• VIP Photo Op Package | Package Price - $258.95
What's included:
• Great Ticket
• Pre-show Photo Op with Blackberry Smoke
• Exclusive Poster Autographed by Blackberry Smoke
• Blackberry Smoke Tote
• Blackberry Smoke Bandana
• Blackberry Smoke Patch
• Commemorative Laminate and Lanyard
• Onsite VIP Host
*Proceeds from this VIP Package benefit the Lana Turner Foundation for Children's Cancer Research.
Merchandise items will be collected at the venue during the photo op. VIP instructions for the Preshow Photo Op will be emailed approximately 48 hours prior to the event. Please note: the photo op takes place during the opening act. You may miss some or all of the opening act. If you do not receive this email 48 hours prior or have a question related to your VIP package, please email VIP@OneLive.com or call (877) 717-5816. Merchandise subject to change.



• VIP Merch Package | Package Price - $169.95
What's included:
• Great Ticket
• Exclusive Poster Autographed by Blackberry Smoke
• Blackberry Smoke Tote
• Blackberry Smoke Bandana
• Blackberry Smoke Patch
*Proceeds from this VIP Package benefit the Lana Turner Foundation for Children's Cancer Research.
**Please note: (This Package does NOT include a Photo Op)**
Merchandise items are shipped the week of the show to the address provided at checkout and may arrive shortly before or after the event date. If you need to update your shipping address, or have a question related to your VIP package, please email VIP@OneLive.com or call (877) 717-5816. Merchandise subject to change. This package does not include a Photo Op with the band.

Throughout their career, Blackberry Smoke -- vocalist/lead guitarist Charlie Starr, guitarist/vocalist Paul Jackson, bassist/vocalist Richard Turner, drummer Brit Turner, and keyboardist Brandon Still -- has embodied Georgia's rich musical legacy, honoring the people, places and sounds of their home state. As the band celebrates their 20th anniversary this year, their reverence for Georgia has only deepened.Throughout their career, Blackberry Smoke -- vocalist/lead guitarist Charlie Starr, guitarist/vocalist Paul Jackson, bassist/vocalist Richard Turner, drummer Brit Turner, and keyboardist Brandon Still -- has embodied Georgia's rich musical legacy, honoring the people, places and sounds of their home state. As the band celebrates their 20th anniversary this year, their reverence for Georgia has only deepened.

On their latest album, You Hear Georgia, the follow-up to 2018's critically acclaimed Find a Light, Blackberry Smoke is further celebrating these roots with 10 new songs that feel like Georgia, accented by the addition of Grammy-winning producer and fellow Georgia-native, Dave Cobb (Jason Isbell, Brandi Carlile). "Dave and I had spoken for the last few years about making a record," Starr says. "Finally, it worked out, our schedule and his schedule, and we said, yes -- let's make a record."

Blackberry Smoke worked quickly, spending just 10 days at Nashville's famed RCA Studio A, Cobb's home base since 2016. The band recorded live on the floor, giving You Hear Georgia a crisp, outgoing feel. Like other Blackberry Smoke efforts, this album leans into well-crafted Southern rock driven by jagged guitar riffs and rich instrumentation, as the band layers on rollicking piano ("Live It Down"), funky grooves ("Hey Delilah"), and introspective acoustic sounds (the stripped-down, folk-leaning "Old Enough to Know").

"He's a very laid-back guy with excellent ideas, but he's very enthusiastic about making music, and he's right in there with you having a ball," Starr says. "He's a calming presence and so knowledgeable musically, and he knows how to get what he wants in the studio. I don't know if we could have made a record in 10 days with everyone, and that definitely speaks to Dave's ability."

Working with Cobb was the right move, as his approach brought warmth and looseness to the proceedings, while his easygoing demeanor and songwriting background allowed him to provide perceptive insights into this particular batch of Blackberry Smoke songs. In fact, the producer encouraged Blackberry Smoke to pursue the title track after hearing Starr noodling on the idea in the studio.

