Greensky Bluegrass - 12.31.21 - The Factory

Greensky Bluegrass

  • NEW YEAR'S BLOWOUT PLUS 3 Sets With Special Guest Sam Bush
Buy Tickets Tickets on Sale
  • Starting At
  • $49.50
  • 2 Day GA Tickets (12.30 & 12.31)
  • $75.00
  • Age Restrictions
  • ALL AGES

 

ABOUT SAM BUSH

There was only one prize-winning teenager carrying stones big enough to say thanks, but no thanks to Roy Acuff. Only one son of Kentucky finding a light of inspiration from Bill Monroe and his Blue Grass Boys and catching a fire from Bob Marley and The Wailers. Only one progressive hippie allying with like-minded conspirators, rolling out the New Grass revolution, and then leaving the genre’s torch-bearing band behind as it reached its commercial peak.

There is only one consensus pick of peers and predecessors, of the traditionalists, the rebels, and the next gen devotees. Music’s ultimate inside outsider. Or is it outside insider? There is only one Sam Bush.

On a Bowling Green, Kentucky cattle farm in the post-war 1950s, Bush grew up an only son, and with four sisters. His love of music came immediately, encouraged by his parents’ record collection and, particularly, by his father Charlie, a fiddler, who organized local jams. Charlie envisioned his son someday a staff fiddler at the Grand Ole Opry, but a clear day’s signal from Nashville brought to Bush’s television screen a tow-headed boy named Ricky Skaggs playing mandolin with Flatt and Scruggs, and an epiphany for Bush. At 11, he purchased his first mandolin.

As a teen fiddler Bush was a three-time national champion in the junior division of the National Oldtime Fiddler’s Contest. He recorded an instrumental album, Poor Richard’s Almanac as a high school senior and in the spring of 1970 attended the Fiddlers Convention in Union Grove, NC. There he heard the New Deal String Band, taking notice of their rock-inspired brand of progressive bluegrass.

Acuff offered him a spot in his band. Bush politely turned down the country titan. It was not the music he wanted to play. He admired the grace of Flatt & Scruggs, loved Bill Monroe- even saw him perform at the Ryman- but he’d discovered electrified alternatives to tradition in the Osborne Brothers and manifest destiny in The Dillards.

See the photo of a fresh-faced Sam Bush in his shiny blue high school graduation gown, circa 1970. Tufts of blonde hair breaking free of the borders of his squared cap, Bush is smiling, flanked by his proud parents. The next day he was gone, bound for Los Angeles. He got as far as his nerve would take him- Las Vegas- then doubled back to Bowling Green.

“I started working at the Holiday Inn as a busboy,” Bush recalls. “Ebo Walker and Lonnie Peerce came in one night asking if I wanted to come to Louisville and play five nights a week with the Bluegrass Alliance. That was a big, ol’ ‘Hell yes, let’s go.’”

Bush played guitar in the group, then began playing mandolin after recruiting guitarist Tony Rice to the fold. Following a fallout with Peerce in 1971, Bush and his Alliance mates- Walker, Courtney Johnson, and Curtis Burch- formed the New Grass Revival, issuing the band’s debut, New Grass Revival. Walker left soon after, replaced temporarily by Butch Robins, with the quartet solidifying around the arrival of bassist John Cowan.

“There were already people that had deviated from Bill Monroe’s style of bluegrass,” Bush explains. “If anything, we were reviving a newgrass style that had already been started. Our kind of music tended to come from the idea of long jams and rock-&-roll songs.”

Shunned by some traditionalists, New Grass Revival played bluegrass fests slotted in late-night sets for the “long-hairs and hippies.” Quickly becoming a favorite of rock audiences, they garnered the attention of Leon Russell, one of the era’s most popular artists. Russell hired New Grass as his supporting act on a massive tour in 1973 that put the band nightly in front of tens of thousands.

At tour’s end, it was back to headlining six nights a week at an Indiana pizza joint. But, they were resilient, grinding it out on the road. And in 1975 the Revival first played Telluride, Colorado, forming a connection with the region and its fans that has prospered for 45 years.

Bush was the newgrass commando, incorporating a variety of genres into the repertoire. He discovered a sibling similarity with the reggae rhythms of Marley and The Wailers, and, accordingly, developed an ear-turning original style of mandolin playing. The group issued five albums in their first seven years, and in 1979 became Russell’s backing band. By 1981, Johnson and Burch left the group, replaced by banjoist Bela Fleck and guitarist Pat Flynn.

