Fireside Collective

Join us and Fireside Collective on Friday, August 5th for the band’s Album Release Celebration — feat. The Grass Is Dead + very special guest Cristina Vane — LIVE on the Indoor Stage! Doors open at 6pm and the music starts at 7pm. 18+ ONLY (no exceptions)! FREE ON-SITE PARKING! Root Down will be serving their delicious twist on Southern Soul food PLUS we will have our FULL bar open for you to enjoy!

*Keep an eye on this week’s newsletter for a venue-exclusive pre-sale code! General public on-sale happens Fri., 6/10 @ 10AM!*

Please review our Covid-19 policy here: https://salvagestation.com/covid-policy/

CDC guidelines + band requirements + our venue policies are subject to change daily, so please keep your eyes on https://salvagestation.com/covid-policy/ for updates. We do not issue refunds based on our Covid-19 policies and reserve the right to change them at any time.

Check out our FAQ page here to learn about parking options, what you can and cannot bring inside the venue, and MORE!

LISTEN TO FIRESIDE COLLECTIVE:

ABOUT FIRESIDE COLLECTIVE:

A quintet who cheerfully disregards every kind of one-dimensional label that might be attached to their music, Fireside Collective has been on a roll since emerging seven years ago from the fertile roots music scene of Asheville, North Carolina. In quick order, the progressive bluegrass group released its debut album, won the 2016 Band Contest at MerleFest, earned an International Bluegrass Music Association Momentum Band of the Year nomination, and embarked on an ambitious touring schedule that’s earned an enthusiastic reception from traditional bluegrass to wide-ranging, eclectic music festival audiences alike.  

​Blending the characteristic interplay of bluegrass instrumentation and harmonies with strong original material and exuberant energy, Fireside Collective has drawn on folk, blues, funk and a wide variety of bluegrass sounds to create a distinctive body of work that’s all their own. 

Each member—Joe Cicero (guitar); Alex Genova (banjo); Jesse Iaquinto (mandolin); Tommy Maher (resonator guitar) and Carson White (upright bass)— brings a strong, original voice to his instrument, and the unique contributions of different lead and harmony vocalists complement the variety in the group’s many original songs. “Depending on where you come from and your experience with folk music, you may think we’re very traditional, or on the other hand, consider us a progressive act,” says Iaquinto. “We appreciate both ends of the spectrum and may lie on a different end on any given night.” But whether they’re bringing the classic sound of bluegrass or exploring a new musical territory, Fireside Collective delivers a fresh, energetic approach and a blast of enthusiastic creativity that’s electrifying audiences across the country.

LISTEN TO THE GRASS IS DEAD:

ABOUT THE GRASS IS DEAD:

It is well known that roots music is passed down from generation to generation. From grandparents to parents and from parents to their children. The inevitable collision between the traditional past and the enormous catalog of modern music, both spiritual and psychedelic, is the fertile plain that sprouted the roots of The Grass Is Dead. Initially formed as an acoustic offshoot of one of the country’s most beloved GD tribute bands, Crazy Fingers, The Grass Is Dead has evolved over the past ten years into a juggernaut of sound and a festival favorite up and down the east coast, to Colorado and back.

Their live performances bring into view a traditional sensibility of bluegrass, swing, and folk music launched directly onto a psychedelic paintbrush of modern influences, most importantly, the music of the Grateful Dead. Captivating audiences with their unique interpretations and thoughtful arrangements of songs by the GD, Jerry Garcia, and many others, as well as their extensive file of traditional roots music at their command, it’s only a matter of time until the buzz that they have created will reach the West Coast as well. The Grass Is Dead are very much alive and well, rocking out, and picking their way across this great country. 

