Veteran Bluesman Kenny Wayne Shepherd has been added to Ramblin Man Fair 2019 as the final headliner, topping the Outlaw Country Stage. Sheppard joins a stacked bill that includes Foreigner (Sunday’s Planet Rock Main Stage Headliner), Black Stone Cherry (Saturday’s Planet Rock Main Stage Headliner), American Blues Singer/Songwriter Beth Hart (Blues Stage Headliner), Prog In The Park Headliner Anathema, The Darkness (Friday Planet Rock Main Stage Headliner),Airbourne (Sunday Main Stage Special Guest), Monster Magnet(Grooverider Stage Headliner), Cheap Trick(Saturday Main Stage Special Guest) , Inglorious (Sunday Main Stage),Jimmy Barnes (Saturday Main Stage),Fm (Friday Main Stage),Wayward Sons (Saturday Main Stage),Sweet Crisis (Blues Stage),King Creature (Grooverider Stage),Raveneye (Saturday Main Stage) The Wildhearts (Friday Main Stage Special Guest), Living Colour(Main Stage), Jesse Dayton (Outlaw Country Stage),Koyo (Prog In The Park Stage), The Temperance Movement (Main Stage),Ugly Kid Joe (Main Stage)And Everlast (Blues Stage),Orange Goblin (Grooverider Stage), Crobot(Grooverider Stage), Obsessed (Grooverider Stage), Robert Jon and The Wreck(Outlaw Stage), and Chris Robinson Brotherhood. After a smashing year in 2018, the festival will move back its traditional end of July slot on the 19th, 20thand 21st July. Continue reading
Tag Archives: Kenny Wayne Shepherd
Five Finger Death Punch Shares Video For Kenny Wayne Shepherd Cover “Blue On Black”
Five Finger Death Punch, who just wrapped up a massive world tour, has released a new music video. The clip is for their cover of Kenny Wayne Sheppard Bands’ cover of ‘Blue On Black’, originally released in 1998. The clip was directed by Dale “Rage” Resteghini from a treatment written by guitarist Zoltan Bathory. The track comes from their recent album And Justice For None, out now on Eleven Seven Records/Prospect Park. Continue reading
Five Finger Death Punch – And Justice for None
If there is one phrase that is certain to make your humble scribe’s blood boil, then it is that oft-used lazy epithet, “guilty pleasure”. This particular phrase became common currency at the start of the 21st Century to describe records and artists that, despite not being held in high regard by the so-called taste police were still liked by lots and lots of people. Popular music in its truest sense. Continue reading