chuckles to himself when he thinks about the fact that making music is his “job."  He has been at this “job" for well over a decade, and is just now beginning to shake off the discomfort and stress of the days when he had a real job (TJ Maxx - lead of the ladies department in Spokane, WA).  As far as jobs go, Tyrone feels like he has won the lottery (in regards to his present “job”).  He loves to create music.  He loves to perform.  He is a husband, and a father of 3 daughters.   He has four sisters, so he feels right at home being completely outnumbered by the ladies in his present household (and also when he was the lead of the ladies dept at TJ Maxx). He believes that Jesus is for real.  He’s writing this bio.  He’s referring to himself in the third person.  He knows that this bio has a ring of sarcasm, but he is dead serious.  He feels extremely grateful.  He jokes around, but he has worked very hard at making music his “job."  He has spent countless hours writing, recording, playing live, and traveling to play live again.  He has spent time away from his beloved family to make this thing a reality.  He has never really experienced much radio success, so his fans have been gained the old fashioned way, by pouring his heart out on a stage, and by word of mouth.  He feels certain that he will make music until his dying day, as it is not only gratifying for him to create, but also therapeutic and necessary.   He can’t believe you’re still reading this… if you are still reading this, he wants to thank you for taking the time to do so, and for supporting what he does.  He knows it would be impossible without you. 

Catch the SYMHC podcast hosts in a live performance as they share stories of history’s overlooked and little-known events and people.

Get tickets here

Stuff You Missed in History Class is a twice-a-week history podcast with new episodes every Monday and Wednesday, plus a bonus classic from the archive every Saturday. The show is hosted by Holy Frey and Tracy V. Wilson, two ladies who learned to love history as they realized just how much the modern world was shaped by lesser-known people and events in the past. The podcast digs into topics that haven’t gotten enough attention in the world of history – whether they’re weird, wonderful, scary or sad. Favorite episodes include everything from the decades-long dispute between butter and margarine, to a pair of lions that terrorized a railroad crew in Kenya, to the only successful coup d’état in American history. Stuff You Missed in History Class is available at missedinhistory.com and at Apple Podcasts, Google Play, and wherever else you get podcasts.

Host Bios: 

Tracy’s love of history started to grow in college, with four required humanities courses that gave her a more holistic way to approach the past and how it affects the present. Tracy spends her downtime much like she spends her time at work: reading, writing, tinkering and brooking only the most delightful nonsense.

Holly Frey is cohost of Stuff You Missed in History Class, and she's also an executive producer for the HowStuffWorks podcast network. When she’s not obsessing over comma placement or talking about the past, she’s sewing, running, watching television, visiting a Disney park, rescuing animals, going to the movies, traipsing around town in a ridiculous costume or obsessing over delicious food.

Allison Moorer, with Mario Tarradell as moderator

Doors: 7pm | Show: 8pm

Tickets: $40 advance | Door: $45

Buy tickets here

ABOUT THE SHOW

“Blood,” is singer-songwriter Allison Moorer’s first memoir, which was released on October 29, 2019.

"Beautiful, heart-wrenching… Moorer’s masterful, comforting storytelling may serve as solace for those who’ve faced abuse, a signal for those in it to get out, and an eye-opener for others.” —Publisher’s Weekly

Join her and Mario Tarradell for a conversation about the book, followed by a special solo acoustic performance of a selection of songs from the accompanying album, also titled “Blood,” which features her first original songs since 2015. The performance will be followed by a meet and greet and book signing for audience members.

ABOUT ALLISON MOORER

Why do I carry what isn’t mine

Can I take the good and leave the rest behind

Can I let go and watch it all unwind

Can I untie the ties that bind

When Allison Moorer wrote Blood, she never intended to make a companion record. Having

received a Masters of Fine Arts in Writing from NYC’s New School in 2017, the Alabama-born songwriter

who’d spent ten albums plumbing the complexities of human interactions and emotions realized with

her new tools, there might be songs.

What emerged was more than songs. Blood may well be the best record of the Oscar-, Grammyand

Americana Music Awards nominee’s career. Stark, haunted, emerging, often just guitar and voice,

Moorer and producer Kenny Greenberg crafted a meditation on the meaning of family, trauma, love,

bonds and finding one’s way to the surface.

“I’ve been playing the see me/don’t see me game for 20 years,” she says in a voice like soft

combed cotton. “And it’s always been an uneasy relationship. It’s been a difficult thing for me as an

artist, and I’m not completely sure why. I thought when I wrote ‘Cold, Cold Earth,’ I was answering all

the questions; but I’m not John Prine, I couldn’t do that in three verses.”

“Cold, Cold Earth,” the second track on Blood, first appeared as a hidden track on Moorer’s

sophomore The Hardest Part. Even then, the copper blond was playing hide-and-seek with the

inevitable. Sighing, she says, “Every publicist asked every writer not to ask. They all did anyway. So, I was

giving journalists what I thought they wanted... The Hardest Part was loosely based on my parents’

relationship.

“In 1999, I’d scribbled down in my notebook three verses and a coda, summing up the details.

My then husband found it riffling through my things, because he was that kind of guy, and said I should

include it. He was ultimately right, but I was 25, and I didn’t have the skills to do it properly. All I’d done

was document the details.”