"He heard me play it, just the riff, and I sang a little bit of a verse and he said, 'What's that? What's that?'" Starr says. "I said, 'It's just something that's not finished yet.' And he said, 'Well, finish it, because we want to record that too.' So I went back to the hotel room and finished it, and there we go."

"You Hear Georgia" features a narrator who's underestimated because of outward appearances and misguided stereotypes, which is a theme of Starr's lyrics this time around, particularly as it relates to the band's Southern roots. "Lyrically, the song is about the South being misunderstood. It's obviously a rough and tumble world, and there's a lot of bad people. But there's a lot of good people too. It started with the idea of how people might have a preconceived opinion of you because of a thick Southern accent, then expanded into the reality of how some people just seem to have such a hard time getting along, thanks to political or religious views, or simply what part of the country you come from."

In that spirit, Starr found collaborating valuable as You Hear Georgia's songs came together. Jamey Johnson ended up lending gruff and tender vocals to the pedal steel-augmented "Lonesome For a Livin'" after he and Starr started reminiscing about a previous collaboration, their 2009 cover of the Willie Nelson-penned "Yesterday's Wine."

"We were talking after a show, and he said, 'Hey, let's do something else,'" Starr says. "I said, 'I have this song, it's really a honky-tonk song. And he said, 'Send it to me,' and I did, and he dug it." And so he came down to the studio and just killed it. He has a voice like no other."

Starr also co-wrote most of the album's songs with friends, including current Lynyrd Skynyrd member Rickey Medlocke ("Old Scarecrow") and Gov't Mule's Warren Haynes ("All Rise Again"), as well as two frequent collaborators, Four Horsemen guitarist Dave Lizmi, and ex-Buckcherry member Keith Nelson.

"That's just an enjoyable thing to do sometimes," Starr says of co-writing with pals. "It's like, 'Okay, let's just knock heads together and see what we come up with.' And sometimes it's magical."

The songs Starr wrote with Haynes, Lizmi and Nelson came together in the early stages of 2020's pandemic- driven lockdown. But save for "All Rise Again" -- a surging highlight with a trademark Haynes blues-jam solo and an optimistic vibe -- these lyrics aren't explicitly about the disorienting experience of the lockdown. "There were so many musicians stuck in their living room," Starr explains. "Those songs were born out of that necessity to create and make new music. You've gotta be moving forward."

Unsurprisingly, many of You Hear Georgia's songs describe characters that are restless and prone to seeking out a change of scenery, in hopes of finding a place where they belong. Against cinematic backdrops with vivid details, it's easy to empathize with these protagonists as they share pearls of wisdom ("Don't ever trust a grown man with a nickname") and exhibit deep self-awareness ("Anywhere's better than staying here, with the ghosts running thru his mind") along the way.

The hard-touring Blackberry Smoke knows a little something about hitting the road in order to find a place to belong. Over the years, the band's toured with ZZ Top, Zac Brown Band, and Eric Church, while the group's last four full-lengths reached the top 10 of the Billboard country charts, with two of these albums (2015's Holding All The Roses and 2016's Like An Arrow) landing at No. 1.

You Hear Georgia reinforces that the band members have come so far together because they also can rely on one another for support and creative direction, no matter what the circumstances.

"Having played music together for so long, it does become a sort of a telepathic thing, where we all are nodding our head at the same time, like, 'A-ha, I know what this feels like,' or what it should feel and sound like," Starr says.

"That's what makes it so enjoyable to be in a band: to play with the same dudes decade after decade," he adds. "Because when you land on something that works to you, you don't want to stop. You want to keep doing it."

Sam Morrow

Five albums into an acclaimed career, Sam Morrow has carved out a sound that exists somewhere outside of genre and geography. It's his own version of modern-day American roots music: a mix of roadhouse rock & roll, bluesy R&B, and country-fried funky-tonk, driven forward by groove, grease, and guitars.

