Tickets- Official Box Office

TICKETS AVAILABLE AT THE DOOR

*Event can sell out

TRAUMA: A Halloween Fetish Party

Spend 3 unforgettable nights with us at The Bluestone!
TRAUMA 2016
October 27th – Noire
October 28th – Ancient Civilizations
October 29th – Intergalactic
3 Nights. 3 Themes.
Costumes are mandatory.
Themes are optional.
Doors open each night at 8pm and acts start promptly at 8pm

PURCHASE TICKETS HERE

SEE LIVE:
Anna and the Annadroids
Visceral Suspensions
DJ PUSH/ Columbus/ Push Productions
House of Bacchus
Guilty Pleasures
Bondage by Kevin
Zoo Trippin’
Stacia Gorsuch
Debra Shade
LethalFX
BondageNexus
BortmasPhoto
Shawndy Spider Throat
Fantastical Faces -Body Art
Rhythmic illusions fire Tribe
ElectroCult Circus
Rendezvous Hair Salon
Curse of Cassandra
Snap/Trulie
Cannibal Arts
Civilian
Mythic Moves
Aria/ In:Direct Audio
Hawstyle/ Columbus/ Push Production
Secret Sauce/ Cleveland/ Columbus/ Squared/ Fresh Air Resources
sKewn/ Columbus/ Push Prductions/ RANO
Jed James/Columbus/ Midwest Fresh
Titonton Duvanté/Columbus/Residual/ God Particle/ Midwest Fresh/ 7th City/ YAY
Mike Donovan/ Dayton/ Volume/ Featherwate
Complicity/Columbus/Toledo
DJ PSYCHO/ Detroit/ Detroit Techno Militia/ Bessie’s Boy/ Scratch Pilots
Kate Westfall

For More info on all the performers for #TRAUMA2016 visit:
http://www.traumacolumbus.com/entertainment-2016/

Russell Dickerson will be performing live at The Bluestone on Friday, February 17th, 2017

Doors for the show will open at 7pm

Opening artist: TBA

Tickets are $15

Tickets on-sale Friday, November 4th at 10am

PURCHASE TICKETS HERE

TRAUMA 2017 

HALLOWEEN. FETISH. PARTY 

3 Nights, 3 themes.   Doors open at 9pm Each Night

Ages 18+

TRAUMA Thursday, Oct. 26th “NECROPOLIS”

$25 presale

$30 day of show

Ages

TRAUMA 2017 

HALLOWEEN. FETISH. PARTY 

3 Nights, 3 themes.   Doors open at 9pm Each Night

Ages 18+

TRAUMA Thursday, Oct. 26th “NECROPOLIS”

$25 presale

$30 day of show

 TRAUMA Friday, Oct. 27th “ZOOMORPHIC”

Josh Abbott Band

live at

 The Bluestone Thursday, November 16th

as part of their

“Until my Voice Runs Out tour”

Doors for the show will open at 7pm

Opening Artist: TBD

Tickets are $20 in advance and $25 day of show

PURCHASE HERE

RESERVED LOFT TABLE SEATING

RESERVED TABLE PURCHASE DOES NOT INCLUDE ADMISSION TICKETS TO THE SHOW.  

Admission tickets must be purchased separately

The loft is located on the second level of The Bluestone

• Loft Lower Tier: $250 (seats four people-no exceptions)
• Prime view of stage!
• Includes first bucket of Miller or Coors Light
• Server
• Exclusive Private Bar access

• Loft Upper Tier: $200 (seats four people-no exceptions)
• Includes first bucket of Miller or Coors Light
•  Server
• Private Bar Access
• May be Obstruction in View

*All Reserved tables located in the loft area

ALL SALES ARE FINAL

When Josh Abbott Band recorded “Ghosts” for its fourth album, Front Row Seat, Abbott expected to redo the vocals. The final chorus had some technical imperfections, and he figured he could improve on the performance once his heart settled down. Producer Dwight Baker, one-half of the Austinbased duo The Wind and The Wave, wouldn’t let Abbott retouch it.

“I was actually crying my eyes out during that last chorus, and that’s why there’s a couple of notes in the beginning of that section that don’t really explode like normal,” Abbott says. “Dwight was like, ‘We’re keeping that. That’s real.’”

Real is the operative word for Front Row Seat, a 16-track song cycle that represents the most ambitious and emotionally challenging project yet for JAB, a highly melodic six-piece ensemble that’s managed to keep a foot in both the Texas music scene and the national country world. The band won four times during the inaugural Texas Regional Radio Awards behind an upbeat brand of country that still leans on classic instrumentation – particularly banjo and fiddle – to effect a raucous, roof-raising attitude.

The band has lobbed three singles onto the Billboard Hot Country Songs chart – including “Oh, Tonight,” the first charted track to feature Grammy-winning Kacey Musgraves – and nabbed a Top 10 album with the 2012 release Small Town Family Dreams and reached No. 12 with the 2014 EP Tuesday Night.

But Front Row Seat steps beyond the band’s honky-tonk inclinations for a more personal journey as the album traverses the emotional course of Abbott’s first marriage and subsequent divorce. It was not his original intention to depict his private life in a public way, but as he wrote the songs for Front Row Seat, beginning before the split actually occurred, he naturally mined his emotional life for a set of songs that were profoundly honest and revealing. It was only as they began recording the material at Baker’s Matchbox Studios outside of Austin, that they realized they had the germ of a tangible plot.

“We started looking at the music we’d done and had a whole bunch of other songs that we really loved and we were like, ‘Man, we could put this together and make a really neat story out of it,” fiddler Preston Wait recalls. “Especially with the song ‘Front Row Seat,’ we basically just made it kind of like you’re watching a movie and it’s your front row seat to this life.”

Owing to that silver-screen character, JAB employed screenwriting technique by assembling the project with the five elements of plot structure: the exposition, or beginning; an inciting incident; the climax; a falling action (in this case, a breakup); and the resolution.

The story begins with “While I’m Young,” in which a college-aged Abbott lives a typically carefree existence, spending much of his discretionary income in bars and living for the moment, an ideal that’s captured authoritatively in the anthemic “Live It While You Got It.” As the album progresses, he meets a woman who commands his attention for more than one evening, finding himself by track 7, “Crazy Things,” mulling what it is that would make a woman who’s dang-near perfect fall for someone so flawed.

By the time the album concludes, his once-ideal relationship has turned sour, and the two are no longer one. The fracture becomes apparent through the resignation of “Born To Break Your Heart,” and he discovers in “Ghosts” that all the memories that once lived with such passion and revelry continue to haunt his memory, taunting him with whispers of a past he can never reclaim. As Front Row Seat closes with “Anonymity,” Abbott sings a spare dirge with acoustic guitar and fiddle, fantasizing that he could return to the start of the relationship and live it out right.