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<p>Part Man, Part Lazer. </p><p> The year is 2069. After years of travel across the galaxy Major Lazer has returned to Earth from his triumphant interstellar campaign against his mentor-turned-arch-nemesis General Rubbish. The victory rings hollow, though–there is something he left out among the stars that he can never replace. </p><p> The world he’s come back to is missing something too: unity. In his absence Earth has been transformed into a worldwide maelstrom of conflicting armies, gangs, cults, and crews. The Fearless Hyenas, the Deathless Lovers, the Pitch Black Knights of the Inner Wild–a multitude of factions, each of them sworn enemies of every other. </p><p> Having proven himself adept at the art of war, Major Lazer has dedicated himself now to becoming a champion of peace. With help from a squad of anarcho-pacifist hackers, he’s taken control of a top secret network of military satellites and repurposed it into a global sound system to broadcast a righteous dub designed to unite the tribes of Earth and overthrow those who have thrown them into disarray for their own personal gain. Peace is the mission, and the fate of the world depends on its success. </p><p> The two time Grammy award winning DJ and producer Diplo (aka Wesley Pentz) has had an unprecedented career that’s taken him from the outer fringes of club culture to the top of pop’s A-list. He first drew the attention of forward-looking listeners in the mid-aughts through zeitgeist-smashing DJ sets that defied the borders of geography and genre, as well as the Piracy Funds Terrorism Vol. 1 mixtape he created with M.I.A. His commercial breakthrough came with her 2007 hit “Paper Planes,” which reached number 4 on the Billboard Hot 100 and was nominated for a Grammy for Record of the Year. Since then he’s split his time between working with pop stars (Beyonce, Usher, Snoop Dogg, No Doubt, Lil Wayne, Justin Bieber, Iggy Azalea, Britney Spears, Chris Brown, and Madonna among them) and carving out a niche as one of the leading figures in EDM culture, in the process racking up over 13 million track sales (and 12 million Spotify streams a month) as both a producer and an artist. One of the world’s most sought-after DJs, he’s also a world-class tastemaker who’s appeared on the covers of Fast Company and Billboard and lent his creative talents to brands like Alexander Wang and Blackberry. His label Mad Decent has spawned a roster of cutting-edge dance music acts, as well as a 22-city annual touring festival, its own themed cruise, &amp; new to 2017; a beach party that will be held over 4 days in Mexico. </p><p> Currently made up of Diplo and fellow DJ/producers Jillionaire and Walshy Fire, Major Lazer’s latest album, Peace is the Mission, was released in June 2015 to widespread critical acclaim. Lead single “Lean On,” featuring DJ Snake and Mø, took the world by storm, becoming the most successful independently released song of all time after peaking at #1 on the Top 40 chart, becoming the most streamed song on Spotify of all time with more than 673 million streams to date, is currently the #1 most played track on Soundcloud, and became one of only a handful of videos to reach 1 billion views on YouTube. “Lean On” is certified ten times platinum in the Netherlads, eight times Platinum in Sweden, five times Platinum in Norway, four times Platinum in Australia and New Zealand, three times Platinum in Italy and Spain, two times Platinum in the U.S., Switzerland &amp; U.K., Belgium, Finland, and Brazil, and Platinum in Germany. Major Lazer was the most-Shazamed artist of 2015 and is the third most-streamed artist on Soundcloud of all time. Peace is the Mission debuted at #1 on he Billboard Dance/Electronic albums chart and has spawned further hits including “Light It Up” featuring Nyla and Fuse ODG and “Powerful” with Ellie Goulding and Tarrus Reilly. </p><p> Launched in 2008 alongside his fellow “Paper Planes” producer Switch, Major Lazer is Diplo’s outlet for his lifelong love of Jamaican dancehall music. Their wildly popular 2009 single “Pon de Floor” is an EDM touchstone that singlehandedly reshaped the sound of contemporary dance music, and provided the foundation for Beyonce’s chart-topping single “Run the World.” Over the course of two albums and three EPs they’ve not only collaborated with the likes of Bruno Mars, Pharrell Williams, and Ezra Koenig of Vampire Weekend, but have earned the respect of venerated Jamaican dancehall artists like Busy Signal, Vybz Kartel, and Elephant Man, all of whom have graced their tracks. They’ve also become fixtures on the festival circuit, headlining Coachella, Glastonbury, Ultra Music Festival, Bonnaroo, Lollapalooza, and the Reading and Leeds Festivals. The group’s cartoon series based on the character Major Lazer debuted last year on Fox and Diplo’s BBC Radio show “Diplo and Friends” continues to enjoy success.</p>

