Robert DeLong

Doors 7PM | Show 8PM | All Ages | Public On Sale 3/22 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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Alt-electro alchemist Robert DeLong has today announced his forthcoming album Walk Like Me due out November 19th on Glassnote Records. In celebration of the announcement, he has shared his anthemic single “Own Worst Enemy”

The new single was co-written with K.Flay and as the name suggests, explores the ability to get in your own way. DeLong explains, ‘”Own Worst Enemy” is a song that was born of the idea that my greatest life battles are not from the outside world, but are internal. Self-doubt, procrastination, self-consciousness, over-consumption: these are the things I struggle with on the daily, and they are all a result of a dialogue in my own head. I wrote this song with K.Flay – she and I share certain perspectives and struggles, so she did an amazing job of helping me take these ideas and conceptualize them in lyrics and melodies. I took the song and produced it a dozen different ways – the process itself mirrored the content! I really wanted to capture a rock anthem through the lens of modern psyche-electronica, and was very happy to feature prominently my dad’s old Ludwig drum set. Enjoy the ride!”

The album follows DeLong’s collaboration with Canadian electro-pop phenom Lights, “Did it to Myself,” and “Better in College (feat. Ashe).” Both of which were met with global praise including placement on Spotify’s New Music Friday in twelve countries as well as key playlist placements on Apple, Amazon, and YouTube.

 

Liliac

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 2/10 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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LILIAC, the ‘First Family of Rock’, is a 5-piece hard rock band from Los Angeles. The band is fronted by Melody, lead guitarist Samuel, drummer Abigail, bassist Ethan and keyboardist Justin. The sibling’s talents were discovered by their dear father, Papa Liliac, also the band’s manager and producer. After many crazy nights, they honed their craft as weekend street performers on the Santa Monica pier. Their sound takes the listener back to a time when rock was complex but told a story! LILIAC’s raspy vocals, catchy lyrics, scorching guitar solos, sparkling keys, thick bass and thunderous drumming provides a familiar, but fresh take on classic hard rock. The band initially went viral on social media for their impressive covers, and videos, of classic rock and metal songs. This opened the door for LILIAC to appear on The World’s Best on CBS and America’s Got Talent, catapulting them to international recognition. It is no mystery why their covers of Rainbow in the Dark and the Trooper won the hearts of millions and had people dancing in the dark. LILIAC was not afraid and began writing their own hook-heavy, original material produced in their home studio by Papa Liliac. Their debut original album, Chain of Thorns, was released early 2019 and hit #1 on Amazon’s Best Seller for Rock Music Charts; proving why they say “we are the children” sent to save rock n’ roll. The summer of 2019 kicked off their first North American tour consisting of 40 dates of sold out shows in front of 1000’s of fangs! The band opened for classic rock icons such as Loverboy, Queensrÿche, Stryper, Slaughter, and even Kiss on the Kiss Kruise! Their follow-up, full length album, Queen of Hearts, brought 13 new songs in 2020: reaching #29 on the iTunes Rock Charts! LILIAC’s 2022 “Moonlight Tour” consisted of 48 shows (44 headlining) allowing the band to sail away across the country multiple times. During this tour LILIAC ‘grew up’, further sharpening their skills, and their fangs, on the stage and impressing the likes of Bret Michaels, Vinny Appice, and multiple other rock n’ roll icons. With nearly 1 million fans on Facebook, and quickly growing on other socials, LILIAC is ready to take the world by storm.

Slothrust

Doors 7PM | Show 8PM | All Ages | Public On Sale 4/7 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Leah Wellbaum has never been afraid of her own humility or honesty. But she’s never quite examined it the way she has now with Parallel Timeline.

On Slothrust’s latest album, bandleader Leah Wellbaum pushed herself to try and understand her own spirituality on a deeper level, putting a lens on the core wound of the human experience, the idea that we’re alone. With Parallel Timeline, Wellbaum explores the feeling of being trapped inside her own consciousness while simultaneously searching for a meaningful connection to the universe, and all the mysteries it contains.

During the writing process, Wellbaum sought to connect with her inner child – a voice that allows ideas to flow freely and without censorship. Ultimately, it allowed her to find poetic catharsis. The album’s artwork and visuals reflect that ethos as well. For her, inverted colored rainbows and orbs became a gateway to exploring the illusory things we see and experience in everyday life. The iconography of this record explores the space where science and the whimsical intersect, and where the unfamiliar becomes hardly recognizable. She is a strong believer that nothing is quite as it seems, and that a greater reality exists beyond what the human eye can see.

