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Temporary Covid Rules Required: Vaccine card or a negative PCR test with in 48 hours of the event.




Visulite Theatre (16+ (Must have ID) - Under 16 with Parent Only)

Doors Open: 7:00 - Show Starts: 8:00

Tickets Still Available at Door


For working musician, Josh Daniel, the year 2020 looked to be the most promising to date. With a calendar full of festivals, club shows, and a few brewery gigs, he was booked solid playing the music he loves. When the Covid19 pandemic hit in March of 2020, music venues shut their doors, and his calendar was wiped clean. The singer-songwriter took to his Facebook page and pledged to his fans to play live on Facebook every day until the pandemic ended. 

 Daniel thought life as we knew it would resume in six to eight weeks, but as the shutdown continued, he kept his word and signed on to play every single day. There’s no elaborate production team; the show is just Daniel, with an iPhone and his guitars, playing music that can best be described as a soup of roots rock, bluegrass, and soul. Dedicated fans of his Wilco-like sound began to share his live feed, and soon, a Grateful Dead-like community of several thousand followers was born. Josh Daniel fans dubbed themselves, “The Jamily.”

 As the pandemic lingered, loneliness and feelings of isolation became commonplace. A bright spot for Daniel was seeing how The Jamily checked on one another, starting shows with a rollcall of sorts, and watching as half dozen or so romantic connections were made – a real feat in time when we can’t safely get out to meet new people. “We celebrate birthdays and anniversaries, and we mourn together when we lose loved ones. We lift each other up when we need it,” says Daniel. A scroll through the comments shows a repeated refrain, “This show has saved me for almost a year now,” said one fan with top fan status. It’s very much a mutual salvation according to Daniel. “They say I’m getting them through the pandemic, but they’re getting me through it, too.”


 By the time Daniel approached 300 consecutive, live shows, he had earned Pollstar’s #8 live-streaming artist of the year, garnered a call from Kelly Clarkson with an invitation to appear on her show, and drew the attention of The New York Times. Playing music every day has solidified Daniel’s performance chops and increased his live performance catalog tenfold,including the release of his single entitled, “Live Long Days.”When you don’t see him streaming live, he’s busy writing new material, releasing new music, and planning his upcoming Patreon campaign.

 Day in and day out, Daniel shows up on the screen to offerrespite from the deluge of grim news, often with his wife, Kellie, and two young children, Maddie and Sonny, going about their daily lives in the background – a scene most of us can now relate to. In the midst of the pandemic, between performing live shows and the minutia of the day, the Daniels prepared for their youngest child, Sonny, to undergo a major surgical procedure called Monobloc Frontofacial Advancement. Sonny was born in December 2017 with a rare condition called Apert Syndromewhich is characterized by craniosynostosis and requires craniofacial surgery to correct the fusing of the skull bones. 

 The Jamily understands that Daniel isn’t an independently wealthy artist, but a down-to-earth, musician that is deeply grateful for the devoted audience that greets him evey day when he logs on. When the surgery date arrived, they rallied around the Daniel family, sending cards, meals, and generous gifts of financial support. 

 Just a few weeks post-surgery, the Daniels organized a virtual fundraiser for the nonprofit organization, The Children’s Craniofacial Association. CCA Kids supports individuals and families with facial differences, helping to make lifesaving surgeries possible for all children. Since then, the Daniels have raised $27,000 for CCA Kids, $5000 for Levine Children’s Hospital, and $4,000 for Second Harvest Food Bank. 

 As for the future, when the world opens up again, Daniel plansregularly release new material and take the show on the road. Hehopes to meet a lot of The Jamily, whom have now become like extended family. What does a road tour mean for The Jamily? Daniel says, “I’m going to take them with me everywhere I go.This past year has been great, but I’m always looking ahead. It’s a big world out there and we have a lot of love to spread. I’m looking forward to hitting the road, continuing to put out lots of new music, and celebrating life every day with the best fans in the world.”

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Start Time: 8:00

Over the course of five albums, indie folksinger Eliot Bronson has created his own brand of acclaimed Americana. He's an award winner. A road warrior. An internationally-renowned musician with a voice that swoons and sweeps, making fans out of everyone from his hometown newspaper, The Baltimore Sun — who championed Bronson from the very start, hailing him as "a folk singing wunderkind" back when he was still playing local coffeeshops — to Grammy-winning producer Dave Cobb, whose work on 2014's Eliot Bronson and 2017's James placed Bronson on the same client roster as Jason Isbell, Chris Stapleton, and other heartfelt songwriters. 

