Muddfest

Warehouse Live Presents

Muddfest

Puddle Of Mudd, Saliva, Trapt, Saving Abel, Tantric

Mar 23 Sat

Doors: 6:00 pm / Show: 6:30 pm

The Ballroom at Warehouse Live

$25 ADV GA, $28 DAY OF SHOW, $75 VIP.

This event is all ages

Muddfest
Muddfest
Hit after smash hit will be delivered to crowds across the country as the MUDDFEST 2019 touring festival brings together some of the most popular acts of the past two decades!!!

MUDDFEST 2019 features 5 dynamic chart topping bands with over 10 million total album sales containing countless timeless classics spanning generations and still dominating both terrestrial and satellite radio to this day!

Headlined and curated by PUDDLE OF MUDD (“Control’, “Blurry”, “She Hates Me”, “Psycho”) who are completing a year of acclaimed performances internationally, MUDDFEST 2019 also features Grammy nominated rockers SALIVA (“Ladies and Gentlemen”, “Click Click Boom”, “Always”) plus TRAPT (“Headstrong”, “Stand Up”) along with SAVING ABEL (“Addicted”, “The Sex Is Good”) and TANTRIC (“Breakdown”, “Mourning”).
Puddle Of Mudd
Puddle Of Mudd
After four albums, platinum-plus sales, sold-out crowds and more than a dozen radio hits, Puddle of Mudd has cemented its reputation and its repertoire in the rock 'n' roll world. It's the proverbial force to be reckoned with, possessing the kind of track record that most bands would be proud to have had over an entire career. Think songs like "Blurry," "Drift & Die," "She Hates Me," "Away From Me" and "Psycho" for starters.

RE:(DISC)OVERED is an entirely different kind of endeavor for the group, which has been churning out its own material since their debut album Come Clean was released in 2001. This time the Mudd men have put down their pens in favor of recording 11 classic rock tracks by artists such as: The Rolling Stones, Led Zeppelin, The Steve Miller Band, AC/DC, Elton John and many others. Some are perfectly in character; others are surprising, but ultimately RE:(DISC)OVERED is Puddle of Mudd getting to both show and explore some different sides of its musical makeup.

"When we were on the road last time we were playing (AC/DC's) 'TNT', (Miller's) 'The Joker', 'War Pigs' by Black Sabbath and 'Summer Lovin'' from the Grease soundtrack -- just kind of bouncing around, doing covers," Scantlin says. "We never put any cover songs on our records before, so it just seemed like something fun to do. Plus they're all hit songs, all timeless songs. Who wouldn't want to make a record like that?"

Guitarist Paul Phillips adds that, "I think we needed something like this because it was a no pressure situation. We just wanted to do something for fun in the studio. We had a great time, and I think it was the right thing to do."

"It was challenging to sing these songs by these really legendary singers," he recalls. "Not only were these great songs and great performances, but they were all in their 20s when they wrote this stuff and recorded it. I really had to buckle down and push myself to get 'em right."

Song selection was the first order of business as Puddle of Mudd set out to make RE:(DISC)OVERED. The "committee," which included Scantlin, Phillips, Producer Bill Appleberry (Stone Temple Pilots), and band manager Danny Wimmer, initially threw around ideas and came up with a list of about 30 possibilities. That was whittled down to the batch the band decided to record, hitting Stone Temple Pilots drummer Eric Kretz's Bomb Shelter studio in Los Angeles during January and February. The band utilized a few additional side musicians, including up-and-coming singer BC Jean, whose vocals grace the track "Stop Dragging My Heart around", originally recorded by Stevie Nicks and Tom Petty.

"There's a reason that every song was chosen to be on the album," Phillips explains. "They were all songs and bands that we have been fans of forever. When choosing these songs, we really looked for ones that were both inspiring and challenging. We chose some that may be unexpected just so we could push the Puddle envelope a bit. We really wanted to stretch our legs on this one. It gave us a chance to try some things that we have never really done on our records." At the same time, the guitarist adds, Puddle of Mudd was not out to reinvent these tried-and-true favorites.

"We wanted to pay tribute to these songs rather than bastardizing them like a lot of people do when they do covers," Phillips says. "We really tried to keep them true to what they were. They are great songs already, so who am I to go in and change a Rolling Stones song? They're not slavish copies; these songs do have a Puddle of Mudd flavor to them, but we didn't go in and change parts just to make it sound more like us."

Scantlin confirms that "every single song on this record hits home with me," even those from particularly unexpected sources. Neil Young's "Old Man," for instance, carries the message that "everybody kind of ends up becoming their father one way or another.