In advance of recording their fifth studio album, Leah, along with drummer Will Gorin, sought to dramatically expand the band’s sonic palette. Slothrust put an emphasis on incorporating new production techniques and processes into the established Slothrust sound, resulting in an extraordinary amount of experimental demo recordings, many elements of which appear themselves on the final record. They leaned into risk-taking — a freedom that comes with having been in a band together for more than 10 years, cultivating new sonic realms for each track. Leah sought to craft unique and calculated guitar parts instead of continuous bursts of wall-to-wall sound, and in turn delivers what will likely be considered a “how-to manual” for guitar playing in the next decade.

“On this record, I wanted to be even more precise with the guitar parts as opposed to creating a guitar palette, because a lot of artists, us included, have made songs that are so chock-full of guitar that distinct parts becomes a blur,” says Wellbaum. “I enjoy making that choice when it’s right but it’s the contrast of those things that I like to lean into. I strive to make the guitar sing like a human voice.”

Educated musicians all with backgrounds in classical, jazz and blues, the band’s newest work once again sees Slothrust leaning into improvisation — something that in the past has lent itself to the infectious energy of their live shows. Parallel Timeline, mixed by industry legend Billy Bush and mastered by Heba Kadry is a masterclass in balancing tenderness with the fierce guitar work Leah has become known for. With a distinct yet unified sound that blends progressive rock, acoustic and pop, Slothrust has never been more confident.

The backbone of the 10-track record is Leah’s spiritual journey and presence as a guitar god. Opener “Cranium” features a blues-tinged guitar solo inspired by Funkadelic’s “Maggot Brain” that is so expressive it sings. ““The song addresses absurd ways to love someone or something, and feels very on-theme with things not always being what they appear at first,” says Wellbaum of the track. “It also touches on tenderness being painful, which I think is very true of me as someone who has spent a lot of my life trying to be very tough.”

With catchy grunge-rock jaunt “Once More For The Ocean” and the slow-burning ballad “King Arthur’s Seat,” Leah didn’t have access to an instrument when she wrote them. Instead the lyrics, she felt, were channeled through her as she stared into nature, reflecting the idea of oneness that she was searching for. Inspired by both Scotland and Billy Joel, “King Arthur’s Seat” also “addresses this core human wound that will come up time and time again for all of us, which is the feeling of being alone and separate and not really knowing what to do with that,” Wellbaum says.

With soaring guitar-riffs and Leah’s twinkling harmonies, the ethereal “Waiting” further contemplates the idea of wanting to heal yourself but not knowing how. In the track, connecting with nature – in this case, birds — is a balm. Penned with singer Donna Missal, “The Next Curse” was intended to be a “spell,” but it ended up being a curse. Flanked by thunderous guitars and Leah’s haunting vocals, the blistering rock anthem explores how even among the world’s destruction we still don’t take the time to take care of ourselves: “Earth’s gonna set on fire/But still I wait.” Producer Billy Bush’s influence shines on this track with burly guitars, Leah’s haunting vocals, and a fantastic display of vocal harmony in a feature from Halestorm singer Lzzy Hale. “Billy has that perfect balance of someone who is just easy to be around, totally gets the joke and is available to laugh and chat, but also is incredibly focused,” says Wellbaum. “His ears are magical.”

Slothrust shines particularly within its softer moments on the record. “Strange Astrology” is a stripped-down love song dedicated to Leah’s girlfriend of six years that meditates on astrological compatibility. The hymnal “Courtesy” ties into the record’s overall theme of spirituality and desire to feel connected. “I won’t ask you again if you give it to me/I won’t say it again if you get it the first time,” Leah sings.

