With the rich, bluesy vocals of Darius Rucker and gleeful harmonies of guitarist Mark Bryan, bassist Dean Felber and drummer Jim “Soni” Sonefeld, Hootie & the Blowfish have sold over 25 million records worldwide to date after their infectious melodies hit the airwaves in 1994 with hits such as “Hold My Hand,” “Let Her Cry” and “Only Wanna Be With You.” The quartet met at the University of South Carolina where endless gigs at frat houses and local bars built a major local buzz. Their blend of pop, folk, blues, soul and rock made them hard to pigeonhole, but easily accessible to anyone who loved good music.
Atlantic Records, impressed by their regional draw, signed them and released Cracked Rear View in 1994. The album had been out for six months before the band played on the Late Show with David Letterman which sent sales skyrocketing, eventually landing at No. 1 on the Billboard chart the following spring. Cracked Rear View and the band went on to win two GRAMMY Awards, an MTV Video Music Award, a Billboard Music Award and multiple People's Choice Awards. Cracked Rear View also earned the band Billboard's Band of the Year Award in 1996 and the RIAA's Diamond Award for sales in excess of 10 million units. At 21x Platinum, Cracked Rear View remains among the Top 10 best-selling studio albums in music business history.
The band remained a top draw nationwide following their debut and released five more albums for Atlantic: Fairweather Johnson, Musical Chairs, Scattered, Smothered & Covered, Hootie & the Blowfish and The Best of Hootie & the Blowfish, as well as Looking For Lucky on their own Sneaky Long Records and LIVE in Charleston, The Homegrown Concert Event DVD and CD. The band took a break from full-time touring in 2007, reuniting annually for a variety of philanthropic events while also pursuing solo projects. 2019 marked the band's first full-time touring year in over a decade as they embarked on the sold-out Group Therapy Tour in support of Imperfect Circle, released in late 2019 under a new record deal with Universal Music Group’s Capitol Nashville.
With the rich, bluesy vocals of Darius Rucker and gleeful harmonies of guitarist Mark Bryan, bassist Dean Felber and drummer Jim “Soni” Sonefeld, Hootie & the Blowfish have sold over 25 million records worldwide to date after their infectious melodies hit the airwaves in 1994 with hits such as “Hold My Hand,” “Let Her Cry” and “Only Wanna Be With You.” The quartet met at the University of South Carolina where endless gigs at frat houses and local bars built a major local buzz. Their blend of pop, folk, blues, soul and rock made them hard to pigeonhole, but easily accessible to anyone who loved good music.
Atlantic Records, impressed by their regional draw, signed them and released Cracked Rear View in 1994. The album had been out for six months before the band played on the Late Show with David Letterman which sent sales skyrocketing, eventually landing at No. 1 on the Billboard chart the following spring. Cracked Rear View and the band went on to win two GRAMMY Awards, an MTV Video Music Award, a Billboard Music Award and multiple People's Choice Awards. Cracked Rear View also earned the band Billboard's Band of the Year Award in 1996 and the RIAA's Diamond Award for sales in excess of 10 million units. At 21x Platinum, Cracked Rear View remains among the Top 10 best-selling studio albums in music business history.
The band remained a top draw nationwide following their debut and released five more albums for Atlantic: Fairweather Johnson, Musical Chairs, Scattered, Smothered & Covered, Hootie & the Blowfish and The Best of Hootie & the Blowfish, as well as Looking For Lucky on their own Sneaky Long Records and LIVE in Charleston, The Homegrown Concert Event DVD and CD. The band took a break from full-time touring in 2007, reuniting annually for a variety of philanthropic events while also pursuing solo projects. 2019 marked the band's first full-time touring year in over a decade as they embarked on the sold-out Group Therapy Tour in support of Imperfect Circle, released in late 2019 under a new record deal with Universal Music Group’s Capitol Nashville.
