Sept 21, 2020

Tech N9ne's Enterfear Tour ft. RITTZ, Krizz Kaliko, King Iso, Maez301 & The West Coast Saints are coming to The Historic Ashland Armory

Tickets On Sale NOW!!

***All ORIGINAL TICKETS FROM APRIL 21st DATE WILL BE HONORED***

-SHOW DETAILS-

The Historic Ashland Armory - 208 Oak St. - Ashland, OR
All Ages
7:00 pm Doors - 8:00 pm Show
$32.00 - Adv / $35.00 - Door
Presented by - JMax Productions

-ADVANCE TICKETS-
Music Coop
Listen Here
Magic Man Fun Shop (All 3 Locations)
Or Online at JMaxproductions.net

- Tech N9ne Bio -
While crafting what would be one of the most important albums of his career, Tech N9ne thought back to some of his early material. Before Strange Music became the No. 1 independent rap music label, the Kansas City rapper released The Calm Before The Storm. The acclaimed collection included songs that hinted at the type of artist he would become, from the conceptually rich “Questions” to the devilishly clever “Mitch Bade.”

So for The Storm, Tech N9ne wanted to revisit and build upon his musical foundation. “I knew if I named it The Storm, it would push me to do the best music I’ve ever done,” Tech N9ne explains. “I’m coming off of Special Effects, which featured songs with Eminem, Krizz Kaliko, 2 Chainz, B.o.B and T.I. But it’s not just the features. It was a big record, period. I just couldn’t come with a title that wasn’t going to push me. It actually pushed me to do some damn good music, man.”

The resulting The Storm features Tech N9ne delivering 20 stellar songs that fit into three sonic worlds. The Storm kicks off with the “Kingdom” section, a showcase for the rapper’s narcissistic side. He then travels to “Clown Town,” which finds him at his darkest. The set closes with the “G. Zone,” a nod to the gangster side of his personality.

Longtime Tech N9ne fans will recognize this type of layered artistry, something he introduced on 2001’s Anghellic, his first national release and the first album released on Strange Music. Anghellic features Tech N9ne navigating through “Hell,” “Purgatory” and “Heaven.” The conceptual master later explored his “The King,” “The Clown” and “The G” personas on his 2006 album, Everready (The Religion).

With The Storm, Tech N9ne reintroduces “The King,” “The Clown” and “The G” to his longtime listeners. He also introduces them to his new fans, people who may have become Technicians thanks to his more recent material, including the gold certified singles “Fragile” with Kendrick Lamar and ¡Mayday!, as well as “Hood Go Crazy” with 2 Chainz and B.o.B.

The Storm’s first single “Erbody But Me” fits perfectly in the “Kingdom” section of The Storm. On the kinetic cut, Tech N9ne deflects detractors and salutes his swag, while the percussive “Wifi (WeeFee)” trumpets Tech N9ne’s status as a plug as he delivers some intricate alliterative rhyming. Elsewhere, the raucous “Sriracha” features Logic and Joyner Lucas, both of whom asked Tech N9ne to appear on the cut after hearing an early version of the Michael “Seven” Summers-produced cut. Thanks in part to his guests on the song, “Sriracha” evolved into something different from how Tech N9ne first imagined it.

“It was not meant to turn into a chopper song, but Joyner Lucas, whenever he gets on anything, he has to kill everything,” Tech N9ne explains. “Almost nobody ever sends me tracks for real, so the people that send me ones are brave. Joyner Lucas sent me one because he’s a brave soul. That’s cool ‘cause I’m usually the one always sending tracks out. So what I did on ‘Sriracha’ is what the beat needed.”

Things get confrontational on the mesmerizing “Get Off Me,” a collaboration with Problem and Strange Music’s recently signed new artist, Darrein Safron. The three showcase their braggadocio side with high-powered lyricism, something that was of particular importance to Darrein. Tech N9ne says that because Safron in known as an R&B singer, people don’t think he can rap. “He’s a product of his environment,” Tech N9ne says. “He’s not trying to act like nobody. He’s like, ‘These people don’t think I can rap.’ So he rapped and he killed it. I love that. Problem did what he does and he killed it to. Everyone’s going to love this song when they hear it.”

Tech N9ne descends into “Clown Town” with “I Get It Now,” the darkest portion of the album, which details the rapper’s longstanding struggle with not fitting into the traditional rap world, while “Hold On Me” features him taking a sobering look at his relationships with women. Then there’s “Poisoning The Well,” which showcases a bluesy sound. As Tech N9ne emerges into the “G. Zone” section of the album, he laments that he’s not as successful and acclaimed as he should be on “The Needle” and he imagines getting away to find peace on “Anywhere” with Marsha Ambrosius.

Tech N9ne’s creative prowess shines throughout The Storm, as does the work of primary producer Michael “Seven” Summers. “We’re a great team,” Tech N9ne says. “We bounce ideas off each other all the time. Seven is just so diverse that he can do a song like the one I did with Jonathan Davis on here called ‘Starting To Turn,’ which is super metal, and then turn around and do ‘Get Off Me’ with Problem and Darrein Safron. He’s also able to do ‘No Gun Control’ with Gary Clark Jr. and Krizz Kaliko and then do ‘Buss Serves,’ the Too $hort remake of ‘CussWords.’ If I had a word for Seven, it would be ambidextrous.”

