Greensky Bluegrass *LOW TICKET ALERT*
with The Wood Brothers
DOORS: 4:30 PM
STARTS: 5:30 PM
LIVE ON THE OUTDOOR STAGEGenre: Bluegrass
Age Limit: Must be 12 or Older
RAIN OR SHINE; NO REFUNDS; LARGE EVENT PARKING
Greensky Bluegrass (with The Wood Brothers) will be performing LIVE on the Outdoor Stage at Salvage Station on Thursday, August 18th!
***PLEASE NOTE: Doors open at 4:30pm and The Wood Brothers start at 5:30pm.
12+ ONLY (no exceptions)! This is a LARGE EVENT, so please read our FAQs to learn more about parking options and our shuttle service.
Root Down will be serving their delicious twist on Southern Soul food PLUS we will have three food trucks on-site for the duration of the show. And, of course, we will have MULTIPLE full bars open for you to enjoy!
***Below are some important things to know before you come, so please keep reading!***
On-site parking opens at 3:30 PM. Doors open at 4:30 PM. The Wood Brothers are opening the show and they perform at 5:30 PM.
DO NOT park along the railroad tracks, bike lanes, or at other businesses along Riverside Drive! YOU WILL BE TOWED! Also- the trains run regularly and can hit your vehicle.
Paid on-site parking opens at 3:30 PM and is $10 cash or $12 credit card per vehicle. Handicap on-site parking is available for those who qualify.
FREE PARKING will be available with complimentary shuttle service from 5PM to 10:30PM every 30 minutes (or faster, if traffic is good to us) just down the street in the Zen Tubing lot at 608 Riverside Drive and at the Asheville Visitor Center at 36 Montford Ave. These lots open at 5PM.
DO NOT PARK IN THESE LOTS BEFORE 5PM
As always, PLEASE carpool, Uber, Lyft, Taxi, or bike when you can to help make parking available for all who need it. Salvage Station is not responsible for stolen items, so please lock your car and put valuables in your trunk out of sight. There is NO RE-ENTRY once your ticket has been scanned and there are no exceptions to this rule.
You DO NOT need to bring your vaccination card or negative covid test to the event and masks are optional.
CAMPING CHAIRS + BLANKETS ARE NOT ALLOWED TODAY.
EMPTY water bottles are allowed in an effort to cut down on waste. Remember to reduce, reuse and recycle!
HANDICAP on-site parking and seating are available for those who need it.
FOOD: We will have multiple food trucks on-site! So, come hungry and enjoy the great food selection! No outside food is allowed into the venue. No exceptions.
WHAT ELSE YOU CANNOT BRING TO SALVAGE STATION:
No firearms, knives, weapons, pepper spray, fireworks, or projectiles of any kind
No drugs, drug paraphernalia, or illegal substances of any kind
No outside food, drinks
No personal video cameras, Go-Pros, drones, or lasers
No professional audio, video, or audio recording equipment – (including detachable lenses, tripods, zooms, or commercial use rigs) without proper credentials
No large bags over (14″x14″x6″) *All bags are subject to being searched
No tents or easy-ups
Shirts + shoes are required at all times while on property
No frisbees or balls
***There is NO RE-ENTRY! All bags are subject to search upon entry. Guests have the right to refuse a bag search and the venue has the right to refuse entry. If you have any items that are not allowed into the venue, you will be asked to return them to your vehicle or forgo admission.
Please dress appropriately for the weather on the day of the concert. SMALL handheld umbrellas are permitted. Be prepared and remember that you cannot go back out to your car once your ticket has been scanned.
ENJOY THE SHOW!
Questions? Email: email@example.com or check our FAQ page at SalvageStation.com
LISTEN TO GREENSKY BLUEGRASS:
ABOUT GREENSKY BLUEGRASS:
Since their 2000 formation in Kalamazoo, MI, the quintet—Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [mandolin]—have unassumingly progressed into a phenomenon on their own terms with the undying support of a devout audience. Rolling back and forth across North America on successive tours, they recently sold out 3 nights at Red Rocks, a feat unheard of in their genre. In 2019, All For Money marked their second #1 debut on the Billboard Top Bluegrass Albums Chart and third straight Top 3 entry. They’ve also earned critical acclaim from Billboard, Parade, NPR, and Rolling Stone who hailed them as “representing the genre for a whole new generation.”
As always, the band embraces tradition, while ushering bluegrass forward on their eighth full-length offering, Stress Dreams. “Greensky is and always has been very unique in our world,” observes Paul. “We put our love, energy, and focus into what we appreciate about our music. We come together as a band in a way that’s organic. We take a lot of pride in how we grow and challenge each other too. We’re maturing together. I think we get more Greensky all of the time.”
