The Goddamn Gallows formed in 2004 by founding members and Lansing/Detroit natives Mikey Classic on guitar and vocals, Fishgutzzz on upright bass, and Amanda Kill on drums -replaced by current drummer Uriah Baker (aka; “Baby Genius”) in 2006. The trio started out migrating around the West for a time, holing up in Hollywood squats and squalid apartments, before releasing several albums: The Gallows EP (2004), Life of Sin (2005), and Gutterbilly Blues (2007), and finally hitting the road nearly full-time to establish their presence in the psychobilly-country scene while honing their self-described “twanged-out punk rock gutterbilly”. In 2009 the addition of Avery, a fire-breathing, accordion and washboard player, as well as Jayke Orvis (formerly of the .357 String Band) on mandolin and banjo, prompted The Goddamn Gallows to explore many new directions with their songwriting and in their live performances. As evidenced on their most recent 2009 album, Ghost of The Rails, and as witnessed by their spectacular and tireless live shows, The Goddamn Gallows began to forge a path founded on their very own brand of contagious primeval abandon: an unpretentious and from-the-gut carnivalesque smorgasbord of parts old time revival, circus sideshow, and good old-fashioned rock and roll. The result falls dead center into a head on collision between something like a Western honky-tonk impromptu parking lot rodeo, and Suburbia (the 1983 Penelope Spheeris cult classic film, not the location).

Headed by singer/guitarist Freddy J IV, Left Lane Cruiser is a bona fide blues rock band from the American mid-west. Far from pretending to be rambling hobos for the sake of a manufactured image, Left Lane Cruiser has been genuinely living the blues for over a decade, bringing its freestyle jams to crowds all over the world.

Taking the stage like Bela Lugosi on a mechanical bull, Royal Son of a Guns belt out rip snorting acid western voodoobilly with heavy doses of surrealism. These bar stool smashing miscreants take Americana on a psycho-cathartic hayride through the thorny nettles of the American roots music underbelly with primitive guitars, electrified washboard and a bedrock of bass that will rattle your teeth.