Monster Energy Presents the Official Rock on the Range Pre Party at The Bluestone featuring Paradise Kitty with Special Guests Brandon & Dan of Atreyu and Cadaver Dogs.

Doors 7PM

18+

Proceeds Benefit F*ck Cancer

A Thousand Horses live at The Bluestone on June 14th, 2018!

*Opening Artist: Kendell Marvel and Cody Barnett

*Doors will OPEN at 7PM

*Tickets are $15 in advance and $20 day of show

Tickets On-Sale NOW!

America’s bona fide band of brothers A Thousand Horses deliver an authentic fusion of Southern rock and contemporary Country mixed with rowdy jams. Their 13-track project BRIDGES features working man’s anthem “Preachin’ to the Choir” along with seven acoustic tracks, six of which were recorded live in the U.K. at the famed Metropolis Studios. The group’s debut single “Smoke” made Country Aircheck history as the highest debut for a new artist and solidified the band (with at least three members) as the first this decade to score a #1 with their first single on the Billboard Country Airplay Chart. A Thousand Horses have landed multiple awards show nominations, most recently vying for the title of ACM New Vocal Duo or Group at the 52nd Annual ACM Awards. The band’s debut album, SOUTHERNALITY, blends Southern Rock and influential sounds of The Black Crowes and Rolling Stones’ Exile on Main Street era. The talented foursome soars with Michael Hobby on lead vocals as Bill Satcher and Zach Brown on guitar and Graham Deloach on bass round out their unique grooves. After opening for Country powerhouse Jason Aldean and a string of performances in the U.K. last fall, A Thousand Horses are currently headlining shows across the U.S. before kicking off their opening run on Kid Rock’s AMERICAN ROCK n ROLL TOUR 2018 in January. New music from the band is on the horizon, with details coming soon. For more information and tour dates, visit AThousandHorses.com.

Aaron Lewis will be performing at The Bluestone Two Nights, BACK TO BACK!

*August 23rd, 2018 and August 24th, 2018 (SOLD OUT)

*Opening Artist: Travis Marvin

*Doors for the show will open at 7pm each night

*Tickets are $35 in advance and $40 day of show

(Ticket is only valid for admission for the date printed on the ticket)

Tickets are on-sale Friday, May 4th at 10am

PURCHASE THURSDAY, AUGUST 23rd TICKET HERE

 PURCHASE FRIDAY, AUGUST 24th TICKET HERE

SOLD OUT

Lewis has been performing solo acoustic shows since he was 17 and still does today. He has written and performed many songs that have never been officially released such as “Angel”, “Something Like Me”, “Bonghits for Breakfast” (originally performed with J-CAT), and “Sleeping at the Wheel”.

In July 2010, Lewis finished recording a country music EP entitled Town Line that was released March 1, 2011 on Stroudavarious Records. It features seven tracks including three versions of the first single “Country Boy” featuring George Jones, Charlie Daniels, and Chris Young, as well as the songs “Massachusetts”, “Vicious Circles”, “The Story Never Ends”, and a re-recording of “Tangled Up in You” originally from The Illusion of Progress.^[5] Lewis said in a July 2011 interview that he was introduced to country music as a child by his grandfather, but his interest was recently rekindled when he toured with fellow rock turned occasional country singer Kid Rock.^[6]

Lewis performing at the House of Blues in Cleveland in 2013

Lewis released his first full solo album, The Road, in November 2012. Its debut single, “Endless Summer”, has also made the country charts. Lewis wrote every song on the 10 track collection, except for “Granddaddy’s Gun” which was penned by Dallas Davidson, Rhett Akins and Bobby Pinson, marking the first time Lewis has recorded outside material for an album.^[7] In an interview with Broadway’s Electric Barnyard, Lewis said he recorded “Granddaddy’s Gun” as both a compliment to a friend, and because he was pressed for time.^[8]

Lewis wrote songs for his second solo album whilst touring in support of The Road, often performing the unreleased material in his live sets.^[9][10] The album, dubbed Sinner, was mostly recorded in a single 18 hour session, with many tracks done in one take. Aaron’s daughter Zoe also provides guest vocals on one song.^[11] It was released on September 16, 2016, with the lead single, “That Ain’t Country”, released on 17 June. Country artist Willie Nelson is featured on the album’s title track as well.

