Three Beards are a Texas alternative rock band formed by Hank Barbe, a combat vet featured in a TIME Magazine article for a lifesaving mission in Iraq in 2003 titled "Anatomy of a Medivac". Hank started playing music after the hardships of war, and it helped with his PTSD, as well as created a new career where he could channel his energy and message. Not even a year after starting, they were signed to CBM Records, he met Ian Dehle and they quickly formulated a new sound with producer and drummer Mike Froedge (Double Drive, Black Label Society) and bass player William "Billy" Bosler. The band's sound is rock meets Blues Traveler, meets Dave Matthews and the sophomore release "Lessons Learned" has gained attention from fans, movie producers and other bands, covering the inner thoughts of a soldier struggling with PTSD and suicide. The band are putting out new music monthly as well as a new full length soon and playing constantly. They can be hired as a 2 piece for $300 or a full band for $600.

I am looking for album session work. I can do basic modal improvisation, for whatever genre that requires, i.e. Americana, folk, rock, electronic, or blues. For any jazz solos I have recorded, I have read the music and not improvised. I am classically trained as well, and therefore, if I need to read music for a session or record a difficult passage, I am up for the job. When the instruments are provided, I like to play bass flute and alto flute in flute ensembles or for solo session work. Session rate starts at $40 an hour. This could vary, depending on difficulty or reasonable negotiations.

Instrumental/vocal covers and originals, a variety of musical styles including: Classical, Celtic, Contemporary, World Folk, Native American fusion and a jazzy number or two. Billie Woods: Celtic Harp, Piano, Native American Flutes, Vocals Deborah Schmidt: Classical Guitar, Native American Flutes, Vocals Ask us about our unique "Sing and Tell" house concert series. Come on the journey with us and experience a unique adventure in a world of Himalayan beauty and vanishing Tibetan culture. Available for: Wineries, Corporate Events, House Concerts, Temples and Monasteries, Cocktail Hours, Spas and Resorts, private parties and other special occasions. - See more at suitejourney.com

Lauren Pierce is one of those generational instrumentalists with not only the technique necessary to excel on her instrument, but with a flair and presentation that amazes everyone who watches her musically navigate on the double bass. Born in Atlanta, Georgia, Lauren began her musical studies at the age of seven on piano and voice. Later, she was introduced to the Double Bass and soon began lessons with the late Douglas Sommer, section bassist for the Atlanta Symphony Orchestra. While studying with Douglas Sommer, she continued her studies at the University of South Carolina under the tutelage of Dr. Craig Butterfield. During her studies at USC, Lauren was given the Presser Scholar Award, named a Magellan Scholar, and in 2010, performed a concerto with the University of South Carolina Symphony as the winner of that years USC Concerto Competition. After graduating from USC, Lauren moved to Denton, Texas to study the double bass with Jeffrey Bradetich. During this period, Lauren competed in the American String Teachers Association Competition and the International Society of Bassists Competition. In 2016, she became the first young artist to be sponsored by Pirastro Strings, Gmbh. Lauren has worked in many different genres and artistic mediums. In 2008, she became a section member in the South Carolina Philharmonic. Lauren appeared as a soloist in the 2011 film "Luz," by Los Angeles filmmaker Ellie Ann Fenton. She has recorded as a soloist on multiple albums, including singer-songwriter Collin Hauser's debut album Collin Hauser with Grammy-award winning recording engineer Tim Kimsey, Fall River Footman's Mullen Road, and R&B artist Mikaela Kahn's Milk And Honey. Lauren brings an impressive performance repertoire to the table, exceptional for the double bass, where she takes many a risk playing works designed for more versatile and manageable smaller instruments. Most critics find her flair and presentation almost magical. Her current library includes: J.S. Bach - Suite for Cello no. 1 in G major J.S. Bach - Suite for Cello no. 2 in G major J.S. Bach - Suite for Cello no. 3 in G major J.S. Bach - Suite for Cello no. 4 in G major J.S. Bach - Suite for Cello no. 5 in G major Bartók - Roumanian Folk Dances Beethoven - Sonata for Cello and Piano no. 2 (arrangement by Lauren Pierce) Bloch - Meditation Hebraique Bottesini - Concerto for Double Bass and Orchestra no. 2 in B minor Bottesini - Elegy Bottesini - Tarantella Debussy - Girl With the Flaxen Hair (arrangement by Lauren Pierce) Fauré - Elegy Franck - Sonata for Violin and Piano in A Major Glière - Elegy and Tarantella for Double Bass and Piano Handel-Halvorsen - Passacaglia for Violin and Viola (arrangement for two Double Basses by Lauren Pierce) Herbert - Concerto no. 2 in E minor for Cello and Orchestra (arrangement by Lauren Pierce) Koussevitzky - Concerto for Double Bass and Orchestra no. 1 in E minor Meyer - Concert Duo for Violin and Double Bass Meyer - Amalgamations for Solo Double Bass Mišek - Concert Polonaise Mišek - Sonata for Double Bass and Piano no. 2 in E minor Monti - Czardas Myaskovsky - Sonata no. 2 for Cello and Piano in A minor (arrangement by Lauren Pierce) Mozart - Per Questa Bella Mano for Double Bass and Bass Voice Piazzolla - Le Grand Tango (arrangement by Lauren Pierce) Piazzolla - Oblivion Proto - Carmen Fantasy for Double Bass and Orchestra Rabbath - Iberian Peninsula Rabbath - Ode D’Espagne Rabbath - Poucha Dass Rachmaninoff - Vocalise Sarasate - Zigeunerweisen (arrangement by Lauren Pierce) Schubert - Sonata for Arpeggione and Piano Tchaikovsky - Nocturne for Cello and Orchestra Walker - Chorale for Solo Double Bass Lauren is a frequent clinician at several workshops, including the Bradetich Summer Bass Camps and Bassmania at Columbus State University. She resides in Austin, Texas with her partner, exceptional bassist Daniel Parr, who is current playing with the world famous Quebe Sisters.