Alternative rock band Goo Goo Dolls rose to prominence in the 1990s with major hits like "Name" and "Iris," earning a widespread audience receptive to their mix of jangling guitar-driven pop and acoustic balladry. Initially playing a gritty mix of punk and power pop, they managed to refine and mainstream their sound, going on to sell millions of records over the coming decades. Beginning in the mid-'90s, Goo Goo Dolls notched over a dozen Top Ten and number one singles, peaking in popularity at the end of the decade, though albums like 2002's Gutterflower and 2006's Let Love In helped them maintain a fairly consistent chart presence well into the 21st century. Goo Goo Dolls would occasionally celebrate their past through a retrospective or anniversary, yet they concentrated on new material, regularly issuing new records which they supported with tours. Such steady work allowed them to take such departures as their 2020 seasonal set It's Christmas All Over or having their frontman Johnny Rzeznik handle production duties for the first time on 2022' Chaos in Bloom.
Alternative rock band Goo Goo Dolls rose to prominence in the 1990s with major hits like "Name" and "Iris," earning a widespread audience receptive to their mix of jangling guitar-driven pop and acoustic balladry. Initially playing a gritty mix of punk and power pop, they managed to refine and mainstream their sound, going on to sell millions of records over the coming decades. Beginning in the mid-'90s, Goo Goo Dolls notched over a dozen Top Ten and number one singles, peaking in popularity at the end of the decade, though albums like 2002's Gutterflower and 2006's Let Love In helped them maintain a fairly consistent chart presence well into the 21st century. Goo Goo Dolls would occasionally celebrate their past through a retrospective or anniversary, yet they concentrated on new material, regularly issuing new records which they supported with tours. Such steady work allowed them to take such departures as their 2020 seasonal set It's Christmas All Over or having their frontman Johnny Rzeznik handle production duties for the first time on 2022' Chaos in Bloom.
BNL returns to Mexico next spring for their second headlining performance at HootieFest! Over the course of 33 years, the Toronto quartet has sold 15 million records worldwide and built up an arsenal of hits including “If I Had $1,000,000,” “One Week,” “Pinch Me” and “The Big Bang Theory Theme.” Widely acknowledged as one of the best live acts on the planet, BNL has hosted a cruise (“Ships and Dips”), had its own ice cream flavor, won eight Juno Awards in Canada, and was inducted into the Canadian Music Hall of Fame during 2018. As Ed Robertson, Jim Creeggan, Tyler Stewart and Kevin Hearn put it on ‘Detour de Force,’ “Wasn’t easy but it turned out alright/Wouldn’t trade it for another…You don’t wanna miss this mutha.”
BNL returns to Mexico next spring for their second headlining performance at HootieFest! Over the course of 33 years, the Toronto quartet has sold 15 million records worldwide and built up an arsenal of hits including “If I Had $1,000,000,” “One Week,” “Pinch Me” and “The Big Bang Theory Theme.” Widely acknowledged as one of the best live acts on the planet, BNL has hosted a cruise (“Ships and Dips”), had its own ice cream flavor, won eight Juno Awards in Canada, and was inducted into the Canadian Music Hall of Fame during 2018. As Ed Robertson, Jim Creeggan, Tyler Stewart and Kevin Hearn put it on ‘Detour de Force,’ “Wasn’t easy but it turned out alright/Wouldn’t trade it for another…You don’t wanna miss this mutha.”
Collective Soul were formed in the small town of Stockbridge in the early '90s by principal songwriter Ed Roland (lead vocals/keyboards/guitars), guitarists Dean Roland and Ross Childress, and rhythm section Will Turpin (bass/percussion) and Shane Evans (drums/percussion). Originally released in 1993 on the Atlanta indie label Rising Storm, the debut effort Hints, Allegations & Things Left Unsaid proved popular enough on the local level that it was picked up the following year by Atlantic. Within months of its major-label release, "Shine" became a modern rock and MTV staple, and Collective Soul found themselves laden with a platinum debut, an arena tour alongside Aerosmith, and a spot on the roster for Woodstock 1994.
Collective Soul were formed in the small town of Stockbridge in the early '90s by principal songwriter Ed Roland (lead vocals/keyboards/guitars), guitarists Dean Roland and Ross Childress, and rhythm section Will Turpin (bass/percussion) and Shane Evans (drums/percussion). Originally released in 1993 on the Atlanta indie label Rising Storm, the debut effort Hints, Allegations & Things Left Unsaid proved popular enough on the local level that it was picked up the following year by Atlantic. Within months of its major-label release, "Shine" became a modern rock and MTV staple, and Collective Soul found themselves laden with a platinum debut, an arena tour alongside Aerosmith, and a spot on the roster for Woodstock 1994.