The Big Bad Blues Tour: Billy F. Gibbons Featuring Matt Sorum and Austin Hanks.

Opener is Benton Blount
$34.50 in advance, $39.50 day of show on Sale Tuesday Aug. 14 2018 www.liveatthebluestone.com or www.Eventbrite.com

Bluestone Tickets

Ticket purchase includes free album download. Instructions for download will be emailed to all ticket buyers approximately 2 weeks after ticket purchase. Questions about album download can be directed to: help@musicredemptions.com

Billy F. Gibbons at The Bluestone

Price $275.00 Per Package (Limited amount)

(1) General Admission Ticket

– Meet & Greet with Billy Gibbons

– Photo Opportunity with Billy Gibbons

– A Copy of “Big Bad Blues” CD

– Billy Gibbons Tote Bag – exclusive to VIP Packages

– Billy Gibbons Guitar Pick Set

– Commemorative Meet & Greet Laminate

Billy F. Gibbons Premium VIP Package

Selling Price $150.00 Per Package (Limited amount)

(1) General Admission Ticket

– A Copy of “Big Bad Blues” CD

– Billy Gibbons Tote Bag – exclusive to VIP Packages

– Billy Gibbons Guitar Pick Set

– Commemorative Meet & Greet Laminate

Billy Gibbons had plenty of help getting the blues for his upcoming second solo album, The Big Bad Blues; both from his assortment of musical collaborators and, on the track “Missin’ Yo’ Kissin’,” from Gilligan Stillwater, the woman he affectionately (and legally) calls Miz Gibbons.

“That was a gift,” the ZZ Top mainstay tells Billboard about the track, whose lyric video premieres exclusively below. “We had gotten maybe five (songs) recorded, and my lovely sweetheart Gilligan was scribbling away on the couch. I was, ‘Omigod, she’s reading the Chanel catalog. Hide the credit card!’ Then she took a break and the engineers kinda glanced over the scribbling and said, ‘Hey man, this looks pretty good. This could be nice and bluesy if we put something to it,’ which we did.

“Of course, I was like, ‘Why does that say ‘Missin’ Yo’ Kissin’?’ I hope she’s writing it about ME!'”

Steel Panther Live December 9th, 2021 7 PM

The Bluestone

Columbus, Ohio

https://www.ticketmaster.com/event/05005B59EDEA422F

Steel Panther is headed to Columbus, OH to The Bluestone December 9, 2021.

Tickets on sale Friday, October 29 at 10 AM!

• Website: http://www.steelpantherrocks.com/
• Facebook: http://www.facebook.com/steelpanther
• Twitter: http://www.twitter.com/Steel_Panther
• Instagram: http://www.instagram.com/SteelPanther
• YouTube: http://www.youtube.com/user/SteelPantherVEVO

About Steel Panther

For the uninitiated, Steel Panther was formed in 2000. Hailing from Los Angeles, the epicenter for rock n’ roll in all its debauchery and glamour, Steel Panther has established themselves as the world’s premier party band, melding hard rock virtuosity with parody and criminally good looks. Steel Panther is a global phenomenon with four full-length albums, touring across the world, platinum-level You Tube status and high-profile television appearances such as Jimmy Kimmel Live, Larry King Now, and FOX NFL Sunday.

Rolling Stone avowed, “There’s a reason Steel Panther have transcended their origins as a cover band playing the Sunset Strip,” while Metal Sucks declared, Steel Panther’s concept is genius…their songwriting is…preposterously snappy –and relatable.