Bronson turns a new page with Empty Spaces. Written during a period of tumult — including the breakup of a 10-year relationship, the end of an engagement, and a move from his adopted home of Atlanta to his current headquarters in Nashville — it's an album about loss, redemption, the places we leave, and the homes we make for ourselves. More importantly, it's an album about starting again. Like the soundtrack to a rainy day whose skies steadily give way to sunshine, the music itself is gorgeous and moodily atmospheric, splashed with watercolor streaks of electric guitar, vocal harmonies, strings, Mellotron, and Bronson's sharpest songwriting to date.

Ever since his teenage years in working-class Baltimore, music has been a source of therapy for Bronson. Back then, he felt like a prisoner in his own home — a home filled with volatility and unpredictability, overseen by parents whose identities were equally (and, perhaps, paradoxically) informed by the Church and 1960s counterculture. Outside the front door loomed the Pentecostal Church where his father and grandfather once preached to  congregants who spoke in tongues. It was an odd refuge for a child, and Bronson found his own sort of escape in his father's record collection, drawn to LPs by Bob Dylan, Paul Simon, Joni Mitchell, Leonard Cohen, and the trailblazing blues duo of Brownie McGhee and Sonny Terry. Inspired, he began writing his own music as a teenager, eventually those songwriting skills into a career — and, with it, a ticket out of town. 

Relocating to Atlanta, he found a regional audience as a member of popular folk-rock duo The Brilliant Inventions and became a regular performer at Eddie's Attic, where acts like John Mayer and the Indigo Girls once honed their own craft. His subsequent solo career attracted even more attention, not to mention high-profile awards like a first-place finish in the Chris Austin Songwriting Contest. When a longtime relationship with his fiancé came to a halt, though, Bronson found himself leaning upon songwriting once again — not only for a living, but also for personal stability. 

"I began writing the kind of songs I needed to hear," he explains. "Empty Spaces was the best healing work I could've ever done. I had a weird, challenging childhood, and I originally turned to music because I didn't have anywhere else to go in the house, physically. I made my own little world that made me feel safe and understood. This time, I really needed to find that space again and come full-circle. I made this record for the same reason that I wrote my first song. It wasn't for anybody else; it was for me. Hearing the right words at the right moment can be the most magical elixir you can possibly take. It can heal you."

To fully heal, though, Bronson needed to make some changes. He left Atlanta and moved to Nashville. He made the conscious decision to escape the shadow of his influences, too, writing a new batch of songs that sounded not like Bob Dylan, Jackson Browne, or Tom Waits, but like Eliot Bronson. He sank more time into his daily meditation practice, allowing creativity to enter his life in waves. And after recording his two previous albums with renowned producer Dave Cobb, he also decided to co-produce the new record with longtime bandmate Will Robertson, setting up in Robertson's basement studio and tracking Empty Spaces' 10 songs in a series of live, full-band performances. The result? An album that's emotive, pensive, melancholy, and wholly moving. This isn't just a record about empty spaces, after all. It's a record about the new discoveries that can fill that emptiness. 

Bronson stacks his voice into layers of harmony on the breezy, beautiful "Good For You," a song that pines for a distant lover who's moved across the country. Songs like the Lyle Lovett-worthy "She Loves the Mountains" and "Montana" address that physical divide, too, with Bronson — who calls the latter track "a 'Jolene' song, directed at a state rather than a person" — both scolding and singing the praises of a place whose beauty has stolen his partner's affection. During the album's opener, "Visitor," his melodies melt into a woozy landscape of acoustic guitar and pedal steel, while the anthemic "With Somebody" finds him mixing his folk roots with epic bursts of heartland pop/rock. 

Perhaps nowhere is Empty Space's unique punch better delivered than on the title track, where Bronson sings about coming to terms with the void left by his ex's departure. It's a breakup song for realists — a song that neither wallows in its own misery nor celebrates a sense of newfound freedom. Instead, Bronson sings about the complicated feelings that exist somewhere between those two polarities, painting his song not with black-and-white extremes, but with greyscale colors that are far more relatable. 

"I can't tell if it's a sad song or if it's a hopeful song," he admits. "I really like it that way, because that's life — we rarely have simple, unmixed feelings about anything. Being able to find those weird places where those emotions mix together, and express them, is exciting to me. It gives language to things that are universal. We don't have a word for that color or that emotion, but it exists, and by pointing it out, it gives you permission to feel it."

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