Victor, bass guitar/vocals; Joseph, keyboards/vocals; Roy, percussion/vocals; and Regi, guitars/vocals. For over four decades the Wooten Brothers have been recognized as some of the most innovative musicians in existence and are collectively known as one of the most talented and dynamic band of brothers the world has ever known. Since they were young, the five brothers have been a musical tour-de-force redefining the limits of jazz, funk, soul, R&B, rock, and bluegrass. Sons of military parents, their early years were spent living in different states including Hawaii, California, and Virginia where they shared stages with the likes of Curtis Mayfield, The Temptations, Ramsey Lewis, Stephanie Mills, War, and other artists. In the mid 80’s, the brothers released an album as The Wootens for Clive Davis’ Arista Records. This will be the brother’s first tour together as a band since the untimely death of their saxophone-playing brother Rudy a few years ago.

Victor Wooten, a five-time Grammy Award-winning artist, has graced the cover of Bass Player Magazine five times. He is a founding member of the eclectic group Bela Fleck and the Flecktones and is recognized as one of the greatest living bassist today often drawing comparisons to Jaco Pastorius, and was named one of the “Top ten bassist of all time”by Rolling Stone Magazine. He is also an award-nominated author, naturalist, and music educator and has been running his unique music/nature camps since the year 2000. Wooten’s camps are held at his own Wooten Woods, which is just outside of Nashville. In 2010, he started his own record label, Vix Records, which has released a series of acclaimed recordings over the last few years.

Joseph Wooten has a dizzying list of talents that is impressive even by the Wooten clan’s standards. Currently the keyboardist for the Steve Miller Band (since 1993), he is also a composer, orchestrator, motivational speaker, and has been showcased as an amazing vocalist since he was a child. In 1981, Joseph became known as the “overnight accordion player” when he literally auditioned, bought an accordion, and began performing within a matter of a few days for the Busch Gardens amusement park in Williamsburg, VA. He has collaborated with the likes of Whitney Houston and Kenny G, and when not touring with Miller, leads his own band, performs with Freedom Sings, and even helps out his little brother as keyboardist, vocalist, and composer for The Victor Wooten Band. Roy “Futureman” Wooten, also a five-time Grammy Award winner, is best known for his masterful drumming and percussion skills and is a founding member Bela Fleck and the Flecktones. Roy, a seasoned drum set player, is mostly known for his frenzied, inimitable on-stage performances heightened by his surreal choice of instruments: his trademark inventions “The Drumitar” and “RoyEl” keyboard. He is also a philosopher, researcher, filmmaker, and educator. His impressive solo career and “Black Mozart” projects scan the genres of classical, jazz, soul, gospel, and spoken word.

Regi Wooten’s signature guitar style of chording, slapping, tapping and frenzied strumming has earned him world-wide notoriety and comparisons to Jimi Hendrix, Frank Zappa and Chuck Berry. In recent years, Regi has performed with many artists including the legendary Ginger Baker. Regi, known worldwide as “The Teacher”, currently teaches music in Nashville, TN and has taught many notable musicians. He was teaching his little brothers Joseph and Victor when he himself was only 9 years old. One of his early, but lasting contributions was the composition of his and his brother’s high school Alma Mater.

Together The Wooten Brothers bring an uncanny level of experience, originality, and musical expertise to the stage. Their shows will be a high-energy, super-funky, artistic blend of styles including original songs and classics. In short: these brothers are the real deal and their shows are not to be missed.

Acclaimed singer, songwriter, and musician Marc Broussard is an artist with a unique gift of channeling the spirits of classic R&B, rock, and soul into contemporary terms. The son of Louisiana Hall of Fame guitarist Ted Broussard of “The Boogie Kings,” he nurtured his musical gifts at an early age in the vibrant Lafayette, Louisiana music scene. After releasing a highly successful independent EP at age 20, Broussard made his major-label debut with Carencro. The album featured the breakout hit single “Home” and catapulted him into the national spotlight. The Louisiana-born and raised artist has created a wide range of music in his career. Carencro laid the groundwork with unequaled style, illustrating his knack for modern soul music and setting the stage for his long and distinguished career. That album and the others that followed solidified Broussard as a southern soul singer with a rarefied talent and an innate stylistic and emotional authenticity that have made him one of the most indelible artists of his generation. NPR cited, “His music radiates soulful Louisiana blues, but his songs blend those influences with raucous rock ‘n’ roll to create unique and infectious music.”