Now a twice-divorcee, mother to John Henry, essayist/blogger, off-Broadway veteran with

“Rebel Voices,” the stage adaptation of Howard Zinn’s acclaimed Voices of a People’s History of The

United States and wife to Americana mainstay Hayes Carll, Moorer has more life and “learnin’,” as she

calls it, to master her craft. The more she turned over the stories of what happened, the more dynamics

the recently returned to Nashville songstress recognized. Upon revisiting “Cold, Cold Earth,” she

understood the depths of what happened in a more grown up way.

“Just because my Daddy made the choice that he did,” she offers, “doesn’t mean he wasn’t

worthy of compassion, consideration and contemplation, you know? He is worthy. I made my Mama the

hero. I needed to do that, and she is absolutely for so many reasons, as is my sister. They all deserve

that. And he deserves credit... understanding... recognition... compassion... and love.”

For those who are not aware, Allison Moorer and her sister Shelby Lynne are survivors. After a

turbulent marriage, their mother took the girls and moved into a home away from a charismatic, if

troubled man who tried to get a foothold as a songwriter, couldn’t make his way and ultimately,

murdered their mother then turned the gun on himself in the pre-dawn hours.

“He was remorseful in 1967, when he wrote ‘I’m The One To Blame’ before my sister was even

born,” Moorer explains. “My parents had a story between them. My sister and I were bit players. In my

mind, they were Olympian in their beauty, their love of life and embrace of it. That he wrote songs is

huge to me, that he was a musician... and my Mama created beauty so easily wherever she was,

whether she was sewing, or singing, or cooking, or sparkling. That is a big part of their story, as much as

what happened, and I’d be absolutely full of shame if I felt I didn’t do (all that) justice.”

Justice – and her work as an important literary voice – are well served here. Moving through

time (present, past, past present) and characters (her mother, her father, her child self), Moorer

explores the voices, hearts and perspectives that colored everything that happened – and the struggle

she’s been immersed in ever since.

“It was important to make this record with Kenny Greenberg,” she says of the rock/roots

guitarist/producer, “because he’s been there since the beginning. I trusted him, and knew he

understood. He understood me, my story, my voice, my fears and especially my will to do the right thing

by these songs. I couldn’t have done this with anybody else.”

Intimacy makes Blood the whispered truth shared only in the safest place. But it also allows the

listener the space to hear, feel and take in the Southern gothic truth and transcend conventional

readings. What emerges, beyond the black and white facts, is how love binds like kudzu.

“It’s sparse because I didn’t have any money,” jokes the woman who writes “can’t exactly say

we’re on the upswing” in the Mama’s voiced “The Rock and the Hill” swamp boogie. “But the truth is

more practical: I didn’t know if it worked with a whole lot of stuff. The songs were good enough, Kenny

and I figured we should let them breathe, because (these songs) are really me looking at this.”

Whether the whispered “Nightlight,” sung by a scared child to her sister, her father’s entreaty

“Set My Soul Free,” the grown-up power-strummed admission “All I Wanted (thanks anyway)” or the

powerfully emergent self-recognition of the piano-anchored closer “Heal,” (written with Mary Gauthier)

it’s revelatory to watch someone peel away the layers of defense and the brave face previously shown

to the world. Even “Cold, Cold Earth,” given an almost graveside sorrow and dignity, offers a deeper

sense of how this grief feels.

“As a singer, I’ve been through a lot of stages. I grew up in a house where you had to sing loud

to be heard. When I sing now, there’s a quality of just letting go. Whereas before I was more studied

and calculated, I’ve grown into my voice. I don’t even think about it anymore. When I open my mouth to

sing now, everything besides emotion is an afterthought – the voice knows where to go.”

The fingerpicked, softly floating “Blood,” epitomizes the legacy and the breaking through the

obvious as well as the unseen damage. “(A lot of this) deals with the idea of inheritance, why am I

saddled with someone else’s crap? That’s the thing about all of this: I have no idea how far it goes back. I

can look at everything; I can work to understand, to ask every question, to consider every perspective,

but you can never really know. Somewhere, though, you believe you’ve done the best you could.

If she never intended to make this record, somehow it’s here. Singing, “Lord knows you made a

mess of me,” she is nobody’s victim any more. Yes, it happened, and finally, really, it is all over. In her

recognition of the things that happened, we are all the richer.

“It’s taken a lifetime. I am 47 years old. But I also know you keep telling the story until the story

is told,” she begins. “For whatever reason, maybe this one is too big for one art form. Maybe I need the

music, the lyric and what’s not said and the book form to understand what happened, to show those

things that aren’t easily revealed.

“This isn’t only a companion piece. It stands alone in its own way, shows and says things beyond

words. To me, it’s all part of it, and it’s also unto itself. It took a long time to get here, but now, it’s told.”

From the moody, minor-keyed opener “Bad Weather,” which finds a grown Moorer wrestling a

familiar misgiving, she melts time to return to the reportage of “Cold, Cold Earth.” For an album that’s as

much a reckoning with ghosts as it is an awakening of self-compassion, Blood offers insight for us all.

Economical, ethereal, yet firmly on the ground, Blood is hopeful in its starkness and shines light

on the darkness. Having spent a career finding places to hide in the spotlight, she emerges without

armor, stronger and freer than ever.