Produced by: Kesey Enterprises & The Crocodile
Support: The Builders and The Butchers
Date: Saturday, October 11, 2025
Box Office opens: 5:30pm
Doors open: 7pm
Show starts: 8pm
Event: All Ages, GA Floor (standing room only), 21+ Reserved Seating in Upper and Lower Balcony
Tickets: On sale starting August, 14th at 9am
• GA tickets: $52.75 in advance, $73.25 day of show
• Reserved Seating tickets range from: $69.50-$81.25
• Unless sold out, tickets will also be available at the box office on the day of the show when it opens.
• Tickets prices shown include service fees.
Amigo The Devil: In the vast realm of modern folk and alternative rock, Amigo The Devil is an artist who channels a voice of unsettling beauty and raw truth. Splicing alarming honesty with personal realizations, his narratives carry weight, wisdom and wit. Nestled within the corners of Amigo the Devil’s haunting melodies and daring experimentation lies a tale as profound as the dirges he sings.
With a brilliant mind, full soul and a penchant for the obscure, Amigo the Devil’s songwriting harkens back to a more brutal state of songwriting. His songs are greatly influenced by the honesty of Leonard Cohen, the creativity of Tom Waits and the ruthlessness of Chavela Vargas. Rather than imitate, he identifies with their authentic disregard of consequences when it comes to songwriting and releasing music. Amigo the Devil is not polished or clean – he’s all heart, with reckless abandon. His understanding of emotions is deep and instinctual, choosing to embrace one’s flaws instead of trying to change them.
The son of a Greek father and Spanish mother, Amigo the Devil – otherwise known as Danny Kiranos – is a first-generation American from South Florida. He came of age in downtown Miami during the mid-1980s when the city was equal parts thriving, diverse and dirty. With a lust for travel and unusual experiences, Kiranos bounced around from city to city – 16 in total from LA to Europe – before he finally found a home in Texas. It was there, in Austin, that Amigo the Devil took root.
Kiranos spent significant portions of his earlier career embracing an almost nomadic lifestyle, absorbing tales from the underworld and penning songs about other wandering or lost souls. These stories, from the tragic to the comedic, found their way into his lyrics, and gained a steady fellowship of fans along the way.
Amigo the Devil’s first full-length album, Volume 1, released as an amalgamation of three earlier EPs. Laden with stories of his travels, relationships, and existential musings, the collection gave birth to ballads both mournful and satirical, including “Hell and You,” “I Hope Your Husband Dies” and “One Kind of People.” In 2018, Amigo the Devil released a proper studio album, Everything is Fine, which brought forth chantable ditties like “Hungover in Jonestown” as well as his dubiously introspective, “Cocaine and Abel.”
His first works showed the promise of the masterful songwriter Amigo the Devil has become. Early releases were dominated by dark tales of serial killers and the macabre mixed into a layered, deeper meaning. In themselves, the songs are genius. But as he grew as a songwriter the music grew with it, leading into a turning point that began shifting the tides for Kiranos’ songs. “For the first time,” he mentioned in an interview, “I began seeing the light at the end of this dark, winding tunnel I’d been singing about.”
This newfound perspective became evident in his 2021 album, Born Against, released under his independent label Liars Club Records. The music, while retaining its eerie charm, began to venture into territories of acceptance and redemption. The raw experimentation and flirtation with unconventional instruments all mirrored Amigo the Devil’s journey of self-discovery and growth. Born Against garnered critical acclaim from Rolling Stone, Consequence, No Depression and American Songwriter, which described Amigo the Devil as “an artist who gives full reign to intrigue and intellect in equal measure.”
The next chapter of Amigo the Devil continues with the February 2024 release of Yours Until the War is Over – his most disarming and singular work to date. The first taste arrives with “Cannibal Within,” a song that descends to the depth of the human experience. Self-produced and recorded in a backwoods bar-turned-studio, the banjo-driven track speaks to honesty without pity. Experimental percussion – like the repetitive dropping of a pick, bottle tinks and the clacking of toy teeth – immerses the listener within an internal dialogue of self-doubt and insecurities, personified.
The 13 tracks that make up Yours Until the War is Over together weave themes of relatable self destruction and trauma bonding with arresting authenticity. Riddled with obscure literary references – akin to Kiranos’ maniac reading habit – the album proves that this whole Amigo the Devil thing isn’t some true crime niche. Yours Until the War is Over is a songwriter’s record.