For his own work, Tech N9ne has a high standard. “I have to rap against Tech N9ne every time I do a record,” he says. “And that’s hard to do.” Tech N9ne has been doing just that since he emerged in the mid-1990s. Subsequently, the visionary rapper has become as one of the genre’s most prolific and acclaimed artists. He and business partner Travis O’Guin have built Strange Music into the industry standard with robust music, touring and merchandise components. Even though Strange Music remains fiercely independent, Tech N9ne still enjoys major label level success. He earned his second and third gold certifications in 2016 for his “Fragile” and “Hood Go Crazy” singles, testaments to O’Guin’s and his dedication to the company. “Reinvest, reinvest, reinvest,” Tech N9ne says. “That’s how you build. That’s how we built this empire.”

As Strange Music grew into a music industry force, it developed a reputation over the last decade-plus as one of the only reliable businesses in the field. All of that made the The Storm so striking to Tech N9ne’s fans and Tech N9ne himself, but the workload is not easy. “It’s hard, but I make sure that I have some happiness around me at all times” Tech says.

Revisiting his roots and overcoming adversity helped shape The Storm, Tech N9ne’s most powerful musical moment. Brace yourself.

VIP Meet & Greet Doors at 7PM / Regular Doors at 8PM / Show at 9PM-11pm

18 and Over with ID

Tickets $30-$60 (varies by seating)

Tickets available on EVENTBRITE

The SuicideGirls: Blackheart Burlesque is unlike any other burlesque act you’ve ever seen, filled with pop culture references, a high energy indie soundtrack and the sexiest choreography that will make your inner nerd explode with glee. Join us at The Armory for our geeky burlesque show with performances in tribute to Star Wars, Rick and Morty, Stranger Things, Sailor Moon, and more!

VIP Meet & Greet tickets include early entry for a meet and greet and photo with the performers, one item autographed by the girls, crowd-free merch shopping and a commemorative VIP laminate lanyard. (* VIP Meet and Greet is at 7pm for this show *)

Please note that this event is 18 and over ONLY. Any ticket holder unable to present valid identification indicating that they are at least 18 years of age will not be admitted to this event, and will not be eligible for a refund! All ticket sales are final.

Tickets: $25
Doors 8 pm

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Throughout history, unity starts on the dancefloor. From ancient tribal cultures to neon night clubs, beats bring bodies together. Once grinding and grooving in unison, the movement generates friction, sparks, and light. That might just be the purest form of energy on the planet. The Motet harness such energy on their ninth full-length, Death or Devotion. In fact, the Denver septet—Dave Watts [drums], Joey Porter [keys], Garrett Sayers [bass], Ryan Jalbert [guitar], Lyle Divinsky [vocals], Drew Sayers [sax], and Parris Fleming [trumpet]—encode a message in their energetic mélange of boisterous badass funk, swaggering soul, and thought-provoking pop.

In the process, they challenge convention and arrive with a dynamic, diverse, and definitive statement. “The essence is always going to be the groove, but we wanted to expand the idea of what a funk album could be,” says Lyle. “Of course, you want a driving backbeat. However, with the division that’s going on in this country and the world, I think it’s every artist’s responsibility to create a conversation. That conversation doesn’t have to be political either. It can be about love or an introspective journey. I think the commentary should be on what it’s like to be alive today. By drawing on funk, we create a fun, palatable musical vehicle for the message to go down. Our goal is for you to recognize we’re all dancing on the same dance floor—even though our steps may look a little different.” Death or Devotion earmarks an important point in the band’s own journey. Since emerging in 1998, the boys have cooked up eight full-length albums and entranced countless crowds. 2016’s Totem saw them welcome Lyle behind the mic and Drew on sax. Shortly after, they kicked off what has become an annual tradition by selling out the legendary Red Rocks Amphitheater for the first time. “It was my six-month anniversary and first show for a hometown crowd,” recalls Lyle. “I’ve got 10,000 people looking at me like, ‘Who the hell is that?’,” he laughs. That night would be chronicled on the fan favorite Live at Red Rocks. In the meantime, the group maintained a prolific pace of 100 shows per year in support of Totem. Along the way, The Motet started recording Death or Devotion during intermittent sessions at Scanhope Sound in 2017. For the first time, Lyle, Drew, and Parris (who joined in 2018) worked on a Motet record together from start-to-finish. “On Totem, the train was already moving, and I was just a train hopper,” says Lyle. “Drew, Parris, and I came onboard within the same year. Now, we’re all bringing our pieces to the puzzle. For me, I brought that R&B style. Funk is the common ground, but the music is a result of different inspirations: namely Drew’s hip-hop and reggae knowledge, Ryan’s psychedelic jamming, Dave with the worldbeat, Joey with his encyclopedic understanding of punk, and Garrett being the best bass player to exist. We found a really cool balance between the funkiness and songs that challenge your emotional headspace more than typical pop.”

