Live! From Fair Park "Fairly Intimate" Music Series Every Sunday- May 15 - June 19TICKETS
ALBUM RELEASE: JOSHUA DYLAN BALIS "WE'RE ON FIRE" - AVAILABLE ON SPOTIFY, APPLE MUSIC, AMAZAON MUSICLISTEN
PAUL SLAVENS MUSIC VIDEO FOR "QUEENIE"WATCH
SQUEEZEBOX BANDITS RELEASE NEW ALBUM "CHECK TO CHECK" - BUY ON CDLISTEN
JOSHUA RAY WALKER SET TO PLAY WEEKEND 2 AT ACL FESTIVAL 2022TICKETS
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SFR Recording Studio
Chemical Street Studio is home to State Fair Records. The studio is located near Downtown Dallas in The Design District. The label has released eight records in its three-year run, including two E.P.s and one single, a collaboration between Madison King and Rhett Miller of The Old 97’s and the studio remains busy with three new albums currently in production.
Studio time for projects of all sizes is available with hourly and block rates.
All at once complex, ethereal, elegant, and substantive; provoking though about the choices and situations in daily life
A self-proclaimed “outlaw country garage rock” band from Dallas, Ottoman Turks have logged a decade as underground cult favorites, with the bandmates attracting more attention for their solo projects and side hustles. That’s set to change this summer, when the group’s debut LP arrives. “Glass Bottles” leads the charge, updating one of the country music’s most treasured traditions — the drinking song — with self-deprecating humor and modern references to Facebook.
Kristy Kruger is a musical time traveler gripped by stylistic wanderlust. Her curiosity leads her to unpredictable explorations, placing aesthetic bets that her intelligence, talent and immense personal charm take straight to the bank. Each song is a wonder and a delight.
Joshua Ray Walker knew how to keep you guessing during his set at Rustic Tap on Saturday, rolling along to the rhythm of an 18-wheeler one minute and shifting into neutral for a loping bedroom ballad the next. The constant throughout for this country-tinged songwriter was his inexorable sense of storytelling, singing parables of self-reflection — and, oftentimes, evisceration — that were tortured by what his narrators could write in a song but couldn’t say in person. Punctuating his haunting arrangements with even eerier high-pitched yelps, Walker finished things off, alone and seated in a chair, with the bold imagery of “Canyon.” J.G.
"100 percent worth your attention"