While the majority of songs were written pre-pandemic, “A Giant Swallow” was not. The lullaby-like acoustic track unites the record and serves as a roadmap for Slothrust’s previous work, referencing lyrics spanning as early as their first record. Recalling the sweet harmonies of “Courtesy” and “Waiting,” Leah reflects on her search for the unified space. “I’ll return to the ocean/Return to the womb again/Inside of the Mother/Won’t have any questions then,” she sings with a gentle lilt. – Ilana Kaplan

Orchadia

Doors 7PM | Show 8PM | All Ages

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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Local Love presents Orchadia – CD Release with special guests New Misphoria at 191 Toole

Doors 7

New Misphoria 8-9

Orchadia 9:30-11

The Rialto Showcase @ 191 Toole

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 5/10

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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Hobo Johnson Loves the West Coast

Doors 7PM | Show 8PM | All Ages | Public On Sale 4/14 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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Hailing from Sacramento, CA, artist Frank Lopes, who cultivated the moniker Hobo Johnson after being kicked out of his parents’ house and left to live in his ’94 Corolla, is propelling his way to the top. The half Azorean Portuguese, quarter Mexican and Native American vocalist built a grassroots following via viral homegrown style videos showcasing his singularity; an amalgamation of spoken word poetry, punk, folk and rap backed by his band The Lovemakers. Hobo’s momentum reached a tipping point after gaining feverish interest through his entry in NPR’s “Tiny Desk” Contest, which went viral(25 million streams to date) despite not winning. Bursting with unadulterated sincerity, his genre-defying sound feels akin to musical anomalies of the past and future. 2017 saw Hobo Johnson’s self-released debut album The Rise of Hobo Johnson, selling out shows everywhere and amassing over 65 million cumulative U.S. streams.

Southern Culture on the Skids

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 1/27 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Southern Culture On The Skids has been consistently recording and touring around the world since 1983. The band (Rick Miller – guitar and vocals, Mary Huff – bass and vocals, Dave Hartman – drums) has been playing together for over 30 years. Their musical journey has taken them from all-night North Carolina house parties to late night TV talk shows (Conan O’Brien, The Tonight Show), from performing at the base of Mt. Fuji in Japan to rockin’ out for the inmates at North Carolina correctional facilities. They’ve shared a stage with many musical luminaries including Link Wray, Loretta Lynn, Hasil Adkins and Patti Smith. Their music has been featured in movies and TV, parodied by Weird Al, and used to sell everything from diamonds to pork sausage. In 2014 the band was honored by the Southern Folklife Collection at the University of North Carolina Chapel Hill with an exhibition featuring their music and cultural contributions. Their legendary live shows are a testament to the therapeutic powers of foot-stomping, butt-shaking rock and roll and what Rolling Stone dubbed “a hell raising rock and roll party.”

At Home with Southern Culture on the Skids is the latest full length album from the band and was released in March of 2021. It was recorded during the stay at home period of the pandemic when the band was at home and not touring. The album consists of 11 tracks recorded and mixed in Rick Miller’s living room with some additional tracks recorded at his studio, The Kudzu Ranch.

The first radio single off the album is “Run Baby Run”—a rocking number with deep garage roots. SCOTS bassist Mary Huff provides an urgent vocal while the band pulls back the throttle on a full race fuzz fest—cause she’s gotta to go fast! Run Baby Run!

The other songs on the album are a combination of the band’s unique mix of musical genres: rock and roll, surf, folk and country—all a bit off-center, what Rick proudly calls “our wobbly Americana”. Rick goes on, “We put a few more acoustic guitars on this one, as you would expect if you recorded in your living room, but it still rocks like SCOTS. So put your headphones on, get in your favorite chair/sofa/recliner, put on “At Home With” and let’s hang out for a while.”

Guitar riffs as lumpy as a camel, rough as a jackhammer or smooth and bright as Tennessee sippin’ whiskey, all slung loose and loud over salacious beats – No Depression

For over thirty years, Southern Culture On The Skids have played an eclectic range of Americana including rockabilly, surf rock, country and R&B, with a punk edge and heaps of humor. They are known for their legendary live shows and wacky antics…But it’s more than just great fun; they are fantastic musicians to boot. – Elmore Magazine

This Chapel Hill-based trio is flat-out amazing. Without resorting to needless flash or attention-hungry showboating, Miller in particular is one of the most spectacularly gifted guitar players I’ve ever seen. He juggles a lot of styles – country, garage rock, surf, rockabilly and soul to name just a few. – Stomp & Stammer

Venom Inc

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 3/31 7AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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A seasoned and punishing heavy metal trio featuring former members of British black metal pioneers , Venom Inc. came into existence in 2015 when ‘s Jeff “Mantas” Dunn and Tony “Demolition” Dolan were joined on-stage at that year’s Keep It True Festival in Lauda-Königshofen, Germany, by Anthony “Abaddon” Bray for an impromptu set of classics. Performing under the banner Venom Inc. — longtime vocalist/bassist Conrad Lant (aka Cronos) still performs under the original moniker — the success of the reunion prompted the trio to head into the studio together. Two years later, the band inked a deal with , resulting in the release of 2017’s Avé. left the fold the following year and was replaced by drummer Jeramie “Warmachine” Kling (, ), who made his studio debut on the group’s uncompromising sophomore effort, 2022’s There’s Only Black.