Dorothy

ft. Joyous Wolf & Classless Act

April 24, 2022 6 PM

at The Bluestone

Columbus, Ohio

DOROTHY

Gifts From The Holy Ghost 

Roc Nation

Dorothy Martin’s life changed forever when she was forced to face death on her tour bus some three years ago. After her guitar technician had taken an overdose, and the light began to lift up and out from his body, Dorothy instinctively began praying for his survival. While he may have temporarily died, the technician was astonishingly, miraculously restored back to life as Dorothy and her crew formed a prayer circle near his body. It was this moment that seemed to bring Dorothy to life too. She was gifted a rebirth with a divine intervention that caused a radical and spiritual awakening in the singer, the result of which can be heard on Gifts From The Holy Ghost, Dorothy’s third studio album as front woman for the pseudonymous, blues-rock band Dorothy. 

Gifts From The Holy Ghost is the album she’s always wanted, and has perhaps been destined to make. Born from a sense of divine urgency, it is Dorothy’s most bombastic and gloriously, victorious rock and roll work yet. Each song built on triumph—the unshackling of chains, the slaying of demons with a sword of light—the album is a healing and remedial experience, made to unify listeners and point them towards a life full of purpose. It is Dorothy’s greatest gift yet.  “This album had to get made, I felt like I had a mission,” she said. 

While the band’s first, irreverently named album ROCKISDEAD, was made on a combination of whiskey and heartbreak—inspiring Rolling Stone to name them one of rock’s most exciting new acts, and Jay-Z to sign them to his label Roc Nation—Gifts was built on recovery, health, and holiness, in a way that reverses the clichéd ‘good girl gone bad narrative’. 

With the combined powers of Keith Wallen, Jason Hook, Scott Stevens, Phil X, Trevor Lukather, Joel Hamilton and the legendary ear of Chris Lord Alge, Gifts From The Holy Ghost is made from a musical palette which seems to encompass each of the musician’s influences, as well as many of the essential sounds of rock music’s history—from swampy blues to ‘90s alternative —in a way that makes the case for rock and roll itself. Not only is the genre alive, but it’s more invigorated than ever.

“I think this album is going to speak to a lot of people, it’s meant to be healing, unifying, eye-opening, ear-opening, heart-opening and celebratory,” Dorothy said, adding: “I wanted to make the realest album I could make, and I went in with the question does this make me feel alive? Does it make me feel free? If a song didn’t give me chills or make my heart soar, then it didn’t make the cut.”

Born in Budapest, Hungary, Dorothy has always been an instinctual writer and artist. Throughout her life, she’s been asking the big questions, both in and outside her art: ‘What’s the meaning of life? Why are we here? How are we here?’ When she couldn’t find the answers to those questions, she’d numb out the empty uncertainty with drugs and alcohol. She was eventually admitted to rehab and a new chapter was opened in her spiritual journey. Now, with angels whispering in her ear and the spirit moving her steps, she’s found her answers. “I’m just here to impart inspiring messages to people while having fun and rocking out!”

You can hear Dorothy’s powerful resilience across the album, particularly on “Big Guns”, which finds the singer at her boldest; sauntering over slide guitars as she steps into combat. Anthems like “Rest In Peace” bring a sweeping cinematic scope to the album, whereas “Black Sheep”, a rallying cry for unity, explodes with layered gang vocals: “we are blood, we are family,” Dorothy breaks curses, going toe-to-toe with the blistering guitar riffs. 

The album’s lyrics are a perfect balance of specificity and generality, so that the listener can attach their own darknesses and triumphs to the songs, while still getting a sense of Dorothy’s own. “We are all one human family.” she declares. 

Does that mean Dorothy has overcome all of her own adversities? “It’s a journey and it’s about progress not perfection,” she responds. “I’ve had a lot of deep revelations about my life, stuff I hadn’t been able to cope with until now. Now I’m learning new tools.” With Gifts From The Holy Ghost, Dorothy identifies her purpose as an artist. She conquers darkness with light, numbness with feeling, disharmony with unity—all while delivering one of this year’s most fun rock & roll records.