It's also a sound that owes as much to the road - where Morrow spent most of the past decade on tour, supporting albums like Concrete & Mud and Gettin' By On Gettin' Down - as the various places he's called home. This is music for the fast lane. Music for empty highways. Music for people who, like Morrow, always seem to find themselves in transit.

"I feel like I'm searching for something," he says. "I've been on some kind of journey. Maybe I don't know what I'm looking for, exactly, but I'm keeping my eyes open."

On The Ride Here marks the latest leg of that journey. Morrow takes us along for the ride, singing in a laidback Texas drawl about highway haunts ("Thunderbird Motel"), peyote trips in the Mojave Desert ("Searching For Paradise"), and the glamor and grind of the open road ("Hired Gun"). On The Ride Here offers more than roadside ephemera and travelogue tales, though. Morrow isn't just focused on the drive these days; he's interested in the destination, too, and a number of these songs deal with the hard lessons and new perspectives that come with rest, reflection, and time spent at home.

Morrow's first home was in Houston, Texas, where he grew up developing not only an appreciation for punk, hip-hop, and ZZ Top, but also an appetite for the vices that would land him in rehab while still a teenager. He eventually found sobriety in Los Angeles and chose to stay there, trading his Texas roots for the California coast. Living far away from his birthplace gave Morrow a new appreciation for the country music he'd once ignored as a Texan. He began filtering those country sounds into his own music, mashing them together with the southern boogie of Little Feat, the electric blues of Freddie King, the Tex-Mex of Los Lobos, and the desert rock of Queens Of The Stone Age. Separately, those influences might have sounded like strange bedfellows. Together, though, they formed the bedrock of Sam Morrow's rootsy rock & roll.

Championed by outlets like NPR and Rolling Stone, Morrow's first four albums turned him into one of the West Coast's biggest Americana exports. The appeal wasn't just the swaggering, swampy music itself; it was also the sharp storytelling and unfiltered insights of a songwriter who wasn't afraid to shine a light on the skeletons in his closet. Balancing honesty with self-deprecating humor, Morrow became a working-class hero for those struggling to follow the straight and narrow. On The Ride Here finds him in that same position. He measures the distance between the sins of his youth and the challenges of his present with "Medicine Man," a stomping, riff-driven rocker with a slide guitar solo worthy of Joe Walsh. "Searching For Paradise" finds him in Hunter S. Thompson mode, recounting a hallucinogenic trip in the California desert over a backdrop of greasy, East L.A. country-funk. The loose, laidback "On My Way" finds him asking a lover for patience, promising her that his best days are ahead. A similar message anchors "Straight and Narrow," which trades the fiery fretwork of the album's louder moments - played by Morrow and guest guitarist Eli Wulfmeier - for the cooling calm of Hammond B3 organ. "I was tripped by sin; I walked the line and I fell halfway in," Morrow sings before laying out his credentials as a changed man, promising that "I'm a new man with a new suit."

On The Ride Here was produced in Southern California by longtime collaborator Eric Corne, with an all-star roster of West Coast musicians - including bassist Ted Russell Kamp, keyboardist Sasha Smith, and drummers Matt Tecu and Butch Norton - adding primal punch and roughhewn polish to the 11 songs. Morrow rewrote several tunes after the initial tracking sessions were complete, looking to deliver the tightest, tautest album of his career. The result is a forward-thinking record that encapsulates his sound better than any album before it, serving as the final piece of a musical trilogy that began with the country-inspired Concrete & Mud and the rock-influenced Gettin' By On Gettin' Down.

"When I was first getting sober, somebody told me that I need to wake up early in the morning and tell myself I don't know shit, because that's the only way I'm gonna learn something new that day," Morrow says. "I think it's a simplified way of just taking your ego out of the situation. I still do that to this day. I try to remain mindful and present. I try to learn something I didn't know before. And with this album, I think I've learned what my sound is. I've learned to truly sound like myself."