Scott H. Biram, Jesse Dayton, Rod Melancon

Scott H. Biram

Jesse Dayton

Rod Melancon

Fri. April 20, 2018

Doors: 8:00 pm / Show: 9:00 pm

$8.00

This event is 21 and over

Scott H. Biram
Scott H. Biram
Rock ‘n’ Roll ain’t pretty and neither is Scott H. Biram. The self proclaimed ‘Dirty Old One Man Band’ successfully, and sometimes violently, lashes together blues, hillbilly and country precariously to raucous punk and godless metal.

Biram ain’t no candy-ass singer/songwriter either, sweetly strumming songs about girls with big eyes and dusty highways. His singing, yodeling, growling, leering and brash preachin’ and hollerin’ is accompanied by sloppy riffs and licks from his '59 Gibson guitar and pounding backbeat brought forth by his amplified left foot. The remainder of this one-man band consists of an unwieldy combination of beat-up amplifiers and old microphones strung together by a tangled mess of guitar cables.

Years of non-stop touring have honed his assault to a fine edge; his wide-eyed throw downs in the First Church of Ultimate Fanaticism routinely lead giddy followers to a fiery baptism.

Scott H. Biram won’t die. On May 11th, 2003, one month after being hit head-on by an 18-wheeler at 75 MPH, he took the stage at The Continental Club in Austin, TX in a wheel chair – I.V. still dangling from his arm. With 2 broken legs, a broken foot, a broken arm and 1 foot less of his lower intestine, Biram unleashed his trademark musical wrath.

When Scott H. Biram took the stage at his 2004 SXSW festival showcase right after Kris Kristofferson he was quoted as growling “They said that was a hard act to follow….I’m a hard act to follow motherfuckers!!” The stunned crowd looked on.

“Scott’s self described ‘dirty old one-man band’ had a captivating immediacy that big rock shows rarely reach. On stage Scott is a man possessed, spitting and snarling like a Mississippi juke-joint shouter on a moonshine bender.” – Eben Sterling, Thrasher

“He has a true stage presence that could be fairly compared to that of Clint Eastwood on film. The dude’s more dude than most other dudes you will ever meet.” – Austin Columnist

“An impassioned multi-instrumentalist unleashing a brutal cacophany with the fury of someone whose check from the Devil finally cleared. Half dirty blues, half underground punk, half honky-tonk, half revival meeting…oh shut up about the math. You’ll see the light.” – Dayna Papaleo, Rochester City News

“His barbarous exorcism of Depression-era blues—with a bedrock of frantic flatpicking, foot stomps into a floor mike, and gutteral growls through a distortion mike—has made Biram a rising star in Austin.” – Brian T. Atkinson, No Depression

“Biram is the kind of guy you don’t laugh at all the way just in case he really is crazy. We all wanna be entertained, but nobody wants to get stabbed in the head with a screwdriver.” – Frank de Blase, Rochester City News

“With a raw immediacy that recalls Hasil Adkins and Bob Log III, Biram specializes in a twisted hybrid of gutbucket, hillbilly and godless metal. He’ll praise the virtues of moonshine and titty bars one minute, then tongue-lash city slickers and hippies the next.” – John La Briola, Houston Press
Jesse Dayton
Jesse Dayton
"Like the Possum (George Jones) Dayton is the possessor of a tear-stained voice, a lost soul sensibility and probably a high degree of familiarity with the kinds of places mama warned you about." -- The Austin American Statesman

Jesse Dayton has been building a cult following around the globe playing festivals in North America and Europe for years with his guitar shredding, country-infused, Americana sound. As a critic’s darling for his first record on Justice Records, Raisin’ Cain (1995), and a number one Americana radio ranking, Jesse was hired at a young age to play lead guitar on some of the last recordings, and play live, by country legends Waylon Jennings, Ray Price, Johnny Bush, Willie Nelson & Glen Campbell and he’s been featured in many guitar magazines. Sensing a shift in the music business climate, Jesse formed his own label in 2002, Stag Records, and began his most prolific recording period. While recording five solo records, one duet record, one live record, all on Stag, as well as two soundtrack recordings (Devil’s Rejects, Halloween 2) for rocker/director Rob Zombie, Jesse managed to act in movies and music videos, produce several records for other artists (the latest being Supersuckers front man Eddie Spaghetti’s “The Value Of Nothing” on Bloodshot Records), write two screenplays, and most recently wrote and directed a new horror movie, “Zombex,” starring Malcolm McDowell, Sid Haig, John Doe, and Lew Temple (“Walking Dead). All while still performing 150 shows per year.

Jesse landed the part of Kinky Friedman in Ted Swindley’s stage production of “Becoming Kinky: The World According To Kinky Friedman,” which ran for a few weeks and also led him to releasing a record of Kinky Friedman original songs called “Jesse Sings Kinky” which has opened up a whole new chapter for him with more radio airplay than ever in his career. As his film “Zombex” just got back from Cannes Film Festival, Jesse will be releasing the Zombex soundtrack which is steeped heavy in the Louisiana/Texas music of his youth. Before JD starts on his next film, he’ll be on tour “brangin’ it” with his all-star band of hotdog Austin musicians, playing to his faithful fans called “Hardchargers” around the globe. Don’t miss this show!!!
Rod Melancon
Rod Melancon
On his sophomore effort there is a new approach thanks to the adventurous production of Dwight Yoakam guitarist and singer-songwriter, Brian Whelan. As producer, Whelan fills Parish Lines with an exciting raw edge that rocks as it drives the songs home. If My Family Name signaled the arrival of a young artist rooted in country, Parish Lines finds him breaking out into a driving, uncompromising rock sound while his heart remains solidly South Louisiana country in lyrics and sensibility. The reinvention of “South Louisian” and his single, “Mad Talkin’ Man,” cuts closer to the bone than the previous versions. What remains are new original songs that extend his Louisiana storytelling craft. The Buddy Holly like, “Cushing Avenue” conveys the simple innocence of home town memories. The Springsteen/Terrence Malick inspired, “Duck Festival Queen.” expertly tells the tale of love and murder while “Curve Lounge,” replace the steel guitar with resonate, lonesome slide guitars and a spare simple arrangement. The hard rocking “Wanna Go For A Ride” plays like Jeff Beck and Duane Eddy meets Elvis. It’s like a session summit of great rockabilly and blues on some obscure night in the early 50′s Sun Studios in Memphis with Sam Phillips peering out from the control booth with an approving Cheshire grin.
Venue Information:
Barleycorn's
608 E. Douglas Ave
Wichita, KS, 67202
http://barleycornswichita.com/