Times are tough for just about everyone these days, especially for those who live in what is often referred to as the “flyover states,” in the heart of the country. People have become tougher, their skins have grown thicker and they have become much harder to win over. That especially holds true when it comes to the music that rolls into the bars, music halls and honky tonks of their towns. The overwhelming success that Turnp <p> TURNPIKE TROUBADOURS </p> <p> A Long Way from Your Heart </p> <p> Roughly 3,300 people live in Okemah, Oklahoma, a town with vintage redbrick storefronts, a dive bar called the Rocky Road Tavern, a name that means “things up high” in Kickapoo, and a strange track record of birthing great American songwriters: Woody Guthrie is from Okemah. Grammy-nominee John Fullbright is, too. Evan Felker belongs on that list. </p> <p> “I was born in Okemah but was raised in Wright City, a town in southeastern Oklahoma,” Felker says. “Now I live in Okemah again. The characters I write about are living in that world I grew up in––a bucolic, dirt-underneath-your-fingernails sort of world. People where I grew up are tough. It’s nice to be able to represent them in art.” </p> <p> Felker is the frontman, cofounder, and primary songwriter for Turnpike Troubadours, a virtuosic band of country-rock road dogs who, on any given night of the week, will play for a much bigger crowd than the populations of Okemah and Wright City combined. Singer/guitarist Felker, fiddler Kyle Nix, steel and electric guitarist Ryan Engleman, bassist RC Edwards, drummer Gabe Pearson, and steel and accordion player Hank Early deliver punch after punch of smart rock-and-roll that sells out huge venues throughout the Midwest and South and packs legendary haunts like the Troubadour in Los Angeles. </p> <p> With their highly anticipated fourth album A Long Way from Your Heart, the sextet is poised for even bigger breakthroughs. Narratives put to music are nothing new, but Felker and his bandmates have upped the ante, creating a web of unforgettable characters that show up on album after album in songs that are both catchy and musically complex: men and women with their backs against their wall, represented realistically but also imbued with dignity. “It feels like going home to see that those characters are still alive in a way that movies and literary writers have always done,” Felker says of the recurring favorites. “It feels good. There they are, all based on people that I know and love. They’re composite characters based on real people.” </p> <p> A Long Way from Your Heart was produced by Grammy winner Ryan Hewitt (The Avett Brothers, Flogging Molly, Red Hot Chili Peppers). The result is a rare triumph––an album that hooks immediately but then rewards listeners willing to dig deeper. “I love what we as a band have turned into and how we treat songs,” Felker says. “That’s something we’ve grown into––adding some sort of oddly theatrical element to the musicianship to help the story along, to sum up where or who the character is to give him a little bit of landscape. It’s not just an acoustic guitar and a guy telling you what somebody’s doing.” </p> <p> The band’s impressive musicianship is multifaceted: fun with time signatures via lapses into double or half time; clean, abrupt stops; stealthy fingerpicking; unassailable grooves. Felker’s warm vocals invite both closer listening and dancing––a tricky mix that he exudes naturally. Unconventional mash-ups work for Felker, who shrugs off attempts to label what </p> <p> he does. “I find art in a lot of places,” he says. “I find things that aren’t considered art in a lot of people’s views of the world artful.” </p> <p> A Long Way from Your Heart kicks off with a fine example of art in the unexpected. Based on the experience of folks Felker knew back home, “The Housefire” captures the devastation and hope that follows losing just about everything. Cushioned by Irish-inspired strings, the narrator’s gentleness as he loses all he’s built stands tallest. Rolling singalong “Something to Hold On To” begs for one last chance, while the sweetly sad “Old Time Feeling (Like Before)”––which Felker co-wrote with Edwards and friend Jonny Burke––fights falling back into old patterns over a lush chorus of strings led by winsome dobro. </p> <p> Album standout “Pay No Rent” is an ode to Felker’s aunt Lou, who lived and owned a beloved local bar in Okemah, the Rocky Road Tavern. “She was about the only person I could go drinking with at 10 a.m. on a Tuesday,” Felker says, then laughs. “We got to be really good friends. We’d hang out a lot, fish together, cook together, drink tequila, and build a big-ass fire at her place out on Buckeye Creek. She loved that song ‘Blue Eyes Crying in the Rain.’ She said, ‘If I ever die––I hope I never do, but if I do––you gotta play ‘Blue Eyes Crying in the Rain’ at my funeral.’” Lou passed away last year, and when Felker got the news, he called good friend John Fullbright, and the two got to work learning the song. Then, the day before the funeral, the two realized Lou had asked about five other people to sing “Blue Eyes,” too. “So between noon and three in the morning, we wrote ‘Pay No Rent’ for her instead and played that,” Felker explains, laughing again. Based on an old Irish saying, the song is a gorgeous tribute. </p> <p> Felker’s favorite album track, “Unrung” is a winning amble through warnings, praise, and a tinge of jealousy, all written about a good friend. “A Tornado Warning”––Felker’s other favorite––is a love song brimming with detail. Frenetic story song “The Winding Star Mountain Blues” traces the strained friendship between a stand-up guy and his wayward childhood friend to immortalize a different kind of heartbreak. Electric shuffler “The Hard Way” is a wry send-up of trying to relive youth when it’s a little too late. </p> <p> Featuring nimble piano and Haggard-worthy jazz guitar licks, album closer “Sunday Morning Paper” is a nugget of hero-worshipping wit. Felker was inspired to write the song by his uncle, Ervin Felker. “He gave me my first guitar. He played in bands and was a Marine–– he’s the guy from ‘Blue Star,’” Felker says, referencing a track from the band’s 2012 release Goodbye Normal Street. Felker took the first line from one of his uncle’s songs then penned the rest to create a celebration of the giants of 70s country-rock––the elder