Protomartyr

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 3/10 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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Since their 2012 debut No Passion All Technique, the Detroit post-punk band Protomartyr have mastered the art of evoking place: the grinding Midwest humility of their hometown, as well as the x-rayed elucidation of America that comes with their vantage. Protomartyr—vocalist Joe Casey, guitarist Greg Ahee, drummer Alex Leonard, and bassist Scott Davidson—have become synonymous with caustic, impressionistic assemblages of politics and poetry, the literal and oblique.

The group’s sixth album, recorded at Sonic Ranch in Tornillo, Texas, is called Formal Growth In The Desert. And though frontman Joe Casey did have a humbling experience staring at awe-inspiring Sonoran rock formations and reckoning with his own smallness in the scheme of things – as recounted in the single “Elimination Dances” – the title is not necessarily a nod to the sandy expanses of the southwest. Detroit, too, is like a desert. “The desert is more of a metaphor or symbol,” Casey says, “of emotional deserts, or a place or time that seems to lack life.” The desert brings an existential awareness that is ultimately internal.

The “growth” came from a period of colossal transition for Casey, including the death of his mother. Now 45, Casey had lived in the family home in northwest Detroit all his life until 2021, when a surge of break-ins signaled that it was time to move out. As with all touring artists, the pandemic years also brought on other inner quandaries about the purpose and feasibility of a musician’s life.

But life does go on, and Casey describes the great theme of Formal Growth In The Desert as an embrace and acknowledgment of that fact: a 12-song testament to “getting on with life,” even when it feels impossibly hard. “I was trying to find a way forward after some pretty heavy things, without lyrically resorting to, Oh my god, my life sucks,” Casey says. “I was trying to see what was beyond the trouble.” The titles of the two opening songs—the moody “Make Way” followed by the charging ennui of “For Tomorrow”—complete that thought.

The band’s music—more spacious and dynamic than ever—pulled him up, too. Guitarist Greg Ahee, who co-produced Formal Growth In The Desert alongside Jake Aron (Snail Mail, L’Rain), knew what Casey was going through. Conceptualizing the music, he considered how to make it all “like a narrative film.” Having recently scored a pair of short films, Ahee found himself immersed in the cinematic Spaghetti Western music of Ennio Morricone. “I started to write at home on a piano and on a keyboard and then play along to short films, and watch how you can affect and heighten moods as you play,” Ahee explains.

The filmic sensibility is manifest in Casey’s storytelling, too, whether he’s critiquing ominous techno-capitalism or processing aging, the future, and the possibility of love. Casey calls the centerpiece, “Graft Vs. Host,” written in the immediate wake of his mother’s death, the heaviest song on the record, but it is also among Protomartyr’s most beautiful. It opens with an ominous sprawl before Casey’s sweet, coiling melody buoys the subject matter: “Sadness running through my mind/She wouldn’t want to see me live this way,” he sings, an earnest inquiry into how grief manages to eventually make way for other emotions. “My mom wouldn’t want me to be depressed about her passing for the rest of my life,” Casey explains. “Everybody wants to be happy, but how do you get there? Is it just a surgery that you have, and one day you are allowed? After someone dies, you don’t want to necessarily associate their life with their death.” It was the first Formal Growth In The Desert song that came together for the band in a room—an emblem of “trying to put sadness behind me, to see if I can let love into my life.” It culminates on a pummeling loop, which for Casey felt fitting: “I really like that idea: the band keeps going.”

