Hayes Carll

With Travis Linville

Thursday, July 21, 2022
Door 6pm Show 7:30pm
$25.20 to $100

Ticket descriptions are as follows:

This concert is standing room only.

Hayes Carll Pre-Show Experience (VIP Package ticket set up by the artist)

  • One general admission ticket 
  • VIP early entry into the venue 
  • Exclusive meet & greet with Hayes Carll
  • Personal photograph with Hayes Carll
  • Access to a private pre-show soundcheck performance by Hayes Carll
  • Exclusive tour poster, signed by Hayes Carll
  • Commemorative meet & greet laminate
  • Merch shopping before doors open to the general public
  • On-site host 

General Admission-This ticket is on our main floor, closest access to the stage and standing room only.
Loft Ticket-This ticket is in our loft area and only available for certain shows, limited first come, first serve seating, limited cocktail standing tables and a private bar when available. 
NSA Ticket-these are exclusive to our Newberry Sound Association members, see link for more information. https://thenewberrymt.com/sound-association/

 Hayes Carll – You Get It All 


The country simplicity that imbues Hayes Carll’s songs can sometimes hide the social conscience and sharp humor that also runs through them, but if you want to find those things, they are there. In fact, Carll has spent over 20 years having a conversation about what it is we’re all doing here with anyone who will listen. He makes us laugh––but then he makes us cry. We judge a song’s protagonist, only for Carll to spin us around to commiserate with them. 

“I like to tug at heartstrings, find commonality with others, reflect on my own life, and sometimes I do it in a lighthearted way,” says Carll. “A lot of musical styles found their way onto this record, but my first and most formative influences came from country music. This is a country singer-songwriter record. It’s just unapologetically me.” 

Carll is talking about You Get It All, his eighth album. His voice, rich but worn, has never sounded better. As a songwriter, he is in top form, turning droll confessions, messy relationships, motel room respites, and an exasperated, hitchhiking God into modern nuggets. 

The New York Times likened Carll’s ability to undergird humor with a weightier narrative to Bob Dylan. When Carll talks about the sounds that are in his own head, he mentions Randy Travis. That juxtaposition defines the singularity of Carll’s career: He exists in a space of his own, informed by John Prine, Tom Waits, and Dylan but also by Travis, Kenny Rogers, and Hank Williams, Jr. 

Those influences may have made him hard to pigeonhole, but he’s still been embraced. Two Americana Music Awards, a Grammy nomination for Best Country Song, and multiple Austin Music Awards line his resumé́. He’s had the most-played record on Americana radio twice. His songs appear on the screen regularly and have been recorded by Kenny Chesney, Lee Ann Womack, and Brothers Osborne, to name a few. 

You Get It All was produced by Allison Moorer and guitar legend Kenny Greenberg. Carll credits his partnership with singer, songwriter, and artist Moorer, his wife, as a force that helps both clarify what he wants and challenge self-imposed limits. “She’s a world-class artist who has a way of helping me articulate my vision,” he says. 

Opener “Nice Things” layers a laugh-out-loud narrative exposing humanity’s botched stewardship of Earth––and one another––over vintage country cool. In the song written with the Brothers Osborne, God comes down to check on us––and she is not impressed. “It’s social commentary, but it’s not dour,” Carll says. “I hope the song can make people sing along, laugh a bit, and maybe recognize that we can do better.” 

The title track is classic Carll—a front-porch singalong with a deeper message for those who want it. Self-deprecating and sweet, the song is an ode to bringing one’s whole self to a relationship––the good and the bad. “I’m at a point in my life where that rings true to me,” says Carll. “What I want, and what I think a lot of people want, is to feel like they’re getting the real thing.” 

“Help Me Remember” is a feat of storytelling that tackles an underrepresented topic in art: dementia from the perspective of the patient. “It’s a visual song. To tell this story, we had to put the listener right there,” Carll says. “I was thinking about how scary and sad it is for the person who is suffering from it, and how heartbreaking and frustrating it is for the friends and family going through it with them.” 

Among Carll’s co-writers is singer-songwriter Brandy Clark, who helped him pen and perform “In the Mean Time,” a gorgeous, honky-tonk waltz which perfectly depicts the damage couples can inflict on each other when they’re at their worst. The multi-dimensionality of relationships is a thread woven throughout the entire album. “When we’re our weakest or most afraid, real damage can be done to our relationships, as well as our spirits,” says Carll. “You can love somebody, everything can be as good as you could’ve imagined, but when your traumas or fears come out, all that love can disappear in an instant.” 

Rollicking through snarling 80s country guitar licks, “To Keep From Being Found” is an escape to a motel room with a TV on wheels, a bath, and line after delectable line. 

Subdued album closer “If It Was Up to Me” aches through a list of wishes that seem frivolous at first but build into a portrait of pain that’s far more complicated. Written with Moorer and Sean McConnell, it’s a gorgeous example of one of Carll’s favorite artistic devices: leading listeners to underestimate a character with whom they’ll ultimately empathize. “The way humor and sadness can work together is powerful,” he says. 

Honest and sometimes subversive, but never mean-spirited, Carll keeps writing sad, funny, compelling songs in which nobody’s perfect or predictable––at least not for long. And he can’t quit wishing we’ll all realize that’s the way anything worth having or being has got to go. “I hope this record helps people feel good, laugh a bit, and maybe give them something to lean on when they need it,” he says. “I hope they dance to it, too.” 

