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

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Doors at 7 / Show at 8

This show is seated. First come, first serve.

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Come on down to the Sons for our monthly First Friday event.

On Friday, October 4th, we'll be busting out the games and as if that weren’t enough, we’ll be tie-dying shirts (BYO shirt).

We'll have $2 pizza slices for sale.
And as always, enjoy our Happy Hour prices from 5-8pm and additional beer specials as posted.

Don’t miss Oktoberfest at the Sons of Hermann Hall. Lederhosen option but always encouraged!

Authentic German dinner, plenty of beer and the wonderful sounds of the Frohsinns, a 20-piece polka orchestra.

Doors open at 5pm Dinner from 6-8pm.

Tickets at the door: $10 for members, $15 for non-members. Includes dinner and the band.

STREET FIGHT RADIO IS COMING TO TEXAS!

Doors at 8 | Show at 9

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WARNING: This is a horror fiction podcast. It is intended for mature adults, not the faint of heart. Join us at your own risk...

Doors at 7.

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The NoSleep Podcast will be bringing its live show across America for the haunted Halloween season. Join David Cummings, Jessica McEvoy, David Ault, and Nichole Goodnight as they perform Halloween tales accompanied by a live score performed by Brandon Boone.

The show features stories never before heard on the podcast. With a full musical score and immersive sound effects, the NoSleep team will transport you into the terror which lurks within every Halloween night.

Running 110 minutes the show will feature frights and fun with lots of tricks and treats for everyone.

Brace yourself - The NoSleep Podcast and Halloween – a match made in hell.

$15 ADV / $20 DAY OF / $40 VIP

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Creepypastas are the urban legends of the internet; so what happens when we bring two of YouTubes biggest Creepypasta narrators together on stage in a one night event? Join us to find out as they tell stories never told on their channel and never to be told again! The pair will be joined by Myuu who will provide the soundtrack to this terrifying night.  

 Be warned, these stories feature mature themes such as horror, murderer, death and the occult. Audience Discretion is Advised.

VIP: VIP ticket includes: 1 general admission ticket, early entry to the venue for best seats and first access to tour merchandise, a signed poster from all artists, and a pre-show meet and greet with the artists.

APPROX RUN TIME – 75mins to 90mins

ARTIST BIOS  

Mr. CreepyPasta: MrCreepyPasta, Horror Storytelling Podcast and Youtuber, is a well known voice for such famous horror stories such as Jeff the Killer, Tales from the Gas Station and Borrasca. He started 7 year ago and over that time has becoming a staple in the YouTube community and in the horror genre with over 1.4 Million Subscribers. MrCreepyPasta has produced 2 Creepy Pasta Collection Anthologies that have broken the top 50 Horror Anthologies on amazon and The CreepyPasta Comic Book. 

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Facebook

YouTube

CreepsMcpasta: CreepyPasta narrator who is known for his creative storytelling in videos such as "How Monsters Are Made" and "3 Creepypastas That'll Make You NEVER Want To Sleep." He has more than 1.7 million subscribers to his channel. 

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Twitter

YouTube

Myuu: For over 10 years Myuu creates piano versions of Silent Hill, Tim Burton Movies, Death Note, Elfen Lied, and many more videogame and anime OSTs. On his YouTube channel "myuuji" he writes original dark music for YouTubers of horror communities such as Creepypasta, the True Scary Stories and the "Exploring with..." Abandoned Places series. His channel has over 200,000+ subscribers, with collaborations totalling over 185 million views.

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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

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

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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.

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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

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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.

Doors 7 | Show 8

Tickets on sale Friday, Sept 13th @ 10am CT

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Patterson Hood is a prolific writer and performer whose character-driven stories are packed with political subtext. He is best known as front-man, singer, songwriter and guitar player for the critically acclaimed rock and roll band Drive-By Truckers, but is also a writer of essays, columns and short stories.

In the past few years he has written an op-ed on the on-going controversies surrounding the confederate flag for The New York Times Magazine, a piece on Vic Chesnutt for The Oxford American’s annual music issue, and retrospectives on David Bowie for American Songwriter and Merle Haggard for NPR. Most recently in October of 2016, Patterson published his first short story featured in “The Highway Kind,” a car-themed crime fiction anthology.

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