Will Hoge


Rock n' Roll with a Country Soul

Amplified Guitars, Melodic Hooks, Southern Soul, and Rootsy Stomp

Heads up! ALL ticket holders will need to show proof of COVID-19 vaccination or a negative PCR test (time stamped, and no older than 72 hours), to attend this concert. A message from the artist:

“September 21, 2019 was the last show the band and I played together. It has been almost 2 years since we have played live. We’re looking forward to changing that soon. The safety of this band and our families (two of us have kids too young for vaccinations) and our friends coming to the shows as well as our partners working at these venues is paramount to me. Therefore, starting with our first shows back in September and for the remainder of this calendar year ALL SHOWS will require proof of vaccination or a negative Covid test. Feel free to contact your local venue if you’ve got questions about what is needed for entry. Thanks for doing your part to help keep us all safe and healthy. Y’all enjoy the show.” – Will


Why you should see this show…

For two decades, Will Hoge has created an authentic blue-collar, American rock & roll sound. A talented singer songwriter, his music highlights acoustic guitars, melodic hooks, southern soul, and rootsy stomp. Will Hoge’s most recent album captures the same energy fans can look forward to from one of his live performances. If you like Jason Isbell, Ray LaMontagne, Steve Earle, or Amos Lee, you’ll love the music of Will Hoge!


Will Hoge Bio
For two decades, Will Hoge has carried the torch for American rock & roll, carving out his own blue-collar sound rooted in amplified guitars, melodic hooks, southern soul, and rootsy stomp. It’s a sound that nods to the best moments of the past — the punch of Tom Petty’s anthems; the countrified twang of Buck Owens’ singing; the raw, greasy cool of the Rolling Stones — while still pushing forward into new territory, with Hoge’s storytelling and larger-than-life voice leading the charge.

Trends come and go. Yet Will Hoge remains a mainstay of the Americana landscape, hitting the road year after year, turning new pages of a career whose twists and turns — including Number One hits, a near-death experience, major-label record deals, and hard-won independence — sound like stuff of some long-lost movie script.

Maybe that’s why Tiny Little Movies, his eleventh album, feels so cinematic. Recorded alongside Hoge’s band of road warriors, the album brims with the same electric energy that fuels his shows. These are songs for highways, hotels, the heartland, and those all-too-brief moments at home, glued together by self-reflective lyrics that find Hoge making peace with life, love, and the long ladder that leads to success.

“Dealing with anxiety is a bit of a constant for me,” the songwriter admits. “I spent years worried about things falling apart — personally, musically, emotionally, financially, you name it. As I’ve gotten better at my life, there’s a moment of realizing that this is it. It is where it is supposed to be. So I’ve been looking around, embracing the good and the bad, hoping to change what I can, and accepting the things I can’t.”

Don’t be fooled; this is still the same fired-up Hoge who released 2018’s My American Dream, a sharply-worded protest album that tackled everything from political corruption to social issues. Those progressive stripes run throughout Tiny Little Movies, too, rearing their heads during album highlights like “The Overthrow” — a riff-heavy rocker that anticipates the removal of a no-good dictator — and “Con-Man Blues,” whose overdriven guitars and pummeling percussion mark one of the most blistering moments of Hoge’s entire catalog.

Even so, a theme of self-acceptance runs through the center of Tiny Little Movies. On the atmospheric “Even the River Runs Out of This Town,” Hoge pines for the one who got away — or, more accurately, the one he allowed to get away, knowing she’d only be dragged down by his presence. “I love you so much, I ain’t asking you to stick around,” he sings during the song’s final moments, his guitar flanked by layers of gauzy, sympathetic reverb. On “Midway Motel,” a track co-written with the Wild Feathers’ Ricky Young, he salutes the run-down hotels that have housed his fellow musicians for decades, finding the strange beauty in places where the TVs are “as broken as the world outside.” He teams up with co-writer Dan Baird (former frontman of the Georgia Satellites, as well as Hoge’s former guitar player) for the R&B-influenced “My Worst,” a song that finds him owning up to past mistakes, then chases down inner peace with “Maybe It’s OK,” an autobiographical song rooted in the realization that Hoge — mistakes and all — has done pretty well for himself.