“At the core of The Grateful Dead is the heart of American music, which is bluegrass and folk. You cannot hide behind these two genres. What you get in the studio is what you get onstage. And it’s that vulnerability and honesty that sets the tone and attitude apart from the haphazard and polished nature of pop radio. Putting their music through the prism of string music, The Grass Is Dead showcases how Jerry & Co. buried innumerable gems of wisdom — sonically and spiritually — in the rich tapestry of their melodies and lyrics, all of which radiate in intimacy and inclusiveness of The Grass Is Dead when they stand in front of the microphone, and also the unknown night of curiosity and exploration that they seek out and grasp with such ease.”  — Garret K. Woodward, Music Editor – The Smoky Mountain News

“The Grass Is Dead allows me to play both traditional and Dead-like vibes on their show. It’s great energy and intent and we know a million tunes between us. They really play bluegrass, yet they also are Deadheads. Their music is not just rock spiced up with bluegrass instruments. They have well-thought-out arrangements that draw on bluegrass but are accepted by even the most hardcore Dead fan. I never feel like I’m playing in a Grateful Dead cover band when I’m with them. Because of their intention and the way they put the songs together, it’s a real tribute to both bluegrass music and the Grateful Dead at the same time. — Rev. Jeff Mosier

LISTEN TO CRISTINA VANE:

ABOUT CRISTINA VANE:

ABOUT CRISTINA VANE:

Cristina Vane, is an Italian-born, emerging Americana artist out of Nashville. Her signature bottleneck slide guitar playing, travis picking, and clawhammer banjo are tied together by her silky, powerful voice and her vivid songwriting. Vane’s musical perspective is decidedly unique and authentic.

After graduating from Princeton with a degree in Comparative Literature, Vane moved to Los Angeles where she worked at McCabe’s Guitar Shop. She studied fingerstyle guitar with mentor Pete Steinberg and spent every free moment working on her music. Those years pushed her to explore country-blues picking and old folk guitar styles.

After almost four years in Los Angeles, Vane knew it was time to take her music on the road. She quit her jobs and booked a five-month cross-country tour, playing small bars, breweries, coffee shops, clubs, and backyards wherever she could, exploring the country she was both from and foreign to. The experience was life-changing and resulted in her first full-length record. “Each pocket of the country has its unique flavor and discovering the musical stylings that go along with that really informed this record.” Her debut release, “Nowhere Sounds Lovely” was produced by Grammy-award-winning drummer and producer Cactus Moser. Moser also played drums on the record; his style “has some grit and some rock, mixed with these really awesome references to traditional roots music,” says Vane.

Cristina’s authentic sound is compelling and has resulted in direct support opportunities with Bob Weir, Wynonna Judd, Cass McCombs (The Fillmore SF), Town Mountain, Duane Betts, and Willi Carlile. She sold out her 2021 Station Inn debut and was featured in the Bank of America ad. for Ken Burns’ “Country Music” documentary.

Vane’s next album will be released in spring 2022, and is being co-produced by Brook Sutton, Jano Rix (of the Wood Brothers), and Cristina herself, and includes appearances by Billy Contreras, Kyle Tuttle, and Bronwyn Keith Hines.

She has enjoyed a strong and supportive online following for years now, with million view counts on her own channel, as well as collaborative videos with 3M + views. She recently was featured in two videos on the Western AF channel, “Wishing Bone Blues” and “Travelin’ Blues” with another in the works.

“Cristina Vane evokes Bonnie Raitt and early PJ Harvey with “Badlands,” from the newly released album Nowhere Sounds Lovely. Vane’s sizzling slide guitar gets a starring role along with her hypnotic melody, reinforced in lines like “People gather like dead birds.” Entrancing stuff.” — Rolling Stone

“When you watch the video for “Badlands,” the first single from Cristina Vane’s forthcoming debut LP Nowhere Sounds Lovely, the first thing that catches your eye is the bottleneck on her finger. Like a young Bonnie Raitt, Vane sings from both her voice and her supple, bluesy guitar playing almost simultaneously–her sound as earthen as the South Dakota landscape with which she sings about on “Badlands.”” — American Songwriter

“… Leaning heavily on old school rock and pre-war blues, Vane’s songwriting explores gospel, bluegrass, delta blues, country and even waltzes, resulting in a patchwork quilt of influences, both old and new… Though she may not be a United States native – admittedly still referring to herself as an outsider – Vane captures the sound and essence of American music to a T. From amber waves of grain to purple mountain majesties, Nowhere Sounds Lovely proves that Vane is more ingrained in western culture and music than many who’ve lived it their entire lives.” — Holler Country