Designed to accommodate both large and intimate shows from local and national artists, The Rustic is an expansive indoor/outdoor restaurant and bar where guests can enjoy the best live music in Dallas in a relaxed, laid-back atmosphere. View our calendar below for upcoming shows and events. Would you like big announcements delivered directly to your inbox? Sign up for our MAILING LIST!
Where the Stars Shine
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Lucero Returns to the Rustic
September 13, 2017 @ 7:00 pm - 11:30 pm
Join us for live music by Lucero! The event is free with RSVP on Prekindle. Lucero will be bringing down the house along with special guest, Matthew Logan Vasquez.
***This event is free with RSVP. Admission is first come, first served and based on venue capacity. An RSVP does not guarantee entry so we highly recommend coming early. Note: We reached full capacity the last time Lucero performed!***
–DOORS: 7:00 pm
–MATTHEW LOGAN VASQUEZ: 8:00 pm
TIPS for the show:
–RSVPs– we suggest arriving early, entry is first come, first served and based on capacity (RSVPing does not guarantee entry IF venue reaches maximum capacity)
— BRING CASH – we do accept credit cards at our main bars, but most pop up bars & beer tubs in Pat’s Backyard are cash only.
— BLANKETS WELCOME: Bring your own blanket to sit in the grass.
— RSVP/TICKETING QUESTIONS? Contact PreKindle Online Ticketing at www.prekindle.com.
PARKING IS LIMITED – Please see parking map below. RIDE SHARING is strongly suggested:
— SELF-PARKING available onsite for $10 and at CityPlace
— VALET is $10, please follow the signs for dropoff/pickup at the corner of Cityplace W Blvd & Oak Grove Ave
— UBER: get $20 off your first ride using code “THERUSTIC”
— DART: take the red, yellow or blue line to Cityplace/Uptown
— M-LINE TROLLEY stop: Uptown
You could say we were one of the lucky ones, starting this band in April of ’98 without a clue as to what we were doing. We were getting tired of the steady punk rock and metal diet and we wanted to try our hand at country songs, or do our best Tom Waits/Pogues impersonation.
The trick there was that we couldn’t really play our instruments! I had never played guitar before and Ben Nichols (lead singer, guitar) had only played bass in other bands. Finding Roy Berry (drummer) and John C. Stubblefield (bassist) solidified the line up and being hidden away in Memphis allowed us to woodshed, experiment with different sounds and create one that was ours alone.
Eventually we got out of town, and playing 250 shows year not only made us tight as a band but as a family as well. We are still one of the few bands out there with the original line up from almost the beginning, and it shows.
Picking up Rick Steff on keys allowed us to expand the sound and grow musically. Being able to play whatever we could think up in our heads and having the music we loved and grew up on motivate and inspire us to try new things and take chances. We realized that if you added some horns to Ben’s lyrics that it took it to the next step, from sad bastard country rock to soul and R&B and we realized we were a Memphis band and came by it honest. We have always brought Memphis with us wherever we went and this just proved it.
We came out screaming on 1372 Overton Park. Big sound, bigger horns – like a kid with a new toy we put them on everything and loved it! This record was a marked departure from the previous sound and announcement of way things we’re gonna be now!
While 1372 Overton Park was written and the horns added after the fact, Women & Work was written with the horns in mind so it was a little less gung ho and was starting to settle in nicely. Women & Work is one of the best modern Southern rock records in my opinion and the song “On My Way Downtown” has almost surpassed “Tears Don’t Matter Much” as the crowd favorite… almost!
This brings us to the new record. All A Man Should Do contains some of the most resonant lyrics Ben Nichols has ever written, lyrics that read like chapters from his life on the duality of relationships, getting older, finding where you want to be in this world, and musically we are broadening our sound. Working with producer Ted Hutt for a third time at the famous Ardent Studios, we felt comfortable enough to take some chances with a palette of new tones that sound understated yet powerful, bringing life to the stories behind the lyrics without overshadowing them.
It’s also the first time we’ve ever put a cover song on a record, with a full band version of big star’s “I Fell in Love with a Girl”, and having Jody from Big Star sing back-up vocals makes it that more special and amazing. This is a Memphis record in the greatest sense and a perfect finish to the three-part love letter to a city that brought us up and made us what we are today.