Phillips was most surprised to be recording Led Zeppelin's "D'yer M'ker," "just because the reggae feel is not what we do." Nevertheless, he has a very personal attachment to the tune. "Growing up there was a guy down the street who was a little older and he used to drive me to school every day," the guitarist recalls. "He had this convertible VW Bug, and I swear he used to play that song every single day in his car, and I hated it because I was such a metal head. Growing up I was all about Metallica and whatnot, and I was like, 'This is the worst thing I've ever heard!' As time went on, I grew to appreciate classic rock, and Zeppelin has become one of my all time faves." Phillips says the solo on Free's "All Right Now" was his "arch nemesis." "The whole time that gave me problems," he says, "but luckily on the day of recording I managed to pull it off.

Selections like that were key to Puddle of Mudd's mission in making RE:(DISC)OVERED. "People hear Puddle's gonna do a covers album and they think it'll be Nirvana and the Ramones and Metallica and stuff like that," Phillips says. "We wanted to stretch our legs, and it was a very challenging thing to have songs that have piano and these big crazy arrangements. I mean, doing an Elton John song with piano and backup singers is not the easiest of tasks. It's quite difficult, and that's exactly what we wanted."

Puddle of Mudd plans to give RE:(DISC)OVERED its due on the road, with a full set of its songs followed by an intermission and then "every Puddle of Mudd hit we've every released," according to Scantlin. There will be plenty of touring, he and Phillips promise, but they're also already writing new material and are excited to get back into the studio to apply some of the musical lessons they learned while making RE:(DISC)OVERED. "I think this kind of opens us up," Phillips says. "I think it brought everybody's playing up and created a platform for us to experiment a bit more and try some different things on the next record. The next record is a real important record for us and we really want to try to take it to the next level and surprise people, so I think (RE:(DISC)OVERED) is a great springboard for that to happen."

Scantlin adds that, "The whole process just inspired everyone. It brought us all back to our roots. I think it's going to have a big effect on the next original recording in a really good way."
Saliva
Saliva
Memphis. It's a place where music isn't just played; it's created. From that legacy comes Saliva. On the quintet's 12-song Island debut, Every Six Seconds, Saliva bring the sturm und drang of hard rock together with hip-hop, grunge and sheer, unbridled mayhem, while still preserving the spirit and soulful intensity of its forebears. Every Six Seconds, the name chosen by frontman Josey Scott because "life cycles seem to happen every six seconds," is the sound of tradition beginning a new cycle and forging on into the 21st century. "We were all after the same thing -- I can say that," says Scott, a fourth-generation musician who, like most of the members of Saliva, had established himself through years of service in the Memphis music scene before forming the band. "We were after something really undeniable, sort of heavy and melodic. We were all in these bands that were not getting our rocks off stylistically; we really wanted to build great songs." On first listen to Every Six Seconds, it's easy to be enveloped by the crunchy, chugging riffs on opening track "Superstar," the rap tinges on "Doperide," or the sheer brutality .. Click Boom" and "Beg." Repeated listens will reveal unrepentant popcraft, as evidenced by the hopeful yet defiantly anti-sentimental "Hollywood," and the anthemic first single "Your Disease." It's obvious that Saliva, with rock aggression, hasn't forsaken the importance of a well-crafted song. guitarist Wayne Swinny, who recalls his first meeting with Scott: "I couldn't believe what came out of this guy. The beauty is that for all of his ability to rap and his hard-edge and his look -- he looks really aggressive and scary, almost -- when I saw him sit down with an acoustic and play this beautiful, melodic stuff with great hooks and melodies and incredible vocals, that really did it for me. I knew this was a band that could so something really special." Completed with the additions of drummer Paul Crosby and bassist Dave Novotny, Saliva came together, eventually adding Jon Montoya to complete the line up. About the name, Scott says, "it's controversial and different, and like it or not, you'll never forget it." Within the first few months of its formation, the fledgling group entered a Grammy Showcase competition sponsored by the National Academy of Recording Arts & Sciences. Despite being an unknown act at the time, Saliva -- which was among those chosen from 6,000 entries nationwide -- won the Memphis competition in January 1997 and then came out victorious in the semifinals, which were held in Austin, Texas the following month. Next came the nationals in New York City, where the band were finalist. "We want the world every time we go out to do something," says Scott. The band was thrilled that it had come from nowhere to make its mark. The group chose not to rush into a deal, however, putting out a self-titled debut independently that sold some 10,000 copies on a regional basis. After signing with Island, Saliva hooked up with producer Bob Marlette -- whom Scott refers to as "the heavy metal guru" -- for two months of recording at A&M Studios in Hollywood. The saliva catalog includes: every six seconds (island) Back into your system (island) Survival of the sickest (island) Blood stained love story (Island) Musically, Saliva may seem a million miles from Memphis, but like Elvis, the band has forged a sound that's "all shook up."
Trapt
Trapt
Alternative Rock (Modern Rock) from Los Gatos, California (USA).