Similar to Waits and Cohen, Amigo the Devil embodies the truest form of an artist in this new work. Inspired by a mantra adopted from unexpected, late-night advice, he doesn’t have to “be the story to tell the story.” Songwriting doesn’t have to be linear, or biographical.
“I don’t write songs for a purpose. The beauty lies in how people take them – the magic happens between the songwriter and the listener in that shared moment,” explains Kiranos. “Once this new record comes out, it’s not mine anymore. And that’s why we keep writing records, because then we have something that’s only ours again, even if just for a little while. Like wounded wildlife, you nurse them back to health and then you have to let them go.”
In a world filled with fleeting tunes and temporary stars, artists like Amigo the Devil are the reminders of the power of storytelling – of music’s age-old role in narrating human emotion. Kiranos seems to be on a lifelong journey, not just of personal discovery, but of reminding us all of the roots, the rawness and the reality that music can offer.
Despite his growing notoriety, Amigo the Devil remains enigmatic. He isn’t one to bask in the limelight, choosing once again to let his art speak for itself.
Lucero: The search for one’s identity is a lifelong process that every individual must go through. Who someone is today, is not the person they were yesterday nor who they may be tomorrow. Despite those changes, there is a general idea of a defined sense of self. No matter what happens, it is that small yet solid and grounding definition of self that continues to drive us forward in our search for identity and whatever may come with it.
It would be difficult to find any artist who understands that better than the band Lucero.
Since forming in Memphis in the late 90’s, Lucero’s base musical hallmarks have remained similar to the band’s initial sound established with their first record The Attic Tapes. In the history of their expansive discography, Lucero has evolved and embraced everything from southern rock to Stax-inspired Memphis soul, whilst simultaneously maintaining their distinctive sonic foundations. Over 20 years later, dedicated fans of the group still flock to hear the band’s punchy driving rhythms, punk-rooted guitar licks, and lyrics that evoke the whiskey drenched sentimentality of Americana singer-songwriters. As expected of any band built to survive, Lucero has welcomed change over the course of their career, but it has always been on their terms.
The band’s twelfth album, Should’ve Learned by Now, began its life as hardly more than some rough demos and lingering guitar parts. These pieces that were left behind from the band’s previous albums, Among the Ghosts (2018) and When You Found Me (2021) were deemed too uptempo and capering for the prior records’ darker themes.
“I had a particular sound I was looking for on each record and there was no room for any goofy rock & roll or cute witticisms or even simply upbeat songs,” said primary lyricist and frontman, Ben Nichols. “But now finally, it was time to revisit all of that stuff and get it out in the world. That’s how we got to the appropriately-for-us-titled album Should’ve Learned by Now. The album is basically about how we know we are fuckups and I guess we are ok with that.”
The band, comprised of all its original members (which in addition to Ben Nichols, includes Brian Venable on guitar, Roy Berry on drums, John C. Stubblefield on bass, and Rick Steff on keys) teamed up for a third time with producer and Grammy Award-winning engineer and mixer, Matt Ross-Spang. Lucero began the recording process in Sam Phillips Recording Service before transitioning and finishing the record in Ross-Spang’s newly opened Southern Grooves Productions in Memphis, TN. Ross-Spang appears to have settled in with the band’s more trademark sound whilst very much making his touch known to listeners.
“He knows how to take the sounds we’re making on our own and just kind of polish them up in the right way. Or dirty it up in the right way. Whatever it takes, he just kind of does it,” says Nichols.
The first track from the album “One Last F.U.” is a punchy and somewhat combative song which was one of the original remnants of Among the Ghosts. Despite its title, “One Last F.U.” is less about standoffishness and more a self-reflection on the kind of people we are capable of being in difficult situations. According to Nichols “The rest of the song was simply about wanting to be left alone while I drank at the bar. That could be taken in a kind of grumpy/antagonistic way, but I feel ok singing the song because I’ve been both characters in the song at different times. Sometimes I’m the one wanting to be left alone and sometimes I’m the drunk one blabbing all night to someone that just wants to be left alone.” Right off the bat, Nichols’ vocals are awash in rock and roll slap-back reverb. The effect pushes Nichols’ naturally upfront vocals wider, so they fill the space in a manner more akin to a live performance. It’s one of a few new production effects that extend throughout the record and add a new level of presence and attitude to the band’s sound.