Felker included. </p> <p> The album’s sharply drawn characters and the range of challenges they face creates a tapestry that’s compelling and ultimately, inspiring. “This whole record is about resilience in the face of tragedy––tragedies of different sizes,” Felker says. “Just getting your nose down and dealing with it.” </p> <p> For press information on Turnpike Troubadours, please contact Jim Flammia jim@alleyesmedia.com or Michelle Steele michelle@alleyesmedia.com at All Eyes Media (615) 227-2770 </p> ike Troubadours have had on the so-called Red Dirt circuit of those states says a lot about the quintet’s authenticity and fire, particularly because their music is not exactly what that scene in known for producing. “When we first started playing, people couldn’t have cared less that we were there,” recalls Troubadours’ frontman Evan Felker. “They were there to drink beer and raise hell and they didn’t really care what music was playing while they did it. But as we went on and as we got better, they started to listen. I mean, they were still drinkin’ plenty of beer, but before too long, they were actually coming to hear us and asking us to play our songs, and not just covers of traditional favorites and all the other stuff we’d been doing.” Not only did the crowds get more attentive, they kept getting bigger. As time went on, and the Troubadours broadened their touring circle, they moved on from tiny clubs in the more obscure corners of the Sooner state and started hitting – and selling out – prestigious venues like Cain’s Ballroom in Tulsa, the Firehouse Saloon in Houston and Antone’s in Austin. Over the course of the past five years, Felker, bassist RC Edwards, fiddle player Kyle Nix, guitarist Ryan Engleman and drummer Gabe Pearson, have honed the rowdy, quick-witted sound that’s brought folks of all stripes together in front of those stages. And on Goodbye Normal Street, the Troubadours’ third full-length album, the band takes that blend of nice and easy and nice and rough and distills it into a 43-minute ride that takes in the scenery of America’s Heartland and the inner workings of a group of 20-somethings on a quest for something better. “This time around, we tried to balance things out,” says bassist Edwards, who shelved a steady gig as a pharmacist in late 2011 to concentrate on the band. “We wanted to combine the idea of getting something perfect, the way you can only do in a proper studio, with the energy of playing in front of a thousand people jumping around and screaming.” They attack that goal with gusto on Goodbye Normal Street, putting the pedal to the metal on “Before the Devil Knows We’re Dead” (a breakneck romp about regular folks who lived hard and died in a blaze of glory) and dialing back to a sensual closing-time waltz on “Call a Spade a Spade” (a cheater’s lament on which Felker duets with Jamie Wilson of the Trishas). Felker, who writes the majority of the lyrics – with an assist from Edwards, who penned the semi-autobiographical “Morgan Street,” about the band’s hardscrabble early days – has a knack for capturing slices of life in vivid detail. He can hit hard emotionally with a song like “Blue Star” (a bittersweet tale of a veteran returning from war) or tweak the listener with something like “Gin, Smoke and Lies” (on which he contrasts his own romantic plight with that of a rooster who manages to satisfy 20 partners, and not just one). “All the songs are about people we know,” he says. “And yeah, some of them are probably about me to some degree – the guy who ticks off the wrong girl from Arkansas, and the guy who doesn’t always like what he sees himself becoming. Mostly though, I think they’re just honest.” The band – which took its name from the Indian Nation Turnpike that connected so many of the smaller towns where they cut their teeth – gradually evolved from offering acoustic explorations of tunes by Townes Van Zandt and Jerry Jeff Walker to kicking out three or four sets a night of full-throttle roadhouse country – tinged with the punk rock attitude that was in the air during the members’ teen years. “We all pretty much grew up with hardcore country music around us,” says Felker. “I mean, sure, there was rock stuff in there, but the real old-school stuff, plus exposure to folks like Jason Boland and Cross Canadian Ragweed, really affected what we were playing. We’re really a product of both our influences and our environment. It wasn’t something that we sat in a room and dreamed up in one day.” That’s clear. The raw-boned energy of their 2007 debut, Bossier City, cut on a shoestring budget and aimed squarely at getting boots on the dance floor earned raves from many corners, including No Depression, which dubbed it “a testament to the small towns in which they were raised ... with stories of longing, humor, tragedy and general life in rural America.” The quintet broadened its horizons on its sophomore outing, Diamonds and Gasoline, which spawned the Americana favorite “Every Girl” and brought them to the attention of folks throughout the country, and overseas. And with Goodbye Normal Street – the name a reference to another longtime band residence as well as a state of mind that they left behind long ago – they set their sights on conquering even more expansive territories. With songs like the blue-collar anthem “Southeastern Son” and the universally understandable breakup plaint “Wrecked,” they look pretty likely to conquer them. “This music, at its best, can put into words what we have been thinking for our entire lives,” says Felker, “and even at its worst, it gets people drinking beer and makes people happy. Either of those is fine with me.”