They took advantage of the time to become “more Greensky” in 2020. After touring ceased in the face of the Global Pandemic, the band hunkered down and compiled demos individually at first, sharing emails and voice notes. In July 2020, they got together for the first time in four months, dedicating rehearsals to the development of the new material. Once circumstances safely permitted, they recorded what would become Stress Dreams during a session in Gilford, VT, and two sessions in Asheville, NC. The band co-produced with frequent collaborator “and old friend” Dominic John Davis (Jack White’s touring and studio bassist) and “wizard engineer” and grammy-winning producer Glenn Brown. They preserved the hallmarks of their sound while widening its expanse.
“It didn’t feel like we were squeezing this project into the schedule,” says Mike. “The lack of gigs gave us the freedom to get together solely to work on this. It was a relaxed environment. There wasn’t the pressure of time; the songs got space to breathe.”
“For all of our records, we always take more time to explore and experiment,” Paul elaborates. “We finished ideas and kept going, thinking everything all the way through. We really put energy into each specific song and made it the best it could be.”
The single “Grow Together” blossoms into a patchwork of nimble banjo, acoustic guitar, and mandolin as the dobro (routed through a Marshall amplifier) teems with fuzzy heart. Meanwhile, Paul delivers an intimate live vocal performance capped off by the hook—“That we can grow old together, if we can find the time”— and an evocative electric guitar solo.
“It was the first tune I had written in a really long time,” states Paul. “My daughter was just born. When she was five weeks old, I sat down on the floor with her and spit this one out. It was an appreciation for my wife and what it meant to become a father. I had never been so moved in the studio as I was when we recorded it. A lot of my songs have come from an open place of serious personal emotions, but this one was different. Instead of fighting against weakness and pain, it’s romantic, happy, heartfelt, and uplifting.”
The opener “Absence of Reason” borders on mystical with its psychedelically-wrung whale moans on the dobro and JJ Cale-inspired fleet-fingered chicken-pickin’, making for what the guys agree is a “positive creative experiment.” Meanwhile, “guitarmonies” uphold the towering refrain of “Monument”—co-written by Anders and Chris Gelbuda.
“‘Monument’ meant more once quarantine happened,” recalls Anders. “It’s about how our lives changed so much when we were locked up at home. We were trying to harness the feeling of everything being taken away in an instant. At the same 6me, the energy reflects the feeling of getting back on stage and playing in front of 10,000 people post-COVID.”
Penned by Mike, the eight-minute tittle track “Stress Dreams” leans into a fascinating 6/8 time signature underscored by piano and an ethereal mandolin-led crescendo.
“It was quite literally about having weird dreams,” says Mike. “There’s a circular pattern to being stressed and repeating your thought process. In our job, we operate with some level of predictability. Our schedule is booked out a year in advance. Once the Pandemic hit, we didn’t know when we would see each other and play again. Now we are playing again, but we don’t know if it’s going to be taken away in a moment’s notice. It gives added value to the present moment. To make music with my friends for five weeks was such a gift. A lot of the album speaks to this.”
The closer “Reasons To Stay” ends the album on a lighthearted and funky note with its surprisingly sexy climax as Paul assures, “You’re just made of reasons to stay.”
“It’s about the physical attributes of the person you’re spending the night with,” Mike goes on. “Paul sings it way sexier than I ever could. If my wife asks, it’s a love song,” he laughs. In the end, the story of Greensky Bluegrass just keeps getting better as well. “There’s a duality to this band,” Anders leaves off. “On one hand, we improvise and go outside the box on stage. The studio brings out our artistic side. We grow every time we make a record. I hope you hear and see the evolution.”
“We just can’t wait to play shows, hug our friends, and play music with other musicians we love
and respect,” Paul concludes. “Besides, we’ve got 13 new songs to add to the setlist!”
LISTEN TO THE WOOD BROTHERS:
ABOUT THE WOOD BROTHERS:
“Everyone has these little kingdoms in their minds,” says Chris Wood, “and the songs on this album all explore the ways we find peace in them. They look at how we deal with our dreams and our regrets and our fears and our loves. They look at the stories we tell ourselves and the ways we balance the darkness and the light.”
That balance of darkness and light is at the heart of Kingdom In My Mind, The Wood Brothers’ seventh studio release and their most spontaneous and experimental collection yet. Recorded over a series of freewheeling, improvised sessions, the record is a reckoning with circumstance, mortality, and human nature, one that finds strength in accepting what lies beyond our control. Thoughtfully honing in on the bittersweet beauty that underlies our doubt and pain, the songs grapple with the power of our external surroundings to shape our internal worlds (and vice versa) through vivid character studies and unflinching self-examination. The lyrics dig deep here, but the arrangements always manage to remain buoyant, drawing from across a broad sonic spectrum to create a transportive, effervescent listening experience that’s indicative of the trio’s unique place in the modern musical landscape.
