Johnny and KILLER BZZZ are musical artists that stay “true to themselves”… Their bluesy, folk, true americana sound has a flavorful twist that keeps the audiences attention and coming back, knowing that at their shows theres always an element of surprise. JOHNNY V AND THE KILLER BZZZ plays a unique selection of both original music and cover tunes From such artists as Neil young, CYSN, grateful dead, tom petty, bob Marley, paul simon, van morrison, allman brothers, Beatles, john prine , pink floyd, and the list goes on and on!!!!! While supporting two of their own cds, INSIDE REALITY and WOOD CHIPS, they will be releasing their latest album late spring early summer of 2013, BARNS AND BRIDGES. Their live shows cross a lot of boundaries of their musical influences. From their love of music from acoustic, r & b, prog rock, Blue grass, jam bands ect…

Jessie Torrisi played drums in a dozen New York rock bands before finding her true calling — performing feel-good heartbreak songs, singin’ at the top of her lungs, and evoking the kind of mayhem the Please, Please Me is known for.

With cello, lots of drums, hip swiveling, and YOU the audience on kazoo, their show is not to be missed.

Indie pop at its best, their debut album was awarded “Best Americana Album” (Amplifier, Village Voice), year’s most exciting debut (Swamp Record) & continues to be featured all over the place.

Where were you when Napster slammed the coffin lid shut on the old-school music business? Tucker Jameson was writing songs in his suburban Connecticut bedroom and playing guitar till his little 10-year-old fingers ached or his mother commanded, “Lights out!” While his classmates pored over Harry Potter books or glued their thumbs to Nintendo games, Jameson scrutinized the liner notes to Revolver andNevermind.

Jameson is part of the first post-CD generation, yet he’s steeped in the rock classics that form a necessary foundation for anyone hoping to build a music career lasting longer than the blink of a YouTube video.

After some early adventures in recording, Jameson toured the country and landed in Austin, determined to use his rock appreciation and Berklee-honed skills to write modern songs that speak to his own generation. He spent a year working in the studio, finally emerging with a group of tunes that unequivocally achieve his goal. “Son of Superbia,” “Technological Warfare” and “Ritalin” couldn’t have been written in the ’60s or the ’90s, but they contain the kind of power-pop songcraft that fans of any rock era can identify with.