The first single “That Dream” showcases the myriad of musical flavors from all seven members. Clean palm-muted guitars bristle against a swaggering beat as the horns enliven each verse, while a vocal call-and-response relays a head-spinning tale. “I took a nap, and I had the craziest dream I’ve ever had,” he recalls. “In the dream, I’m heartbroken from a nonexistent relationship, so I go out to a bar. I get seduced by this beautiful woman who serves me a glass of wine with poison. I wake up handcuffed and she’s stealing from me and torturing me. It was so dark, but I woke up and thought, ‘That would be a crazy subject to write a party song about!’”

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Elsewhere, “Highly Compatible” hinges on an unshakable riff and raucous refrain upheld by sizzling sax. “It’s like that beautiful moment of falling in love where you recognize something as supremely real-life magic,” Lyle goes. “Harry Potter couldn’t conjure a better spell. It’s the magnetic nature of the chemistry. We captured that chemical recognition.” From the infectious hooks of “Contagious” to the instrumental fireworks on “Speed of Light,” The Motet ultimately propose an important question at the heart of Death Or Devotion. “What are you going to bring to yourself and the world?”, Lyle leaves off. “Are you going to bring death, or are you going to bring devotion? The choice is yours.

When you listen to this record, I’d love for you to walk away feeling a little bit more connected, whether it be to yourself, to your friends, or to your community. Being able to drop all of the vision for a minute, be present, smile, and dance reminds us we’re all going through this together.” www.themotet.com

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It’s time to Bring Happy Back!

The Bringing Happy Back Foundation (BHB) is at it again. After a very successful and uplifting concert in Las Vegas last year, BHB is producing an even larger event - live from Ashland, Oregon on January 31, 2020. The Bringing Happy Back Experience is unprecedented. A musical celebration of life’s potentiality.

The Southern Oregon entertainment community are joining forces to share their talents and personal experiences with the sole intent of providing a message of hope and empowerment. By utilizing vibe-raising music, educational content and genuine compassion, BHB will showcase that no matter what life may throw at you: You are not alone. You matter. You are worthy of support. Happiness does return. You just can’t quit!

BHB founder and producer, Tonya Farrens was born and raised in Southern Oregon and has recently returned after 24 years of event and entertainment production in Las Vegas. Farrens launched BHB after losing her father to suicide in 2015.

I am producing The Bringing Happy Back Experience because I don’t believe any human should have to feel that suicide is their only option. - Tonya Farrens

Music universally can raise spirits, motivate and inspire. BHB 2020 will be an awe-inspiring showcase of live music, dance and spoken word. The show will be recorded and shared globally as part of the new BHB Pledge Campaign. Raise Vibes.

Save Lives. Learn more at www.bringinghappyback.org

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Tickets: $55 - $85
Doors: 7pm

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Respected by the millions of fans who are drawn to her music and undeniable talent, Wynonna’s rich and commanding voice has sold over 30-million albums worldwide spanning her remarkable 34-year career. As one-half of the legendary mother/daughter duo "The Judds," Wynonna was once dubbed by Rolling Stone as “the greatest female country singer since Patsy Cline." This iconic performer has received over 60 industry awards, with countless charting singles, including 20 No.1 hits such as “Mama He’s Crazy,” “Why Not me,” and “Grandpa, (Tell Me ‘Bout The Good Ole Days).”

Wynonna and her band The Big Noise, led by her husband/drummer/producer, Cactus Moser, released their debut full-length album in February 2016 via Curb Records to critical acclaim. Wynonna has described the new sound as “vintage yet modern” and a “return to the well.” It’s a rootsy work encompassing country, Americana, blues, soul and rock. The album features special guests Derek Trucks, Jason Isbell, Susan Tedeschi and Timothy B. Schmit. NPR’s Ann Powers noted that, “With her tight band behind her after touring together for several years, she just sounds like she’s home…You can just feel the grin on her face.”

Doors: 7 pm
Tickets: $25
All Ages

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Aaron Watson’s career is perhaps summed up best by Forbes, who says he’s "one of country music’s biggest DIY success stories."

For the past 20 years, Watson has achieved success on his own terms, hand-building a lauded career through songwriting, relentless touring and more than a dozen self released albums. His independent Texas spirit and strong work ethic are emblematic of the western lifestyle; virtues which have taken him from humble honky-tonks of Texas to multiple sold-out tours around the world.

In 2019 he released Red Bandana — "his most ambitious album yet" (Taste of Country) —whose 20 songs were hailed by The Boot as "a pure expression of his traditional country ethos.”

This unprecedented acclaim follows Watson's previous album, Vaquero, whose Top 10 hit "Outta Style" earned a BMI Millionaire award, and The Underdog, the first independent album in the history of country music to top the Billboard Country Albums chart.

With a dozen additional records under his belt, Watson is exceeding major-label-sized metrics while maintaining his independence, further galvanizing his "Texas country's reigning indie underdog" (Rolling Stone) brand. "There may be no more genuine singer-songwriter at the moment than Watson," says Texas Monthly, pointing to a self-made businessman, chart-topper, and road warrior whose authenticity has made him a country music staple.