“My brother came to this band from the blues and gospel world, and my history was all over the map with jazz and R&B,” says Chris Wood, who first rose to fame with the pioneering trio Medeski Martin & Wood. “The idea for this group has always been to marry our backgrounds, to imagine what might happen if Robert Johnson and Charles Mingus had started a band.”
Kingdom In My Mind follows The Wood Brothers’ most recent studio release, 2018’s One Drop Of Truth, which hit #1 on the Billboard Heatseekers Chart and garnered the band their first GRAMMY Award-nomination for Best Americana Album. NPR praised the record’s “unexpected changes and kaleidoscopic array of influences,” while Uncut hailed its “virtuosic performances and subtly evocative lyrics,” and Blurt proclaimed it “a career-defining album.” Tracks from the record have racked up roughly 8 million streams on Spotify alone, and the band took the album on the road for extensive tour dates in the US and Europe, including their first-ever headline performance at Red Rocks, two nights at San Francisco’s legendary Fillmore (captured on their 2019 release, Live At The Fillmore), and festival appearances everywhere from Bonnaroo to XPoNential.
On past records, the band — brothers Oliver and Chris Wood, and Jano Rix — would often write a large batch of songs and then deliberately capture them all at once, but when it came to making Kingdom In My Mind, The Wood Brothers began recording without even realizing it. At the time, the trio thought they were simply breaking in their new Nashville recording studio/rehearsal space, laying down a series of extended instrumental jam sessions with engineer Brook Sutton as a way to learn the lay of the land. Some rooms, they found, were spacious with natural reverb, others were tight and dry; some recording setups required a gentle touch, others encouraged blistering energy.
“We weren’t performing songs,” explains Oliver. “We were just improvising and letting the music dictate everything. Normally when you’re recording, you’re thinking about your parts and your performances, but with these sessions, we were just reacting to each other and having fun in the moment.”
There was something undeniably alive and uninhibited about those performances, and after listening back, the band realized they’d never be able to recreate such spontaneous magic. So, like a sculptor chipping away at a block of marble, Chris took the band’s sprawling improvisations and carefully chiseled out verses and choruses and bridges and solos until distinctive songs began to take shape, songs that reflected influences and elements of the band (like Jano’s smoldering piano work and Chris’s affinity for Latin and African music) that had never shone through in quite the same way before. From there, the brothers divvied up the material that spoke to them most, penning lyrics both separately and together as they pondered what it takes to know contentment in our chaotic and confusing world.
The jaunty “Little Bit Sweet,” which was born from the band’s very first session, learns to appreciate the ups and downs in the circle of life, while the soulful “Cry Over Nothing” and hypnotic “Little Blue” playfully meditate on ego and perspective, and the funky “Little Bit Broken” celebrates the imperfections that make us human. Tracks like the bluesy “A Dream’s A Dream” and hypnotic “Don’t Think About My Death,” meanwhile, grapple with separating truth from fiction, ultimately coming to terms with the fact that our brains will always find new ways to blur those lines. Though the album advocates for acceptance, it’s not a passive brand the brothers sing about, but rather one rooted in strength and empowerment. To understand exactly what that means, look no further than album opener “Alabaster,” which paints a deeply empathetic portrait of a woman who’s broken free from the shackles of her old life and started over fresh.
“At the same time we were making this album, we were looking for some sort of philanthropic organization we could support with our music and in a bit of synchronicity, we came across this great group called Thistle Farms, which was based just down the street from our studio,” says Oliver. “Their goal is to help women who have been victims of sex trafficking or prostitution or addiction to get off the street and into safe housing where they can participate in therapy and job training. The work they were doing was so inspiring and it felt like such a fit with the kind of album we were writing that we teamed up with them to donate a portion of ticket sales from all our shows. It’s our way of using what we’ve got to do whatever good we can in the world.”
More than anything, it’s that mindset, that recognition that we’ve all been dealt our own particular hand of cards and life is in the way we play them, that defines Kingdom In My Mind. As Oliver sings on the captivating “Satisfied,” which finds its narrator wondering about the glories of the afterlife before ultimately deciding to make the most of his time on Earth, “I’ve got nothing left to be afraid of / Because I will be satisfied.” With an album this remarkable, The Wood Brothers have plenty to be satisfied about.