The second track, “Macon if We Make It”, was inspired by the band having to traverse through Georgia during a hurricane. When asked where the next stop on the tour was, the band responded with, “Macon, if we make it.” Continuing to be reminiscent of older works, “Macon if We Make It” has echoes of the band’s 2009 album 1372 Overton Park. The song is really driven by guitarist Brian Venable’s formidable electric guitar. The lyrics seem at first to be mostly preoccupied with a literal storm situation at hand but turn out to be more about a troubled relationship back home. The proverbial dam breaks when the narrator sings “I don’t know if we were in love. I just know it wasn’t enough. Got caught in the storm and the water it’s rising…” The song gives way to a powerful drum lead up by Roy Berry and the listener is carried out, like a raft, on a ripping guitar solo.
The pushes and pulls, builds and breakdowns are all over the album’s subsequent tracks, but it isn’t all hard-edged rock and roll all the time. “She Leads Me”, is inspired somewhat by the classic tale of Orpheus and Eurydice, and delves into a softer and more nostalgic sound. With backing vocals supplied by Jesse Davis and Cory Branan, it’s a song that lyrically rests on the concept that we sometimes need to recognize and acknowledge our past for a gentle enough reassurance to move forward.
The rest of the album dives right back into its more rock and roll songs with “At the Show” and “Nothing’s Alright”, both of which examine the highs and lows of remembering old loves, reminiscing on the old days, and contented introspection. Aspects which finally come to a head in the album’s title track “Should’ve Learned by Now”, a rough and edgy song that tackles the fact that all the lessons, though clearly recognized, have yet to sink in. Quite poetically, the song is set to a tune that may be the greatest call back to Lucero’s punk upbringing.
From its original Ben Nichols-designed cover art to its credits, the album is a reflection of a band that knows itself. Should’ve Learned by Now bridges the gap musically between “old Lucero” and “new Lucero” in a manner which affixes the band’s position as the perfect intersection of punk initiative with hard-earned artistry. It’s an album that recognizes the past in its sound and content, but leaves the door wide open to the future and for the lessons still in store.
The Builders and the Butchers: Portland-based folk rock band, The Builders and the Butchers, announce their forthcoming album, The Spark, due out May 19th. The band’s fifth LP will be released on Badman Recordings Co, which will be their third release with the label.
Their last album was hailed by Consequence of Sound, who said, “The Builders and the Butchers make records the way the bards used to pass on stories. They’re poetic and captivating, and do to songwriting what Clint Eastwood does to movies,” and this new record follows the same, narrative-driven path.
With glowing album and show reviews coming from Pitchfork and The Wall Street Journal, among others, their brand of folk-rock is best served live. Audiences can look forward to lively performances, where fourth wall is broken and the audience is able to participate in call and response sing-a-longs. Sometimes the band will hand out instruments for fans to play, and they’ll even get down off stage to perform right on the floor.
The Builders and The Butchers formed in 2005. Ryan Sollee fronts the band, sings and plays guitar, joined by Willy Kunkle (bass, guitar, vocals, percussion), Justin Baier (drums, backup vocals, percussion) and Harvey Tumbleson (mandolin, banjo, guitar, vocals, percussion). The Portland-based band gained a strong following after years of playing anywhere and everywhere across the city. They quickly grew to become one of the most exciting live bands in Portland and throughout the Pacific Northwest.
The band toured throughout the US and Europe from 2007-2012, playing music festivals, such as Sasquatch and Lollapalooza, and acting as support for Portugal. The Man, Heartless Bastards, Amanda Palmer and Murder By Death. To support their forthcoming release, The Spark, the band will be playing their first US and European tour in multiple years.
This new album features a wider array of sounds and shorter, hard hitting songs, while remaining a Builders’ record at heart. The process of creating The Spark was the longest of any Builders’ record to date. They spent the last five years writing the music and a year mixing. With several band members living out of state (Justin in Colorado, Willy in Malta, Harvey in Washington and Ryan and Ray in Portland), many parts were recorded remotely. Drums and much of the electric guitar were recorded at Revolver Studios and the rest was laid down piece-by-piece and mixed by Edgar McCrae at his home studio. Influences for the record range from Tom Waits to The White Stripes.