Over the past decade, Broussard released several notable albums with major labels and has since returned to his independent roots with a series of critically acclaimed original and philanthropic cover albums through his S.O.S Foundation (Save our Soul). Marc has accumulated millions of streams and hundreds of millions of views on viral YouTube videos.

Broussard’s incomparable brand of soul, an infectious mix of rock, blues, R&B, funk-pop, and soul coupled with his powerful vocals, has garnered worldwide praise from critics and fans alike. His recent release, S.O.S. 4 Blues for Your Soul, a collaboration with blues legend Joe Bonamassa is a stellar collection of blues and soul classics that debuted at Number One on the Billboard Blues Album Chart. The fourth volume in his S.O.S. series, the album benefits Bonamassa’s charitable foundation.

Marc Broussard’s new studio album, Time is a Thief finds the acclaimed singer/songwriter delivering an infectious ten-song set filled with gritty, rootsy hooks and dance-floor grooves, all wrapped around Broussard’s fervent vocals. Produced by Grammy-winning guitarist/songwriter/producer Eric Krasno and Grammy-nominated producer/guitarist Jeremy Most, Time Is a Thief has a funky, soulful sound and is wonderfully layered with diverse sonic textures that distinguish it from his previous recordings. His first album of new music since 2017’s, Easy to Love, Time is a Thief arrives via his Artist Tone Label.

There’s Something Undeniably Out-Of-Time About Both Kendra Morris And Her Indelibly Cool New Album I Am What I’m Waiting For (Karma Chief Records). It Combines Rough-Hewn Powerhouse Vocals With Arrangements That Betray Both An Extensive Record Collection And A Whimsical Instinct For Joyous Noises — Think Dusty Springfield Fronting Spoon Circa Kill The Moonlight Or A 60s Girl Group Creative Directed By Nick Lowe And PeeWee Herman. It’s Vibrant And Varied And Packed With Personality.

“How Do You Put Yourself Into A Record? Torbitt And I Wanted To Make It Feel Like You Cracked Open The Ooze In My Head,” Morris Says, Referring To Her Co-Writer And Producer Torbitt Schwartz AKA Little Shalimar (Run The Jewels). Morris Is An Accomplished Visual Artist And Stop-Motion Animator, So It’s Appropriate That I Am What I’m Waiting For Takes A Collagist Approach, Mischievously Recombining All Sorts Of Rock And Roll Ingredients — The Sass And Swagger Of Ronnie Spector, The More Acid-Fried Corners Of The Nuggets Compilations, Post-Modern Interpolations Of Mid-Century Exotica Music, The Cracking Snares And Sugary Urbanity Of ESG — While Offering Moments Of Vulnerable Insight From A Life Spent In Pursuit Of Creativity.

Morris Was A Musically Precocious Child And, After Playing In Florida Bar Bands, Moved To New York To Chase The Dream. Thus Began A Formative 13-Year Stint Bartending At The Beloved Lower East Side Dive The Library, Which Thrust Morris Directly Into The Heart Of Manhattan’s Fertile Post-Strokes Creative Scene. Brian Jonestown Massacre’s Anton Newcombe Lived Upstairs, Music Journalist Marc Spitz Was A Regular, And Touring Acts Would Come Through To Carouse After Playing Bowery Ballroom. During Those Moments, Morris Yearned To Join The Rarefied Air Of The Musicians On The Other Side Of The Bar.

All The While, Morris Pursued Her Music Dreams. “It Was Pure, 100% DIY. I Never Took No For An Answer. If I Didn’t Have The Money, I Figured Out How To Make It Happen: Videos, Artwork, Whatever.” After The Dissolution Of Her First Band, She Recorded 8-Track Demos And Performed Solo Shows Backed By Cassette Recordings Of Her Own Vocal Harmonies. Through These Shows She Connected With Longtime Producer Jeremy Page. It Was Kismet.