And Will Hoge has, by all accounts, done pretty well for himself. “Even If It Breaks Your Heart” — a tribute to his musical upbringing in Franklin, TN, just 30 miles south of Nashville — became a crowd favorite when it appeared on 2009’s The Wreckage, then grew into a Number One country hit when Eli Young Band covered it in 2012. One year later, Hoge earned another smash with “Another Song Nobody Will Hear,” a duet with Wade Bowen that topped the Texas charts. When a life-threatening car collision left a battered, broken Hoge in recovery for a year, he turned the experience into fuel for his music and his own heightened appreciation for life. He also learned to trust his own instincts, producing a number of his own albums — as well as albums for Red Wanting Blue, Stephen Kellogg, and up-and-coming songwriter Jackie Darlene — while releasing records like 2013’s Never Give In and 2015’s Small Town Dreams on his own label, Cumberland Recordings.

For the self-produced Tiny Little Movies, Hoge chose to highlight the raw chemistry of his road band. The group rented a rehearsal space in East Nashville for four days, then headed south of town to Trace Horse Studio, where the group — Hoge, guitarist Thom Donovan, drummer Allen Jones, and bassist Christopher Griffiths — tracked each song in a series of live, inspired takes. The goal wasn’t just to serve the song; it was to serve the band, too.

“There’s a classic, rock & roll centerpiece to everything this band does, but it’s still a group of four different people, and we all bring different influences to the table,” says Hoge, who turned to Grammy-winning producer/engineer Matt Ross-Spang (Jason Isbell, Margo Price, Lori McKenna) to mix the album at Sam Phillips Recording. “We’ve got a metalhead in the group. We’ve got a Motown fan. We’ve got a guitarist who loves Johnny Marr. It’s a unique hodgepodge of sounds coming together, and we tried to accentuate that.”

Great rock & roll records rarely follow a script. Tiny Little Movies may nod to the heartland rockers who came before Hoge, but this is an album that stands in a theater of its own, accented by everything from the country storytelling of Hoge’s southern roots to the soulful sway of his voice. It’s Hoge at his best: raw, amplified, and inspired, with enough hunger to keep him inspired and enough contentment to add perspective to his rougher edges.

“I grew up loving rock & roll records, and that’s my intent every time I go into the studio — to honor that sound,” he says. “You get closer sometimes more than others. This time, I think we nailed it.”



Walter DeBarr Bio
The Walter DeBarr you see on stage today, smiling and playing and singing his heart out to devoted audiences, is not the same man he was even a few short years ago.

The early loss of a father he never met, his own young fatherhood, racism, bar fights, the death of his mother, addiction, prison, recovery… DeBarr has seen his share of trials. But through it all, music has been his beacon of hope. In his early years, it was his grandmother’s guitar and gospel hymns. Later, it was skateboarding to punk music, stacks of albums by independent artists, and moving out of his small hometown to follow the music to bigger cities–all the while dragging his own guitar around with him, from town to town and in and out of prison. Finally, after his last stint in prison, he began to find his voice in recovery and started writing his own songs.

His first EP, We Fall, We Break, was released in late 2019, followed by his single, “Eyes to the Sky,” in 2020. Compared to such artists as Gary Clark Jr., Tom Waits, Johnny Cash, and Bob Dylan, DeBarr’s raspy vocals and untrained, folky finger-picking are a style all his own. His songs often delve deep into stories of addiction and loss, but offer redemption and hope in the form of love and tight familial bonds.

When DeBarr isn’t playing solo acoustic sets, he plays with a full band that includes MacLean James on lead guitar, JD Thomas on bass, Cameron Miller on drums, Steven Schumann on cello, and his life partner, Pamela Kesling, on backup vocals. He and Kesling also occasionally perform as a duet under the name The Little Blue Hearts.

A music lover and promoter as much as a musician, DeBarr makes it his mission to spread love and good music wherever he goes. When the coronavirus pandemic hit in early 2020 and plans for tours and performances were canceled, he and Kesling formed the Appalachian Folk Online Music Festival to provide a venue to help musicians keep connected to their fans through a monthly full-day series of livestreams by their favorite independent artists.

Despite the pandemic wrench thrown in his plans just as his career was taking off, DeBarr has performed with such acts as Arlo McKinley & The Lonesome Sound, Ward Davis, Eric Bolander, Charles Wesley Godwin, Ritch Henderson, Jake Dunn & The Blackbirds, Hello June, 49 Winchester, and many more. He has performed on Red Barn Radio and headlined shows at the V Club in Huntington, West Virginia, Proud Mary BBQ in Lexington, Kentucky, the Sophisticated Hound in Princeton, West Virginia, and the Empty Glass in Charleston, West Virginia. Recently, he was named an Artist in Residence at the Kentucky Music Hall of Fame, where he also headlined a show.


Dining Option

Our Concert Hall menu is fast to the table and allows you to dine right in your ticketed seat. Tableside food service will start 2 hours before showtime and the kitchen will close approximately halfway through the show. Tableside beverage service will continue throughout the concert.


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