These talented tunesmiths promise the inevitable arrival of new material and as they approach their third decade, Gin Blossoms remain a rare breed – rock ‘n’ roll lifers, destined to continue creating, crafting, and performing for audiences ever rapt by their glorious catalog of material. “We’re entertaining and we have chops,” says Wilson, “but it really comes down to the songs. The reason we’re still here is that we have good songs. When young musicians ask me for advice, what’s the best thing to do to further my career, I always say, ‘Write good songs.’ It always comes down to that.”
The band’s fusion of Pop, Melodic Rock, Folk and Country elements took the airwaves by siege, making the band an MTV playlist hostage for almost a decade and the group a natural 90’s mainstay. From their breakout album through today, Robin, Jesse, Bill and Scotty have sold over 10 million records and are one of the most in demand 90’s live artists who began at the end of the grunge era. In 2017 the band went back in the studio recording a new album. Fans will get a taste of the new album as it works its way into their live set.
These talented tunesmiths promise the inevitable arrival of new material and as they approach their third decade, Gin Blossoms remain a rare breed – rock ‘n’ roll lifers, destined to continue creating, crafting, and performing for audiences ever rapt by their glorious catalog of material. “We’re entertaining and we have chops,” says Wilson, “but it really comes down to the songs. The reason we’re still here is that we have good songs. When young musicians ask me for advice, what’s the best thing to do to further my career, I always say, ‘Write good songs.’ It always comes down to that.”
The band’s fusion of Pop, Melodic Rock, Folk and Country elements took the airwaves by siege, making the band an MTV playlist hostage for almost a decade and the group a natural 90’s mainstay. From their breakout album through today, Robin, Jesse, Bill and Scotty have sold over 10 million records and are one of the most in demand 90’s live artists who began at the end of the grunge era. In 2017 the band went back in the studio recording a new album. Fans will get a taste of the new album as it works its way into their live set.
Though Everclear's Northwestern grunge-punk style was hardly revolutionary when the band rose to popularity in 1995, the trio's hook-ridden songs and Art Alexakis' "us against them" lyrics were taken to heart by bored Gen-X teens. Everclear's sound reflected the rock, post-punk, and singer/songwriter influences of frontman Alexakis, including acts like X, the Replacements, the Pixies, Bruce Springsteen, Tom Petty, and Elvis Costello. Also instrumental to Everclear's success was the group's obsessive touring schedule and aggressive self-promotion tactics. Everclear's distinct sound and unforgettable show makes them a must see act.
Though Everclear's Northwestern grunge-punk style was hardly revolutionary when the band rose to popularity in 1995, the trio's hook-ridden songs and Art Alexakis' "us against them" lyrics were taken to heart by bored Gen-X teens. Everclear's sound reflected the rock, post-punk, and singer/songwriter influences of frontman Alexakis, including acts like X, the Replacements, the Pixies, Bruce Springsteen, Tom Petty, and Elvis Costello. Also instrumental to Everclear's success was the group's obsessive touring schedule and aggressive self-promotion tactics. Everclear's distinct sound and unforgettable show makes them a must see act.
Called the “great American romantic” by the New York Times, Edwin McCain has built an enviable career over the past 20 years by balancing his massive pop success with the year-round touring schedule of a tireless troubadour. His hit songs, authentic spirit and surprisingly affable sense of humor keep fans coming back time and time again for nights that feel more like parties with old friends than rock concerts. After recording two of the biggest love songs in the history of pop music, McCain now performs upwards of 100 shows annually throughout the US as a solo artist, with his full band or his acoustic trio. Recently, he’s added orchestras to his repertoire, performing with symphonies in select markets where he brings his powerful songs to majestic new heights.
Called the “great American romantic” by the New York Times, Edwin McCain has built an enviable career over the past 20 years by balancing his massive pop success with the year-round touring schedule of a tireless troubadour. His hit songs, authentic spirit and surprisingly affable sense of humor keep fans coming back time and time again for nights that feel more like parties with old friends than rock concerts. After recording two of the biggest love songs in the history of pop music, McCain now performs upwards of 100 shows annually throughout the US as a solo artist, with his full band or his acoustic trio. Recently, he’s added orchestras to his repertoire, performing with symphonies in select markets where he brings his powerful songs to majestic new heights.