“I Worked With Jeremy For The Next 10-Plus Years,” Says Morris. “We Worked Together Through Some Of The Most Beautiful And Hardest Life Things I’ve Ever Gone Through.” It Was A Fruitful Partnership: Morris Signed To Wax Poetics For The Release Of Her “Seductive, Soulful” (Rolling Stone) 2012 Debut Banshee And 2013’S Mockingbird, Self-Released Her 2016 EP Babble (Reissued Earlier This Year), And Signed To Karma Chief For 2022’S “Beautifully Sung” (MOJO) Nine Lives. She’s Linked Up With A Murderer’s Row Of Collaborators, Including DJ Premier, MF Doom, Ghostface Killah, And David Sitek. Interview Magazine Called Her “A Modern Day Janis Joplin,” And NPR Praised Her “Lush, Moody Mix Of Neo-Soul.”

Despite Her Strong Professional And Personal Relationship With Page, Morris Knew That She Needed To Change Up The Energy For Her Next Project. “When My Birthday Arrived In April Of Last Year, I Had This ‘Aha’ Moment. ‘Oh Shit, I’m Halfway To The Age Of Average Human Life Expectancy! I Wanna Shake Myself!’ Jeremy And I Could Write Songs With Our Eyes Closed…But If You’re Chasing Evolution Then You Can’t Be Comfortable.”

She Connected With Torbitt Schwartz aka Little Shalimar whose production credits include Run the Jewels and Killer Mike’s 2023 Grammy winning album Mike and set about making I Am What I’m Waiting For. Morris Was Eager To Break Out Of Old Habits: She Started Playing Guitar Again Live, Realizing That Where She Saw Tics Developed To Cover Up A Lack Of Technical Ability, Others Saw A Musician With A Distinct And Stylish Rhythmic Signature. She Pulled Old Songs Out And Reworked Them. Less-Than-Perfect Takes Were Tolerated. She Put A Moratorium On Love Songs. As She Put It: “I Needed To Scare Myself Into Growth.”

Luckily, The Risk Paid Off. I Am What I’m Waiting For Is Not Only A Sophisticated And Joyful Sonic Reinvention, But An Unfiltered Expression Of Morris’s Idiosyncratic Worldview. Take “Special,” Which Takes A Bleak Approach To Coping With Fear And Statistical Unlikelihood. Says Morris: “I Hate Flying. I Have No Control Over It And That’s Something That Makes Me Crazy. So Something I Tell Myself When I’m Flying A Lot Is The Statistic That Your Plane Has The Same Chances Of Crashing As You Have Winning The Lottery. I Have Never Won Anything.” It’s An Anthem That Revels In Contentment, In Enjoying The Small Experiences That Texture Your Life — A Salve Against Self-Improvement Hacks And Motivational Influencers Infiltrating Your Feed.

Elsewhere, The Bell-Laden “Dominoes” Turns The Mundane Conflicts Of Domesticity And Cohabitation Into A Ronnettes-Worthy Rallying Cry And The Exotica-Steeped “All Your Jokes” Examines What Morris Describes As “The Need For Vulnerability In A Relationship When You Have Something To Lose.” There’s Even The Smoky, Doo-Wop-Tinted “Birthday Song,” A Valiant Attempt To Expand The Birthday Song Canon.

The Almost-Title-Track “What Are You Waiting For” Encapsulates The Album’s Spirit: Stabs Of Guitar Yield To Sirens-And-Bongo Breakdowns As Morris Champions Realness And Self-Reliance. It Hits Like A Conscious Statement Against Algorithmic Optimization. “When You Introduce Yourself To Someone,” Says Morris, “You Can Yada Yada The Broad Strokes Of Your Life. But It’s The Textures And Specific Details In Life, Music Or Art That Gives It Meaning.” Fittingly, I Am What I’m Waiting For Bravely Luxuriates In The Little Details. It’s The Rare Record That Doubles As Self-Portrait, Unvarnished Yet Thrilling Because Of Its Imperfections.