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October 18, 2012


tickets to see The Sheepdogs live and receive a complimentary track

from their upcoming album, “The Sheepdogs” (available September 4th), as well as three exclusive live tracks!”

all ages / 9pm

$12 general admission tickets available at by clicking the link below

or at P&H 760 365 5956

The Sheepdogs are a Canadian rock band from Saskatoon, Saskatchewan. The

band, via 1.5 million public votes, beat 15 other acts to win Rolling

Stone's "Choose The Cover" competition to be featured on the cover of

the iconic rock rag, the first unsigned act to do so.

During the competition, the band made appearances on Late Night with

Jimmy Fallon and performed at the Bonnaroo Music Festival as well The

Osheaga Festival in Montreal, Quebec. The band has recently signed with

Atlantic Records with a new album being produced by The Black Keys

drummer Patrick Carney.

In April 2012, The Sheepdogs won three Juno Awards – for Rock Album of the Year, Best New Group and Single of the Year.

“It’s an isolated city,” begins Ewan Currie, vocalist and

guitarist for Saskatoon, SK-based rock and roll outfit The Sheepdogs

about how their home base in the Canadian prairies shaped his band’s

sound. “It really gave us the freedom to do our own thing; we never felt

the need to be a part of an existing scene or trend.”

Some listeners may argue that the sounds soaring from their speakers while listening to the band’s latest EP, Five Easy Pieces, or preceding full-length, Learn&Burn,

are familiar relics of decades past, and they’d be right; however, it’s

the manner in which The Sheepdogs borrow bits from classic,

psychedelic, and boogie rock iconoclasts like Creedence Clearwater

Revival, The Allman Brothers, and The Grateful Dead and mix them with

modern rock sensibilities that really sets them apart.

From the always silky-smooth three-part vocal harmonies prominent in

tracks like “Why?” or the single “I Don’t Know” through to the

dual-guitar interplay and pulsing rhythmic beds found on, well, pretty

much every tune, The Sheepdogs don’t so much bring listeners “back in

time” as they do weave the past with the present for an undeniable aural

experience that appeals to audiences of all ages.

That appeal was recently proven when The Sheepdogs, via 1.5 million

public votes, were declared the winners of a contest that found them as

the first unsigned band to grace the cover of iconic rock rag Rolling Stone

and, subsequently, landed them a deal with Atlantic Records. To the

many that first caught wind of this decade-defying musical force

surrounding that swirl of media attention, they may seem like something

of an overnight success, though in reality, The Sheepdogs are anything


“Being from a small town, we were all looking to get out there –

maybe try some new things,” says bassist Ryan Gullen about how he,

Currie, drummer Sam Corbett, and guitarist Leot Hanson first came

together to make music. All fans of the same kind of meat-and-potatoes

rock and roll from the past, as well as its resurgence in the music of

acts like The White Stripes or Kings Of Leon, it was their mutual

musical mindsets that made for an undeniable chemistry. “It came from a

very honest place,” continues the bassist. “We weren’t trying to be

anything specific,” and with time, the band would only grow tighter and

more comfortable with their sharpening sound.

Over the years, The Sheepdogs have trekked across Canada in their

beaten-down van playing as many new cities as possible. The shows

themselves were usually smokin’; the circumstances surrounding them

often weren’t. “It was such a challenge pushing through roadblock after

roadblock,” recounts Gullen, recalling the trying times of indifference

from the industry. “We could rock any crowd we played to,” he says, but

seemingly couldn’t shake the stereotypical struggles of the touring rock

band. Those struggles often emerge in Currie’s lyrical content, along

with musings from ladies, love, and loneliness through to isolation,

drugs, and other demons.

Since having their unshaven mugs showcased in Rolling Stone

and onstage at Bonnaroo, though, it seems the band has finally found

their break and are ready to capitalize on the opportunity. “It used to

be that we wanted to quit our day jobs and just make music,” says Currie

of the band’s aspirations. “Now, it’s about hitting the road, playing

some kick-ass shows, and getting ready to impress people with a new


That full-length, expected in 2012, will surely cement the fact that,

though they’ve had a bit of luck on their side, the only thing

responsible for The Sheepdogs’ recent slew of success is the sweat

they’ve left onstage and the sweet, sticky throwback tunes that share

their infectious grooves with anyone taking them in.

“Scuzzy guitars, crashing drums, unabashed energy and depth of soul.”

That’s how U.K.’s Rock Sound describes Black Box Revelation. Brussels,

Belgium may not be known for producing great rock and roll bands, but

don’t tell that to 22-year-old Jan Paternoster nor his 20-year-old

sidekick Dries Van Dijck, who have been playing together for a decade,

already releasing two albums, 2007’s Set Your Head On Fire and 2010’s Silver Threats (recorded in London’s legendary Konk Studios) that established the duo as a serious force to be reckoned with.

A cross between R&B-inflected garage-band rock that takes its cues from mid-’60s Stones and The Kinks to the most gut-bucket, electric delta blues evocative of Led Zeppelin by way of The White Stripes, The Black Keys and Black Rebel Motorcycle Club, Black Box Revelation is just that… a musical revelation that can’t be boxed into a single category.

Coming to America to record their stateside debut, My Perception,

with producer Alain Johannes in his L.A. home studio, Jan and Dries

felt right at home in the country where so much of the music that

inspired them had been made. The result is their most accomplished album

to date, with sound and noise now coalescing into real songs like the

title track and “Rattle My Heart,” which might have come straight from

Out of Our Heads; the spooky acoustic strains of the Beatles-meets-Kinks

British Invasion vibe of “Bitter,” the haunting, stark acoustic “New

Sun,” the thick ambience of “2 Young Boys,” the percussive beat of

“Shadowman” and the psychedelic blues of “White Unicorns.”

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