Joyous Wolf Bio

A gritty howl opens Joyous Wolf’s upcoming debut LP, Enigma, and it’s the perfect introduction since the band plays rock & roll at its most primal and passionate. Guitarist Blake Allard’s bluesy riffs harken back to the classic hard rock of AC/DC, Cream and Deep Purple while still packing a thoroughly modern wallop, while frontman Nick Reese’s voice seems to come from deep in his gut as he sings about everything from warring kingdoms to a tribute to a fallen friend. Together, with bassist Greg Braccio and drummer Robert Sodaro, Joyous Wolf’s members work together to create some of the most exciting, promising and unwieldy back-to-basics rock to come out of Southern California in recent years.

Whether nimbly navigating the swaggering, powerful groove of their go-to concert opener, “Mountain Man,” or digging into their instruments for a jammy, funky guitar solo “Major Headthrob,” the group has an unpredictable quality – a sort of unique freedom within rock & roll – that makes Enigma compelling. Part of the credit for this goes to producer Val Garay (Santana, Neil Diamond, Reel Big Fish) who came aboard at the last minute to help them achieve the record’s raw sound, which captures how Joyous Wolf sound live. But mostly, the electric feeling that defines Enigma is just something in the band’s DNA.

“When I’m playing rock & roll, it’s the only time where I feel indestructible,” Reese says. “When I heard Elvis sing ‘Heartbreak Hotel’ for the first time, I knew exactly what my heart wanted and what I wanted.”

“I think people are starting to realize the overproduction and fakeness of pop music, which is why rock is coming back,” Allard says. “We love being a rock band.” Joyous Wolf formed in November 2014, but their roots stretch back to sixth grade when Reese first crossed paths with Sodaro by fate – they had to assemble next to each other because their names were alphabetically side-by-side. Reese recalls a middle-school battle of the bands where neither he nor Sodaro was playing, but Reese declared that one day he was going to be “the best singer ever” and that Sodaro would play drums. It would take a few years, but after stints where both musicians duked it out playing in punk and alternative bands (“all of that crap,” Reese adds) they fulfilled Reese’s prophecy. The singer drafted Allard, whom he’d met randomly in the acoustic room at a Guitar Center when the two jammed on CCR’s “Born on the Bayou,” and Sodaro brought in his high-school friend Braccio to play bass. 

Before long, the quartet was jamming in Sodaro’s folks’ garage, annoying the neighbors and entertaining the local authorities. “Once on Halloween, we were rehearsing at 11 p.m. writing songs, and we faced Nick’s monitors out the window toward a canyon full of houses,” Allard recalls. “Then we saw this car at the front gate, and it’s the sheriff. He comes into the practice room and goes, ‘Hey guys, I hate to shut you down because it sounds really good, but we got a complaint from across the canyon that it was too loud.’ We still practice but not like that anymore.”

One of the first songs they played together was “Sleep Weep Stomp,” Enigma’s slow-burning, sludgy blues burner. It’s the style of music that Reese feels closest to. “I’m a blues singer, 100 percent,” he says. “That’s my everything.” The singer grew up on blues, jazz, and Fifties rock & roll. “When my dad showed me, Elvis, that was the end of it,” he says. “I needed to hear every artist that inspired Elvis and then the people who inspired them. Suddenly I had a record collection. It all felt natural: B.B. King made me want to scream my pain away. You hear all these people and you want to express all the things you love. I don’t care if people think it’s old or not current. It doesn’t matter to me.” By his own estimation, he didn’t hear anything “current” until he was 13 and borrowed his sister’s Discman only to hear the Strokes’ “Is This It”. Similarly, Allard was raised on classic rock. “My dad taught me my first song ever, ‘Sunshine of Your Love,’ by Cream,” he says. “I always went back to that kind of old blues-rock music. Even if I was into metal or hard rock, I always went back to the classics like B.B. King, Jimi Hendrix, Black Sabbath, and Led Zeppelin.”