A three-record contract with Capitol Records and a conscious turn to the country market took the Revival to new commercial heights. Bush survived a life-threatening bout with cancer, and returned to the group that’d become more popular than ever. They released chart-climbing singles, made videos, earned Grammy nominations, and, at their zenith, called it quits.

“We were on the verge of getting bigger,” recalls Bush. “Or maybe we’d gone as far as we could. I’d spent 18 years in a four-piece partnership. I needed a break. But, I appreciated the 18 years we had.”

Bush worked the next five years with Emmylou Harris’ Nash Ramblers, then a stint with Lyle Lovett. He took home three-straight IBMA Mandolin Player of the Year awards, 1990-92, (and a fourth in 2007). In 1995 he reunited with Fleck, now a burgeoning superstar, and toured with the Flecktones, reigniting his penchant for improvisation. Then, finally, after a quarter-century of making music with New Grass Revival and collaborating with other bands, Sam Bush went solo.

He’s released seven albums and a live DVD over the past two decades. In 2009, the

Americana Music Association awarded Bush the Lifetime Achievement Award for Instrumentalist. Punch Brothers, Steep Canyon Rangers, and Greensky Bluegrass are just a few present-day bluegrass vanguards among so many musicians he’s influenced. His performances are annual highlights of the festival circuit, with Bush’s joyous perennial appearances at the town’s famed bluegrass fest earning him the title, “King of Telluride.”

“With this band I have now I am free to try anything. Looking back at the last 50 years of playing newgrass, with the elements of jazz improvisation and rock-&-roll, jamming, playing with New Grass Revival, Leon, and Emmylou; it’s a culmination of all of that,” says Bush. “I can unapologetically stand onstage and feel I’m representing those songs well.”

Artist Bio

For two decades now, Greensky Bluegrass have been building an empire, brick by brick. They are widely known for their dazzling live performances and relentless touring schedule, but that is only the tip of the complex tale of the five musicians that make up Greensky Bluegrass: Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin]. The five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down. These are real people having real experiences. As with traditional bluegrass, they write about their own contemporary day-to-day happenings, emotions, and experiences in the modern world.

The band’s underground die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman.

“As songwriters and musicians, we have a need for people to be on board, we’re not just regurgitating the same shit,” explains Bruzza.

Hoffman adds, “we aren’t a band all for money. We did it for romantic reasons such as love, catharsis, and because it mattered to us and the listeners. It would be easy to make decisions based on our needs to eat or the desires of others, but that’s not doing it for love. We love what we do, and we’re grateful for the love we receive in return from the people listening.”

Bruzza continues, “I hope they know we’re doing this for us and them.”

GENRE

  • Singer-songwriter
Buy Tickets Tickets on Sale
  • Starting At
  • $49.50
  • 2 Day GA Tickets (12.30 & 12.31)
  • $75.00
  • Age Restrictions
  • ALL AGES
Times
+

The Factory has made it a priority to heavily consider our community, our music fans, and most importantly our family & staff when coming to this decision.

Effective immediately, The Factory will require the following for ALL AGES:

  • Proof of Full Vaccination
    OR
  • Negative Covid-19 Test within 72 hours of showtime
    • Must be official lab results with time / date stamp and name
    • ACCEPTED: Rapid tests administered at pharmacies such as Walgreens & CVS
    • NOT ACCEPTED: Over-the-counter at-home rapid result tests

In addition to the requirements above, face masks are required to be worn when entering and while inside of the venue as mandated by St. Louis County.

Proof of vaccination & negative Covid test can be a physical copy or mobile photo, but must match photo ID and be presented upon entry.
A list of free St. Louis Testing Sites can be found at fctry.live/TESTSITES

Refunds:
Tickets purchased prior to Monday, August 16 were able to be refunded at point of purchase between August 16 and September 3, 2021.
Refunds are no longer available.

This is being done in an abundance of caution for our patrons, our staff, and the health of the live music industry.

We hope you can understand, accept, & join our efforts to #ROCKRESPONSIBLY



Please also be aware that The Factory is an almost totally cashless facility. Tickets can be purchased at our box office with all major credit cards and with Apple Pay. Concession at our bars can be purchased with all major credit cards and with Apple Pay. Band merchandise sales will accept all major credit cards and cash.