Just as the nineties dissolved into the 21st century, Lit charged up rock ‘n’ roll with uncompromising punk energy and a power pop punch. However, the Orange County-born band left an imprint on popular culture that only fissured wider over the years like a California fault line. Who could forget the immortal lyric, “Can we forget about the things I said when I was drunk?” or the time Pamela Anderson devoured the band whole in the “Miserable” music video!
The group outlasted the next two decades as well. They stood out as the rare act whose presence could be felt loud and clear at Woodstock ’99. Twenty years after its initial release, the Billboard Music Award-winning “My Own Worst Enemy” not only went double-platinum, but Post Malone also covered it on Instagram Live as did Kelly Clarkson and Jimmy Fallon on his late night show. Further speaking to their enduring influence, they’ve inspired think pieces by everyone from American Songwriter to Kerrang! while Consequence of Sound named them one of the “100 Best Pop Punk Bands.” Not to mention, their music blared through American Reunion, Central Intelligence, Parks and Recreation, Rock Band, and beyond as they also impressively averaged over 2.2 million monthly listeners on Spotify. The guys have amassed a catalog highlighted by fan favorites such as the platinum A Place in the Sun [1999], Atomic [2001], Lit [2004], The View From The Bottom [2012], and These Are The Days [2017]. Meanwhile, they teased the next chapter with “Yeah Yeah Yeah” in 2021, arriving to acclaim from Loudwire, Alternative Press, and more.
Just as the nineties dissolved into the 21st century, Lit charged up rock ‘n’ roll with uncompromising punk energy and a power pop punch. However, the Orange County-born band left an imprint on popular culture that only fissured wider over the years like a California fault line. Who could forget the immortal lyric, “Can we forget about the things I said when I was drunk?” or the time Pamela Anderson devoured the band whole in the “Miserable” music video!
The group outlasted the next two decades as well. They stood out as the rare act whose presence could be felt loud and clear at Woodstock ’99. Twenty years after its initial release, the Billboard Music Award-winning “My Own Worst Enemy” not only went double-platinum, but Post Malone also covered it on Instagram Live as did Kelly Clarkson and Jimmy Fallon on his late night show. Further speaking to their enduring influence, they’ve inspired think pieces by everyone from American Songwriter to Kerrang! while Consequence of Sound named them one of the “100 Best Pop Punk Bands.” Not to mention, their music blared through American Reunion, Central Intelligence, Parks and Recreation, Rock Band, and beyond as they also impressively averaged over 2.2 million monthly listeners on Spotify. The guys have amassed a catalog highlighted by fan favorites such as the platinum A Place in the Sun [1999], Atomic [2001], Lit [2004], The View From The Bottom [2012], and These Are The Days [2017]. Meanwhile, they teased the next chapter with “Yeah Yeah Yeah” in 2021, arriving to acclaim from Loudwire, Alternative Press, and more.
Much like gumbo, the famous dish of their hometown, the New Orleans-born Cowboy Mouth uses a potent blend of musical ingredients - rock, blues, punk, funk, country, pop, soul and whatever else feels good – to create their bodacious, kickass tunes. Frontman, drummer, and co-founder Fred LeBlanc has asserted “if The Neville Brothers and The Clash had a baby, it would be Cowboy Mouth." His description not only reflects the group’s amazing diverse sound, but it also conveys the fire and commitment they bring to their music…and if you were lucky enough to be in the water for Cowboy Mouth’s pool party during the inaugural HootieFest, then you know they’re not messing around.
Cowboy Mouth has perfected their wonderfully rambunctious style over the band’s three decades together. During that time, they have sold over a half a million albums domestically, performed before more than 10 million people, and played over 3,000 concerts. These relentless road warriors built their reputation and developed their devoted fan base through powerhouse live performances (frequently averaging 250 gigs a year). “With every show, no matter where it is, we try to turn it into New Orleans during the middle of Mardi Gras,” LeBlanc proclaims. “It's like a southern gospel revival without the religion” – unless your religion is rock ‘n’ roll!