When someone comes from as strong a musical stock as Travis Linville, a conventional life and the path not taken are irreversibly conjoined. His preternatural musical work ethic was ignited as a small child on the built-in stage in his grandparents’ music room, and since then, Linville’s thirty-something years of sweat equity have culminated in a winding, successful career built of disparate parts: veteran and up-and-comer, mentor and underdog, session player and bandleader, sideman and songwriter.

A sought-after collaborator, Linville’s touring instrumental work includes turns onstage with Samantha Crain and Hayes Carll and session work with too many artists to count, among them gifted American songwriter John Moreland and indie rock stalwart Berwanger (feat. members of the Anniversary). In recent years, he’s performed his own music as hand-selected support for Carll, fellow Oklahomans Moreland and Parker Millsap, Todd Snider’s Hard Working Americans, and even country legend Marty Stuart.

Combined with his hundreds of solo shows, these collaborations and his recorded catalog, including 2017’s Up Ahead LP, have built for Linville a dedicated group of fans equally enamored of his nonchalant technical skill—whether as his own producer and studio engineer, or on guitar, pedal steel, piano, mandolin, or any number of other instruments—and his artistry and taste.

Among those fans who’ve spent decades following Linville’s solo work is Broken Arrow, Oklahoma native JD McPherson, who recollects, “Growing up in Oklahoma, Travis was known everywhere as one of the most respected musicians and performers from a very large pool of talent.”

He’s put in so much work, in fact, that he makes extraordinarily difficult things seem easy, operating outside the banal umbrella of the visibly tortured artist. As Hayes Carll puts it, “Travis is one of those rare artists that seem to be gifted at everything. His playing and singing appear to be just as natural as breathing to him. That ease has always stood out to me.”

But despite that perceptible ease, Linville not only likes a challenge, but it’s essential to who he is as a musician. “My ambition has always been about musicianship. Music itself is what I’ve been in love with and want to explore—rhythm, melody, harmony,” he explains. “Every time I've run low on that passion, I've picked up a new instrument or technique, and I'm right back where I love to be...with the beginner's mind.”

In 2018, Linville found himself with a handful of songs approaching studio readiness and bored of his typical “record, release, repeat” grind without much outside influence. Meanwhile, McPherson was searching for the right project to flex his producing muscles. A few conversations later, and a match made in Oklahoma, but brought to life in Tennessee, was born.

Linville’s new album, presciently titled I’m Still Here, was initially tracked live to tape in early 2019 at Memphis Magnetic Studio. Working around delays in respective tour schedules, they completed the record almost a year later at Linville’s home studio and 3 Sirens in Nashville, only to have it heartbreakingly shelved again due to the COVID-19 pandemic.

The 10-track set is full of, in McPherson’s words, the “fantastic songs and consummate musicianship” Linville is known for, but the contributions from his collaborators shine throughout. It’s a Travis Linville album where Linville gets by with a little help from his friends, instead of vice versa.

McPherson’s first order of business was suggesting Linville take his song ideas to outside ears. The title track, a lament on the chasm between perception and reality, was penned in a single writing session with power songwriter Natalie Hemby, whose credits include songs for Miranda Lambert, Kacey Musgraves, and Lady Gaga, as well as her work in supergroup The Highwomen. Her talent as a writer pulled Linville’s song idea in a decidedly pop direction, touching on Hemby’s gift for writing exactly what someone else means to say.

“She just started singing the first verse as she was writing it,” Linville says. “It was impressive to see her do that so effortlessly. After working on it with her for a few hours I felt like I left with the best song I had ever put together.”

It’s followed by “Feeling We Used to Know,” a reach deep into the annals of Linville’s music career, written 20-plus years ago by former bandmate Jamie Kelley. Recorded live, it leans hard in the direction of Elvis Costello and the Attractions, both tightly orchestrated and blasé thanks to McPherson’s assembled studio band. Led by Linville with Jason Smay on drums, Dominic Davis on bass, and Raynier Jacildo on keys, it’s a collective whose combined resume includes work with Jack White, the Black Keys, CeeLo Green, and Dwight Yoakam.

The bottle-clanking country waltz “Yesterday’s Wine” finds Linville paying homage to Willie Nelson while trading verses with Carll, joined by friends and Tulsans John Fullbright and Jacob Tovar on the chorus. Elsewhere, there are moments when outside hands are even more evident: Linville, usually direct as a writer and player, agreed to follow McPherson the long way around to expose a new soul for tracks like “The Rain,” which started with Roy Orbison in mind and landed as a pulsating indie rocker, and the refreshingly incongruous “I Saw You,” hearkening the bouncy piano of Leon Russell paired with the goofy, shouted lyricism of a “Sgt. Pepper.”

Linville credits McPherson with finding the backbeat on multiple songs that were originally headed in a different direction, and Davis, Jacildo, and Smay for bringing to life what was just a nebulous glint at the outset. McPherson credits Linville for providing a foundation that made any of that experimentation possible. At its core, I’m Still Here is a collection of contributions woven together with endearingly visible seams, but it remains a record only Linville could’ve made...or at least could’ve made happen.

“I’ve never worked with someone so open to new ideas yet knows fundamentally who they are as an artist,” says McPherson. “Everyone had such a great time working with Travis and his fantastic songs. Let me drive that final point home: Travis is a really, really great songwriter. That makes work a pleasure.”