These influences shine through on Enigma. “Killing the Messenger” begins with some crushing classic heavy-metal riffs before giving way to a boogieing verse riff where Sodaro and Braccio can bash out their rhythms freely while Reese yowls a tale about two warring kingdoms, and how an evil monarch tricks one of his most popular subjects into delivering a nasty message to the other kingdom only so he would be executed. Reese says the moral Is “life isn’t fair and it isn’t always a happy ending.” The beat-heavy “Mountain Man,” whose lyrics lambaste one of Reese’s former less-than-refined coworkers at a coffee shop, whom the singer says claimed he could “carve a knife out of the tree,” began with a guitar riff that was so forceful that the band couldn’t deny its power. “He had this little riff and we were laughing because it was so stupid-simple,” Reese says. “And it is. It’s our quote-unquote ‘dumbest song,’ but when we used it to open at the Viper Room, the audience response became one of our staple songs.”

The band is also able to channel more somber tones. The acoustic “Remember By” showcases thoughtful performances by both Allard and Reese, who wrote the song in tribute to a friend of his who had taken his own life. It came from a moment of pure inspiration. “I recorded us when we were fooling around, and it was perfect,” Reese says. “I pushed for us to record that song so hard. I said, ‘Please do it exactly like you did it. Please.’ That was me saying goodbye.”After they put out their Daisy EP in late 2015, it took the band about two years total to fine-tune and perfect Enigma. And while songwriting was a big chunk of that (the ominous riff for “Turning Blue” took them six months to perfect), they went through several passes of mixing and mastering it to get it to sound like it does. When Garay finally came aboard, they were able to establish the right mixture of nuance and directness. “It’s so much more animal,” Reese says, using the perfect adjective, to describe the way Enigma turned out. That “animal” sound has earned Joyous Wolf some notable gigs, including performances at L.A.’s famed Whisky a Go-Go, the Viper Room and the Regent Theater, where they recently opened for Eagles of Death Metal. Now they’re ready to move on to even bigger stages. “When we play a show, we go out and we kick ass,” Reese says, sounding confident. “We’re headhunters”. Headhunting on the road will now be even easier, with their upcoming record Enigma, an album that demonstrates what Reese calls Joyous Wolf’s “mojo.” – Kory Grow Rolling Stone Magazine 2017

Classless Act Bio

When they released their debut single “Give It To Me” in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their “Weekly Wire” Spotify playlist, identifying it as one of the top new releases of the summer. And other iconic outlets, like SPIN Magazine, were early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars.

The band – consisting of members Derek Day (Vocals), Dane Pieper (Guitar), Griffin Tucker (Guitar), Franco Gravante (Bass), and Chuck McKissock (Drums) – initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they’ve united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the 70’s and alt-rock groups from the 90’s. Their music echoes the hallmarks of previous generations – anthemic rhythms, shreddy guitars, soaring vocals – but punches its way into the future with clever arrangements, sharp musicianship, and proficient songwriting.

Already making noise in the industry, the band has been in the studio with world-class producers like Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden, and The White Stripes. The band recently landed a deal with Better Noise Music, Mediabase and Billboard’s #1 rock label for 2020. Their debut album is expected in 2022, when the band will be hitting the road with Mötley Crüe, Def Leppard, and more, on their Summer Stadium Tour.

Matt Nathanson

with Donovan Woods

August 31, 2022 6:30 PM

at The Bluestone

Columbus, Ohio

Turnover

w/ Yumi Zouma & Horse Jumper of Love

November 13, 2022 8 PM

Doors Open 7 PM

at The Bluestone

Columbus, Ohio

About Turnover

There is a closeness at the heart of Turnover’s aptly titled new album, ‘Altogether.’ Though it’s the first collection the trio has written while living on opposite coasts, the record actually represents the group’s most collaborative and connected work to date, showcasing the intuitive, near-telepathic relationship frontman Austin Getz has developed over the years with his bandmates.

