I Get Wild w/Joy on Fire

I Get Wild

Plays the music of Talking Heads

I Get Wild played its first show in 2016, forming as all cool bands do – without any thought of the future.

It was supposed to be a one-off – a night of Talking Heads music for the recurring Three Ring Bender cover series at Threes Brewing curated by drummer/vocalist Ray Rizzo and bassist/vocalist Annie Nero.

But it was so much fun – and so well-received – we had to do it some more.

Since then, I Get Wild has performed seasonally in and around NYC, playing shows at Joe’s Pub, the FM Bar in Jersey City (R.I.P.), Littlefield in Brooklyn, and Sultan Room in Bushwick.


I Get Wild is:

Annie Nero – bass, vocals

Ray Rizzo – drums, vocals, guitar

Jeremy Haines – vocals

Stephanie Sanders – keys, vocals

Michael Phillips – guitar

Conrad Doucette – percussion, drums

Michael Arthur – live drawing, vocals

Monk is King w/ Mosey Beat



Soaring through the colors and textures of jazz, fusion, funk, and rock, the Fayetteville AR based Monk is King are an explosive ride.  Serene and tranquil plateaus rise seamlessly to incendiary peaks, woven together by ever-present grooves and instantly singable melodies.  Shining brightly through, amidst so many styles, is a sound that is unquestionably their own.  Soulful, playful, energetic, and intelligent, it is a sound that you simply must see live.

Formed in the Summer of 2017 in Fayetteville, AR, and having established a dedicated following in North Texas, through Arkansas, and up into Missouri, the four-piece has spent the past 6 months as live music makes it’s comeback busting out the jams on the road and spreading the good word of the Monk!

Monk is King have shared the stage with Groovement, Arkansauce, Deep Sequence, The 1oz. Jig, Rachel Ammons (Tyrannosaurus Chicken) and have become staples at the legendary George’s Majestic Lounge, they have also performed at such noteworthy events as Spaceberry at the Farm, Fossil Cove’s Frost Fest, and “The Unexpected Festival” in Fort Smith, AR.


McCormick Carlson: Guitar/Vocals

Bill Smylie: Bass

Ashton McCquayle: Keyboard

Julius Kwanzaa: Drums/Vocals

Waiting On Mongo

A power funk septet, WOM is an immersive experience that can only be described as a soulful journey that pushes the limits in the 4th dimension of psychedelic grooves. With strutting guitar riffs, transcendent horns, and heady organ depth, the live performances take you on a cathartic journey where you shed the weight of the world with everyone in attendance. Traversing the inner workings of the human soul, everything seems to be in its right place when the Mongo party hits full throttle.

WOM has relentlessly displayed a level of musicianship that continues to impress both music critics and fans alike, winning awards in their hometown of Asbury Park for consecutive years. With a permeating aura of soulful energy, that illuminates every venue, the band is on a collision course for new locations to spread the love that is their music.
Waiting On Mongo is: Mike [guitar, vocals] •• Johnny [bass] •• Anders [saxophone] •• Mongo [keyboards] •• Matt [drums] •• Harry [percussion] •• Bruce [trumpet].

The Wooks

An award-winning bluegrass band inspired by the traditional as well as the unconventional, The Wooks have established a distinctive sound through original songwriting, exceptional musicianship, and outside influences ranging from jam bands to Southern rock. Their exhilarating third album, Flyin’ High, offers a refreshed lineup of the group, even though its members have been crossing paths with each other at music festivals for years.

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As the band’s guitarist and one of its three lead singers, CJ Cain has kept his home base in Lexington, Kentucky, throughout the evolution of the Wooks, which started as a low-key duo in 2014. The lineup now includes Harry Clark on mandolin and vocals, George Guthrie on banjo and vocals, and Allen Cooke on Dobro, with the latter three musicians based in Nashville. A few different bass players stay in rotation on the road, filling out the ensemble’s driving sound.

Rather than repeating the formal studio experiences for past albums, The Wooks recorded Flyin’ High over two sessions in Nashville in the home studio of bluegrass guitarist Jake Stargel. As a producer, he brought an easygoing vibe as well as acoustic expertise to the project, which is the band’s first full-length album since the fall of 2018. “Jake recorded us way more live than I have ever gotten to record,” Cain recalls. “This album has a lot of solos and vocals and all kinds of stuff that’s just the raw take. There’s no click track. We were trying to get that live, that live feeling. So often these days things are almost autotuned and fixed to the point of perfection. We were trying to get away from that.”

An adventurous spirit emanates from the album’s lead track, “What the Rocks Don’t Know,” composed by Arkansas songwriter Willi Carlisle and one of the album’s two covers. “We can all relate to that song because it’s about the traveling life, and what you may encounter out there,” Harry Clark says. “All of us have had that time in our life where we’re on the road, whether it has to do with music or just traveling and bumming around, which I’ve done quite a bit out of my life. Just going out on the road and getting lost out there.”

An Arkansas native, Clark came into the Wooks in 2018 in a roundabout way. At 14, he first heard Cain playing guitar in a bluegrass band called NewTown at a local festival but didn’t get to know him until IBMA (an annual bluegrass conference) in 2017. Clark was there playing guitar in another group, whose lead singer subbed for the Wooks’ mandolinist during the latter’s set. Clark had met the Wooks’ other founding member, Arthur Hancock, during a radio interview a few years earlier, and they had stayed in touch. That night, Hancock mentioned that the Wooks needed a full-time mandolin player, and a few months later, Clark landed the gig.

A talented lyricist with an eye for detail, Clark contributes four songs to the album: “Tennessee Girl,” “New Peace of Mind,” “Black and White,” and “Little While.” Cain’s new songs include “Mudfish Momma” and “Butler Hayes” (both written with Eric Cummins and Ray Smith), as well as the title track and “The Other Side.” As a nod to a songwriting hero, the Wooks also give a freewheeling acoustic update to John Prine’s sweetly comical love song, “Iron Ore Betty.”

An accomplished banjo player with roots in the Denver music scene, Guthrie composed the buoyant instrumental, “Madison Chimes.” He also wrote “Virgil’s Prayer,” one of the album’s darker songs, after watching the Netflix series, Ozark. He observes, “All of us write similarly enough that the songs could be on the same record, and in the same band, but we all approach it a little bit differently.”

Guthrie has played with the band on and off since 2017, after Hancock left the Wooks due to a hand injury. However, because he’d already learned about the band through his friendship with Cooke, Guthrie watched the group win the Rockygrass Band Competition in Lyons, Colorado, in 2016. Meanwhile, Cooke had befriended Cain about a decade earlier, because both of their families were regulars at Rockygrass Bluegrass Festival.

While their origin stories are diverse, all four members of the Wooks have forged a common bond that honors individuality and innovation. But with minimal shows to road-test the material on Flyin’ High, Cooke speaks for the band when he says he’s eager for fans to discover these new songs – on the album as well as the stage. “This band is definitely not a band that is set on keeping things to the way they sounded on the record,” he says. “We’re all about keeping these songs fresh and new-sounding as shows go on.”