Bob Log III

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 4/4 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | SPOTIFY

Bob Log III is a one man band slide guitar party. A perverse product of the Arizona desert, Bob Log III has been diligently travelling the globe since 1996, showcasing his incomparable talents and developing a devoted following along the way. A whirlwind of dexterous limbs and digits, this super star sonic showman has to be seen to be believed.
Clad in his cannonball man, extra tight jumpsuit and signature motorcycle helmet with telephone/microphone attached, Bob Log III unfailingly sweats up a river while kicking on a kick drum, stomping his homemade foot cymbal and playing slide on an old archtop guitar. His endless pursuit for musical mayhem and a downright party has seen his unique talents utilized for children’s birthday parties, obscure beer barns, mammoth music festivals and everything in between.
Yet, beyond these mesmerizing visuals, lies the true reason for Bob Log’s international cult status and superhero adoration. It is quite simply the guitar playing – finger picked lightning, sliding up and down, stopping when it wants to, then starting again when it feels like it, all in a way that makes people move uncontrollably, smile and reel.
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Excerpts from an unpublished journal – The Adventures of Bob Log III and His Faithful Guitar, by The Guitar

Chapter 39

HELP!
162 shows this year!
30 Countries!
My strings hurt! My nut aches!
My volume knob was broken by a Swedish girl’s butt! I don’t even know where we are right now.
We have been doing this for 12 years!
One man, kicking shit and playing guitar!
He never stops! EVER!
People keep smiling, dancing, sweating, dancing…… I am covered in beer! His suit smells so bad!

QUOTES AND TESTIMONIALS

And now let’s hear some actual words from notable people who know and love, or at least know Bob Log III…

TOM WAITS “And then there’s this guy named Bob Log, you ever heard of him? He’s this little kid — nobody even knows how old he is — wears a motorcycle helmet and he has a microphone inside of it and he puts the glass over the front so you can’t see his face, and plays slide guitar. It’s just the loudest strangest stuff you’ve ever heard. You don’t understand one word he’s saying. I like people who glue macaroni on to a piece of cardboard and paint it gold. That’s what I aspire to basically.”

MILTON BERLE “Hey kid…. DO what thou wilt.”
ROBERT PLANT “Dear Bob, it’s been ages since Sweden.”
POISON IVY (The Cramps) “If you do that again, we are kicking you off the tour.”
HASIL ADKINS “Woooo! Can I have your autograph?”
R.L. BURNSIDE “Sideshow, you hanging in there like a dirty shirt. I want you playing with me tomorrow, and the day after that, and the day after that.” PEACHES “I am NOT from Miami, asshole.”
FRANZ FERDINAND (Nick) “… Can I ride in your car?”
BLOWFLY “Bob Log, you play guitar by yourself, you play drums by yourself, you drive yourself, but I bet you need help to masturbate.”
GARY NUMAN “Hello”
WEEN “Can I have one of your sandwiches?”
SHARON JONES “Bob Log, you can use my dressing room. Wait…let me get you a towel.”
SHONEN KNIFE “Can we sit your knee?”
JIMMY CARL BLACK “Bob Log, I can’t find the hotel.”
MICK COLLINS “What was that???”
CHRISTINA SPENCER (BOSS HOG) “Can I wear your suit? Oh, wait…nevermind.”
SAHARA HOT NIGHTS “We’re not mad! Really! We love Bob Log!” (in a Swedish accent)
T-MODEL FORD “Try playing THAT, mutha fucker! HEY! You sat on my sandwich!”

ITOMO! “Nodo chinko????” RUMORS

Yes, we have all heard the rumors:
He has a monkey paw instead of a hand
Girls like to sit on his knees and bounce while he plays
Occasionally, various people from the crowd jump onstage and put their boob in his drink
He rides in an inflatable dinghy over an ocean of fans
These whispers are all best explained in the following article, which has been translated from its original publication in French, using the Transitron Whizgig 4000-
“Msr. Bob Log appears, and so joy! It is of many nights and one thousand ladies, the guitar defeats us to dance. On the top, a crown. Never has this in time! Maybe not future. Only the now, her glowing hand, can be seen. Thunder of foot escapes the stage, chasing wild tempo with sound animal. We, the entourage, are not free. Arrested! But not of shame. Many times more we ask it. Encore, Captain. Encore!” And so you see, it is all true. All Bob Log asks is that you do the math…and if you do it (correctly), you will find that (with the single exception of Hasil Adkins) Bob Log has out-guitared, out-drummed, out-sweated, out-driven, out-boated, out- bounced, out-custom agented and out-inspired all other one-man bands. Numbers never lie. Bob Log III. MY SHIT IS PERFECT.