“Instead of making things more difficult, being far apart helped us learn to appreciate each other even more,” says Getz. “As a band, we’re closer now than we’ve ever been before.”

Recorded at Philadelphia’s Studio 4 with longtime creative foil Will Yip at the helm, ‘Altogether’ finds the group breaking new ground on a number of fronts. Pop sensibilities inform the writing for the first time, with elements of funk, jazz, lounge, and disco mingling alongside the band’s trademark indie grit and punk energy. Lush melodies and infectious hooks reflect the newfound freedom and confidence that have inspired Getz since his cross-country move to northern California, while adventurous recording techniques and instrumentation lend a fresh perspective without sacrificing the kind of precise detail and rich intricacies that have come to define the band’s recent studio output. The result is an album that boasts both sonic sophistication and emotional accessibility in equal measure, a major leap forward in sound and vision that reveals time apart as the true key to togetherness.

The title is fitting in another way as well, according to Getz. “On this record, more than in the past, we wanted to keep in mind the beauty of writing ‘popular music,’” he explains. “By that I mean music for people who don’t have the time to delve into the niches and find fringe artists, music for those of us who are busy with work or our families or whatever problems might be around. Music is real magic that can change people’s days and lives, and the more people listening and loving, the better.”

Turnover first emerged roughly a decade ago in Virginia Beach, VA, but the group’s critical and commercial breakthrough didn’t arrive until six years later, when they cracked the Top 5 on the Billboard Heatseekers Chart with their acclaimed sophomore album, ‘Peripheral Vision.’ The band—which consists of Getz, his brother Casey on drums, and their childhood friend Danny Dempsey on bass—followed it up in 2017 with ‘Good Nature,’ a streaming smash that racked up roughly 40 million plays on Spotify alone and which Vice proclaimed to be “their best album yet.” Reviews were similarly glowing around the world (Pitchfork praised the record’s “rhythmic propulsion and harmonized guitar sparkles,” while Exclaim! hailed its “shimmering instrumentation and luscious harmonies,” and The Line of Best Fit swooned for its “plush production” and “subtle maturity”), and the album earned the band headline dates everywhere from Brooklyn Steel to The Fonda Theatre along with their first appearance at Coachella.

“With ‘Peripheral Vision,’ I was starting to experiment with psychedelics, and I was feeling alienated from a lot of the things I’d been raised to believe and accept,” Getz reflects. “That album asked a lot of questions, and I felt like ‘Good Nature’ was my attempt to find the answers to those questions. This time around, though, I found myself in a very different place, both literally and metaphorically.”

Starting over from scratch somewhere new, particularly somewhere as rural and isolated as Getz’s new home in northern California, proved more challenging than he had anticipated.

“The move was great in a lot of ways,” he explains, “but the experience also de-romanticized a lot of the notions I had about leaving everything behind and relocating to the woods. I realized I’d been undervaluing a lot of things that were actually really important to me, like having friends and family close by. I had to come to terms with being a stranger and learn how to trust new people and make new connections all over again.”

For the first time, Getz found himself looking inwards instead of outwards for inspiration, writing as an act of self-exploration rather than in response to any external stimuli.

“There was a deepening of my relationship with music that came out of the whole experience,” he explains. “Instead of waiting for some revelation to arrive, I would make myself sit down with a guitar or at the piano and just play until something interesting happened. Often what came out surprised me.”

Sometimes an entire song would reveal itself in ten minutes; other times, Getz would land on a guitar riff or a chord progression that he’d revise for months. The band spent time writing together in-person on tour and during time off in New York and Portland, with Yip flying out to join the band for the latter.

“Will’s much more than just a producer for us at this point,” says Getz. “He’s a close friend and a reliable piece of what our sound has become.”

That sound is the product of a remarkably wide range of influences and tastes, which Turnover synthesizes on the album into a whole far greater than the sum of its parts.