SeVana Marimba is Austin's only all women African style marimba band! We play high-energy joyful dance music on towering wooden xylophones.

Over a career that spans more than a decade and a half and has won her a devoted worldwide fan base, Klein—who possesses what Mojo magazine calls “one of those voices you want to crawl up close to the speakers to listen to” and a knack for writing songs that the Cape Cod Times has described as “fully realized, finely observed and deeply felt”—has pursued a remarkable creative evolution that’s seen her dig ever deeper for resonant emotional insights, while continuing to refine her eloquently melodic, effortlessly accessible songcraft. As the New York Times noted, Klein is an artist who “has country roots, but who pushes her songs toward philosophical thoughts.”

Writer/Artist/Musician ASCAP Harry Fox Agency Hazey World Publishing Writers Guild of America (West)

Erik Karlsson’s folk-rock songs are stories about worlds that could be inhabited by you or by me, by the person sitting beside you or the neighbor across the street. They are people with honest issues dealing with things in honest ways - some are happy, some at the end of their rope - but all are treated with respect at the hands of this engaging songwriter and performer. Having performed in the Houston, TX and Kansas City singer/songwriter scenes prior to his move to Austin, TX, Erik found a home in all areas using his positive outlook and dynamic stage presence. A musician since he was old enough to reach the piano keys, Erik has played with a number of bands along with his solo work. Erik’s first CD release was as a member of a band in Houston named The Plastic Yardbirds in 2001. He has since been performing his brand of music at any number of venues, from coffee shops to opening for national artists like Dana Cooper.

(Bio Below Intro) What I do: Since becoming a father in June of 2015, I have shifted my focus from touring to playing around Texas (mainly greater Austin), playing more gigs at restaurants, bars, wineries, breweries, etc so I can continue working and be home with my family. I average 3-4 of these type of gigs a week and do about 60% Covers (the likes of Dylan, Waits, Springsteen, Prine, Townes Van Zandt, among a lot of classic songs) and about 40% originals. I can do up to 4 hours without repeating, and I enjoy getting a feel for the crowd and playing to it appropriately. I treat every gig with respect and take this job seriously... just putting that out there because I've been a working musician a long time and I've known a ton of musicians... just for potential clients I try to make it a point to let them know that I can be relied upon, on time and always fulfill the agreed upon time, and put on a show that fits the situation and enhances the experience of the patrons. I can also do a duo, or full band show depending on the situation. Bio In the 12 years since packing up a U-Haul trailer and moving sight unseen to Austin, TX from Kent, OH, Graham Weber has found a home in the Live Music Capital of the World and established himself as one of the most talented singer-songwriters of his generation. Opening on stage for a Who’s Who of artists including Guy Clark, Todd Snider, Ramblin’ Jack Elliot, Hayse Carll, Chris Smither, Slaid Cleaves, Eliza Gilkyson, Cliff Eberhardt, and Vance Gilbert to name a few, he collaborated with some of today’s most respected female musicians like Carrie Rodriguez, Amanda Shires, Dana Falconberry, Bonnie Whitmore and BettySoo in his 2011 critically acclaimed album Women. Highly respected by his peers and fans “in the know” on the strength of both his live performances and his numerous solo albums such as Naïve Melodies (2003), Beggar’s Blues (2006), Door to the Morning (2008) and Faded Photos (2014), Weber connects with audiences on his home stage at Austin’s famed Cactus Café or across the U.S. and in Europe. The Houston Press says, “Out of the pack of mindless clones name-checking Townes Van Zandt comes Graham Weber, whose talents both in front of the blank page and on the stage are actually real.” In addition to his solo career, Weber performs with Colin Gilmore, Bonnie Whitmore and BettySoo in the CBGBand, and his band, So Long, Problems, released Ashes in the Rearview, a 2013 rock album. He is having a great time performing with his new band, Graham Weber and The Buffalo Squeeze, and is planning to put out a live album in the near future. Another project that sets him apart from others is his commitment to the Austin-based House of Songs project in which he hosts singer-songwriters from other countries to visit Texas, where they co-write music with U.S. artists and perform on U.S. stages. Then Weber travels to other countries and performs for foreign audiences. Not only does the effort create incredible music, but it builds friendly and lasting relationships that transcend governments and cultures.