Trapt formed in 1995. The members of Trapt met in high school during the mid-1990's
Saving Abel
Saving Abel
"You know when you hear a song on the radio and you don't know who it is, but you love it and feel like you've heard it before? That's our band! The first time someone hears us, they go, 'I know that band!' Then someone explains, 'no, it's a brand-new song and band.' Saving Abel has an accessible and comfortable sound---you HAVE heard us before," states lead singer Jared Weeks. On their self-titled Virgin Records debut, songs range from the wild road tale in "New Tattoo" to the sexual innuendos of the aptly titled first single, "Addicted."

Weeks and Jason Null formed the band in their small hometown of Corinth, Mississippi in 2004. They met when Weeks, who was in a band, was playing guitar at his best friend's house, when Null, who was in a rival local group, walked in to rehearse with his band. Within days of that meeting, Null and Weeks were writing and honing the intimate writing style that now defines Saving Abel. In early 2005, the pair's songs caught the ear of noted producer Skidd Mills (12 Stones, Saliva, Submersed), who took the band into his 747 Studios in Memphis. Mills notes, "It was '18 Days' that hooked me. The first time I heard it I was like, 'these guys are the real deal; they'll be doing this for a long time.' Jason and Jared have always understood that the most important part of the music business is having great songs."

Saving Abel gradually came together in the final electric lineup of guitarist Scott Bartlett, bassist Eric Taylor, and drummer Blake Dixon, and the band paid its dues both onstage and off. Weeks would toss Saving Abel demos onto the stage when bigger bands played in town, and between playing gigs, working day jobs, and Weeks and Null constantly driving from Mississippi to Memphis to record their self-titled EP with Mills, it was a busy and prolific couple years. Weeks remembers; "I used to work at a hospital. I'd have to be there at 4:30 in the morning drawing blood. I'd wake people up and stick a needle in their arm. I'd be walking around the hospital, singing 'Addicted' in my head, writing down the lyrics on patients' clipboards and doctor script pads."

Null and Weeks bring in differing songwriting approaches influences, giving Saving Abel a well-rounded sound. Null comes from a musical family, and recalls Saturday nights at the local community center as a child. "We didn't miss it, ever! It was bluegrass band after bluegrass band. We'd hoot and holler, as we used to say. My brother traded my bike for a guitar for me when I was 6, and I learned 'Johnny B. Goode' that night! I go back to Willie and Waylon, but as a kid of the '80s, I also love Metallica. Also, Angus Young is one of my main influences, as well as the guitar sound and solos of Seattle bands like Soundgarden and Alice in Chains." For his part, a teenage Weeks played basketball and went to state twice in tennis before music consumed his life. A big fan of the blues and Southern Rock, Weeks calls himself the more "literal" songwriter of the two, explaining, "If something is really bothering me, or how I'm feeling at that moment, I'll write about it. For me to get the most out of a song, I have to get it almost to the point I'm ready to cry if I can't get it out, and that makes people relate to it."

After shopping their indie EP for almost a year, a copy of 'Addicted' found its way to one-time Virgin A&R Consultant Scott Frazier and manager partner Rick Smith. They were so excited that they sent the song to the label's Chairman/CEO Jason Flom. Flom was impressed upon first listen and immediately sent A&R vet Kim Stephens (Collective Soul, Matchbox 20, Edwin McCain) to see the band in Jackson, Tennessee. The band was signed the next day. Says Stephens, "I was sold on the merit of the songs and instantly recognized this was a band with huge potential."

Saving Abel, the Virgin debut produced by Mills, features mostly brand-new tunes, plus a few favorites from the indie EP, including the poignant, perfectly crafted "18 Days," "Running From You," and "Drowning Face Down." Null explains that "18 Days" was lyrically inspired by sheriff Buford Pusser of 'Walking Tall' fame, while laughingly admitting that the rowdy road trip in "New Tattoo" ("The blue is for the bruise you left in my heart / and the red is for the color we're about to paint this town") is "based on a true story." Null furthers: "Our goals are always to concentrate on the song, not just one cool part to make a kid bop his head. Every person I talk to loves a different song of ours." Null was also the one who gave the band its name: "I Googled the story of Cain and Abel and found a line about 'there was no Saving Abel,' which just jumped out at me." Everyone agreed and the name stuck... much like Saving Abel's songs get instantly stuck in the minds and ears of everyone who hears them. With a radio-ready sound combining big riffs and memorable melodies, Saving Abel has created a polished combination of Southern and Alternative rock... 2008 style. Get Addicted. Get Saving Abel.
Venue Information:
The Ballroom at Warehouse Live
813 Saint Emanuel Street
Houston, TX, 77003
http://www.warehouselive.com/