“Working remotely for the most part, everybody was able to send ideas around on their own schedules, and nobody felt too protective of anything, so the new songs started to reflect each of our personalities more than ever before,” says Getz. “Collectively we like everything from jazz to folk, disco to rock and roll, and a lot in between, and it’s where we all intersect that things start to feel special. With the three of us and Will all contributing to the writing together, the songs turned out better than anything any of us could have done on our own. That’s what makes the experience of being a band really unique as opposed to just one artistic mind.”

‘Altogether’ demonstrates the band’s eclectic mix of personalities from the very start, opening with a lo-fi, jazzy intro that quickly gives way to the driving drums and delay-drenched guitar of “Still In Motion.” Like much of the album to come, the song is a meditation on change and perspective, on learning to quiet your mind and appreciate the moment before it’s gone. The bittersweet “No Reply” reckons with guilt over failing to be present with a loved one, while the effervescent “Much After Feeling” recognizes the sacrifices we make to stay connected across geographical distance, and the breezy “Parties” grapples with the kind of self-consciousness that can leave us prisoners of our own design.

“There’s a part in that song where the tone completely changes,” says Getz, “and that represents the moment when your walls finally come down and you start to just appreciate where you are. The lyrics go from describing the nervousness you feel in a particular moment to just describing the moment itself because you’re finally out of your head and able to recognize the beauty that’s all around you.”

Getz taps into that beauty throughout the record, stopping to smell the roses and ground himself in ways that might have seemed impossible even just a few years ago. “Starting to feel at home in the country,” he sings on the hazy “Valley of the Moon,” while the sultry sax of “Ceramic Sky” hints at the simple and sensual pleasures of falling in love, and the playful “Plant Sugar” channels 80’s Britpop as it makes a case for mindfulness.

“I was stressed out when I first started writing that song, but then I looked up at the sky and saw the constellations and felt ridiculous for being worried about anything,” he laughs.

“It reminded me that sometimes you just need a little change in perspective to appreciate how lucky you really are.”

Turns out, that’s all Turnover needed, too.

Steel Panther

March 22, 2023 7:30 PM

Doors Open 6:30 PM

at The Bluestone

Columbus, Ohio

Kevin Kaarl

May 4, 2023 7 PM

Doors Open 7 PM

at The Bluestone

Columbus, Ohio

OneToWatch Presents:

VALLEY

Lost In Translation Tour

w/ Aidan Bissett

June 3, 2023 7 PM

Doors Open 7 PM

at The Bluestone

Columbus, Ohio

VIP UPGRADE:

TEXT: VALLEY VIP UPGRADE (2-song acoustic performance, Q&A, Listening Party + more). All details HERE

Dexter and the Moonrocks

June 23, 2023

Doors Open 7 PM

Columbus, Ohio

Remember The Name…

The Struts Tour

w/ Mac Saturn

July 11, 2023 7 PM

Music Starts 8 PM

at The Bluestone

Columbus, Ohio

Ryan Adams & The Cardinals

August 1, 2023 7 PM

Music Starts 8 PM

at The Bluestone

Columbus, Ohio

Sunny Day Real Estate

August 23, 2023 7 PM

Music Starts 8 PM

at The Bluestone

Columbus, Ohio

The Gaslight Anthem

September 22, 2023 7 PM

Music Starts 8 PM

at The Bluestone

Columbus, Ohio

A R I Z O N A

LIVE FOR A NIGHT

October 10, 2023 7 PM

Music Starts 8 PM

at The Bluestone

Columbus, Ohio

Moon Taxi

Set Yourself Free Tour 2023

October 26, 2023 7 PM

Music Starts 8 PM

at The Bluestone

Columbus, Ohio

Slaughter Beach, Dog

w/ Bonny Doon

November 2, 2023 7 PM

Music Starts 8 PM

at The Bluestone

Columbus, Ohio

Presented By WRKZ:

Mammoth WVH

The Mammoth II Tour

w/ Nita Strauss

November 7, 2023 6:30 PM

Music Starts 7:30 PM

at The Bluestone

Columbus, Ohio