Much like gumbo, the famous dish of their hometown, the New Orleans-born Cowboy Mouth uses a potent blend of musical ingredients - rock, blues, punk, funk, country, pop, soul and whatever else feels good – to create their bodacious, kickass tunes. Frontman, drummer, and co-founder Fred LeBlanc has asserted “if The Neville Brothers and The Clash had a baby, it would be Cowboy Mouth." His description not only reflects the group’s amazing diverse sound, but it also conveys the fire and commitment they bring to their music…and if you were lucky enough to be in the water for Cowboy Mouth’s pool party during the inaugural HootieFest, then you know they’re not messing around.
Cowboy Mouth has perfected their wonderfully rambunctious style over the band’s three decades together. During that time, they have sold over a half a million albums domestically, performed before more than 10 million people, and played over 3,000 concerts. These relentless road warriors built their reputation and developed their devoted fan base through powerhouse live performances (frequently averaging 250 gigs a year). “With every show, no matter where it is, we try to turn it into New Orleans during the middle of Mardi Gras,” LeBlanc proclaims. “It's like a southern gospel revival without the religion” – unless your religion is rock ‘n’ roll!
A beloved side project of Hootie & the Blowfish’s Mark Bryan, Occasional Milkshake featuring Hank Futch (The Blue Dogs), Gary Green (Hootie & the Blowfish) and Cravin Melon. The band has been a testing ground for new material, a release valve for professional tension, and, most importantly, a reminder of why its members began playing music in the first place. Occasional Milkshake is back at HootieFest this spring for round dos!
A beloved side project of Hootie & the Blowfish’s Mark Bryan, Occasional Milkshake featuring Hank Futch (The Blue Dogs), Gary Green (Hootie & the Blowfish) and Cravin Melon. The band has been a testing ground for new material, a release valve for professional tension, and, most importantly, a reminder of why its members began playing music in the first place. Occasional Milkshake is back at HootieFest this spring for round dos!
It’s hard for Hootie & the Blowfish’s Mark Bryan to remember a time when the music of R.E.M. wasn’t a crucial component of his personal playlist. First as a fan, then as a colleague and eventually as an occasional collaborator, Bryan’s affection for and connection to the Athens act’s seminal songs runs both deep and wide. He acquired a black Rickenbacker strikingly similar to R.E.M. guitarist Peter Buck’s signature six string. He picked up the mandolin that allowed him to lose his religion. And he connected with former People Who Must frontman and fellow veteran of the Southeastern scene Joe Stevenson to found The Voice of Harold.
Born of Bryan and Stevenson’s regular performance of select R.E.M. tunes at the Murray Bros Caddyshack Charity Golf Tournament, The Voice of Harold – named after a famous R.E.M outtake – is more than a musical tribute to the musicians’ favorite act, it’s a full band experience that celebrates the iconic hits and deep cuts of one of America’s most influential catalogs. Joined onstage by Aaron Utterback (bass) and Matt Zutell (drums) of the Charleston, SC band Human Resources, Voice of Harold is built not to recreate a note-for-note facsimile of the band’s distinctive jangle, but rather channel the joy fans felt, and still feel, when confronted by the band’s uncommon approach to the classic guitar-bass-drums format.
It’s hard for Hootie & the Blowfish’s Mark Bryan to remember a time when the music of R.E.M. wasn’t a crucial component of his personal playlist. First as a fan, then as a colleague and eventually as an occasional collaborator, Bryan’s affection for and connection to the Athens act’s seminal songs runs both deep and wide. He acquired a black Rickenbacker strikingly similar to R.E.M. guitarist Peter Buck’s signature six string. He picked up the mandolin that allowed him to lose his religion. And he connected with former People Who Must frontman and fellow veteran of the Southeastern scene Joe Stevenson to found The Voice of Harold.
Born of Bryan and Stevenson’s regular performance of select R.E.M. tunes at the Murray Bros Caddyshack Charity Golf Tournament, The Voice of Harold – named after a famous R.E.M outtake – is more than a musical tribute to the musicians’ favorite act, it’s a full band experience that celebrates the iconic hits and deep cuts of one of America’s most influential catalogs. Joined onstage by Aaron Utterback (bass) and Matt Zutell (drums) of the Charleston, SC band Human Resources, Voice of Harold is built not to recreate a note-for-note facsimile of the band’s distinctive jangle, but rather channel the joy fans felt, and still feel, when confronted by the band’s uncommon approach to the classic guitar-bass-drums format.