Brian Pounds has spent the past six years as Austin’s best-kept musical secret. On Sept. 2, 2014,the singer-songwriter takes a bold step into the national spotlight with the release of his new EP, Strikes and Gutters. The five-song album is a roots-rock tour de force, featuring well-written, catchy originals and asoulful cover of Shane Bartell’s fantastic “Sunday Dress.” Strikes and Gutters is the follow-up to Pounds’ debut full-length album, After You’re Gone. Reviews of that record, which came out in 2010, drew comparisons between Pounds and James Taylor; on his new release, the comparisons are even more apt, as Pounds’ deeply personal songwriting and warm delivery is reminiscent of the music found on Sweet Baby James. A storyteller at heart, Pounds writes lyrics that are mature beyond his years. The closing track onStrikes and Gutters, “Jesus, Don’t Let Me Die (On My Feet),” is his strongest work to date. Written in the middle of a disastrous two-week gig at a rundown casino in Nevada, the song is a starkly realistic portrait of the music industry’s less glamorous aspects. “We drove 27 hours straight to get there, and after three days of being in a hotel room with four guys, I woke up one morning and saw seven empty whiskey bottles on the TV stand,” Pounds remembers. Having left college with only two semesters until graduation and quit his job to pursue music as a fulltime career, he knows all too well the struggles of living from a tip jar, something that becomes readily apparent as he sings, “My faith has been worn down by all these worn out hotel rooms / Tonight I’m in L.A. just hoping that the sympathy of strangers will be enough to pay my way back home to you” over crying pedal steel. “Keep My Hands to Myself” is that song’s polar opposite, as Pounds, who plays both guitar and keyboards on this song, impishly narrates the thoughts of a road weary man who is trying to get back home to a woman who’s spent far too many nights alone. The EP’s opening track is already its most popular: “Someday Maybe Carolina,” written with fellow “The Voice” Season 5 competitor Austin Jenckes, currently has more than 14,000 views on YouTube, and “Hold My Head High,” a song that Pounds’ producer, Brian Douglas Phillips (Josh Halverson, The Reliques), insisted they record, showcases Pounds’ talent as a self-taught piano player, who learned on an old Wurlitzer he found on Craiglist. Reality television is ephemeral, but with the five songs of Strikes and Gutters, Pounds proves that he is a talented singer-songwriter with staying power.

Penn Johnson channels and projects stories through song – unlike any artist of our time. His sound is of a genre yet-to-be defined, but his true-to-life lyrics, acoustic melodies, wind-sung strumming, harmonic rhythms, and passionate (uni-)verses, echo an era that once collected the masses. Some call it folk – other simply recognize that the music flowing through him inspires dancing, conscious thought, and healing connection. A Massachusetts native, Penn has traveled the country solo for the majority of his young adult life playing wherever and to whomever he has been called. QUOTES: "Penn's charm is rooted in his sincerity. His songs are unpretentious and entirely heartfelt. It's impossible to listen to his voice and not feel a little more hopeful about human evolution. Burn A Little Sage is a paean to unity and healing that's as catchy as it is uplifting - it deserves to be heard from a festival stage with a thousand voices singing along." – MK, RADIO WOODSTOCK "He speaks from experience and his teaching tone is compassionate and direct. I hear Dylan and Tom Waits in his music, but without the triple meaning phrases and with a much better voice. He strums well and he fingerpicks fine, but the lyrics and the message are always the focus. This cat is the real deal." – A.J WACHTEL, THE NOISE "Penn Johnson's songs tell stories that resonate soulfully while connecting with audiences on an intimate level. He makes accessible powerful narratives touching on timeless issues, and his unique sound works in any venue or medium. As a radio host I have worked with him live in the studio, and listeners seem to relate positively to his unique style. As do I." – NICK NOBLE, THE FOLK REVIVAL, WICN - Worcester Public Radio FAN TESTIMONIALS: ”I’ve listened to the CD 50 times and know most of the words. I call it ‘Broccoli Peace Rock.’" "Powerful healing words at time when I really need them."

Reed Turner is an high energy brand of indie folk delivered with an Americana swagger.