“I was 15 years old in 1989. This record sounds like the record I wanted to make when I was 15. It just took 25 years of mistakes to get it done.” – Ben Nichols
“Having Big Star actually sing on your cover of a Big Star song that you’re recording at Ardent Studios – it doesn’t get much more exciting than that.” – Ben Nichols
Again, the event is free IF you RSVP. You can RSVP here! We look forward to seeing you guys out!
About Matthew Logan Vasquez:
Singer/Songwriter Matthew Logan Vasquez is a founding member of the indie rock band Delta Spirit.
Matthew Logan Vasquez is feeling optimistic.
That’s not necessarily apparent the first time you spin his new full-length solo album. Each track on Matthew Logan Does What He Wants feels urgent and intense. Impatient landlords, financial woes and other frustrations fan the agitation embedded in the opening track, “Same.” Isolation darkens the brooding images of “From Behind The Glass.” Death takes a bow on “The Fighter.” Vasquez can’t help but juxtapose the celebration of “Fatherhood” with a lament that “we ain’t got the money to pay the hospital.” The music enhances this impression. As fans of his work with Delta Spirit and Middle Brother know well, Vasquez knows how to fuse passion and poetry in his writing and then ignite this volatile mix with extraordinarily expressive singing. In this sense he stands as a peer and a worthy successor to those who influenced him as an up-and-coming artist — Neil Young, Kurt Cobain, Pink Floyd, Lou Reed and others often mentioned, none of them known for their upbeat, sunny lyrics. With the 2016 release Solicitor Returns. “That last record had a sarcastic, darker tone. The new one is just as hard-hitting and wide-ranging but with a more positive message.” This becomes clearer when you replay Does What He Wants and listen more carefully. On the surface, “Tall Man” unfolds as a journey into self-destruction. But at the end, the subject of the story is repeating “I know I can change,” each time with escalating emotion as brought to life in Vasquez’s searing vocal. “Bad things happen in the song,” he acknowledges. “But it all leads to an epiphany. And that is positive. The truth rarely comes to you in an easy way — not unless you’re a wiser person than I am. “My point is that life is a struggle,” Vasquez continues. “But how can you have optimism and hope if you don’t have something negative? Context is what makes it meaningful.” For Vasquez, context involves drawing from dramatically different settings. Growing up in Texas and along the California coast, hunkering down for years in Brooklyn as he finessed his music in a more pressurized urban context and then heading back to Austin to put all the pieces together, he took note of the differences and similarities these places offered. During much of that time he channeled his experiences into Delta Spirit, whose albums inspired critics to laud the band as “restless and defiant” (Paste), its music infused by “waves of measured ferocity” (Uncut) and “significant depth” (Austin Chronicle). Vasquez was actually in the process of writing for a projected upcoming Delta Spirit project early last year when he began to think that it might be more appropriate to focus instead on his next solo effort. “I was imagining a new Delta Spirit album as I was writing,” he says. “But I began to realize that’s not exactly where I’m at right now. The band isn’t broken up but it’s not coming back right now. I started to feel like Rhett Miller, who had to go away from the Old 97s for a while so he could get tap into his creativity and come back to the band in a new and healthy way.” To keep his path clear and work on his own terms, Vasquez built a studio in his home for this past year — a trailer parked about an hour west of Austin. Here, in Texas Hill Country, surrounded by evergreen oak trees, he wrote and recorded basic tracks and then brought in singer Kam Franklin from The Suffers and Shakey Graves drummer Christopher Booshada to add parts as needed. For backup vocals and string parts, he worked long-distance via sound files with the Parkington Sisters, who he performed with during a Middle Brother set at last year’s Newport Folk Festival. “They performed a miracle, giving me a 3-D depth that makes the tracks they appear on jump out of the speakers,” he insists. In final form, Does What He Wants is like a hall of mirrors, each capturing a different image of one self-aware and restlessly creative individual. The pure finger-picked acoustic guitar that sets up vivid stories on “The Informant” and “Tall Man,” the retro textures of “Headed West” (which, Vasquez points out, were actually played on real strings by the Parkingtons), the lofting melody that evokes Roy Orbison (“the greatest singer in the history of singers,” Vasquez opines), the waterfall of harmonies in “The Fighter” — This music is diverse yet unified, which of course was a priority for its author. And, in the end, it turns out to feel pretty optimistic after all — a perfect statement for these times and possibly for some time to come.