Reserve Seats Now...

Are you wondering, "Wasn't this originally announced as a Ladies Gun Club concert?" Yes it was.
There's bad news and good news.
The bad news: LGC's Sarah Roberts had to pull out due to a scheduling conflict.
The good news: The incredible Brian Wright will join LGC's Sally Jaye for the concert.
Sally was an accomplished solo artist before teaming with Sarah to form Ladies Gun Club.
So with Sally, we'll get some great solo material, plus plenty of LGC goodness...
...Plus Brian. We've wanted to bring Brian to the (ware)HOUSE since we started hosting concerts.
No question about it.  This is good news.
Read the bios and check out the videos below.
This is going to be a good one...

Reserve Your Seat(s) for Sally Jaye + Brian Wright at the (ware)HOUSE

Saturday, April 13

Sally and Brian's payment for this event comes solely from ticket and merchandise sales. We don't pocket a penny (in fact, we eat the cost for credit card processing).

You must reserve your spot(s) to attend the event.

All seats are general admission. We set up our venue like a big living room with comfy sofas and easy chairs. Everyone will have a great, comfortable seat.

You can reserve your spots and make a suggested donation ($20 per seat), or you can reserve spots and make your donation at the door.

When you buy or reserve seats on this site, we will add you to the guest list. You do not need to present a ticket to be admitted. But no one will be admitted at the door without first buying/reserving tickets from this page. 


The Unofficial Official Bio of Sally Jaye

(By Sally Jaye)

I'm not going to waste your time with some braggedy-brag bio full of fluffy words that make me sound like I'm a bigger deal than I really am. I am an artist simply because it is fulfills me to tell stories and make up melodies to go along. It helps me sort through the clutter in my head, the reasons for my struggles, and to understand the beauty of the human condition. I write songs for therapy, and also to preserve memories. So here's a little bit about how I found songwriting...

Growing up in Georgia with an off the wall family that included carnies, a deaf grandmother that did makeup and hair for dead people, grandparents that lived  on the banks of the Okefenokee Swamp, a legless aunt, a dreamer, Bible-beating dad, a lioness, closet-poet, mother, I could go on...I found myself as a little girl deeply attracted to the stories my parents and other members of my family told me. No surprise that later in life I fell in love with Flannery O'Connor. I also loved the old country music my dad would play for me from his reel-to-reel, and the old rock n roll songs my mom lit up and danced to when she heard. My brother and I saved our allowance for records and concert tickets. Our first concert was Prince, the Purple Rain tour. Little sis was too young to go.

Mom was a middle school teacher that wrote and directed musicals for kids and became involved in our community theater. When I got to high school, I found myself signing up for chorus, drama, dance, and participating in musicals where I surrounded myself with young, dramatic, weirdys like myself that liked to trade Shakespeare lines, make up songs around campfires, and create home videos. I still love all of those friends for inspiring me so much and helping me develop the courage to be my true self.

After high school I received a scholarship to the Cincinnatti Conservatory of Music where I studied musical theater for two years. But my Dad gave me his guitar before I left for school, and I found myself more interested in learning chords and making up songs in my dorm room, mostly silly ones, instead of spending hours in the practice rooms at school and competing for roles in shows. It just wasn't a fit for me. And I also liked to stay up all night, which became a problem for me in my second year, when I was required to show up for a 7am modern dance class. As a result of missing too many classes and mouthing off to my instructor, I was told I would be failing modern dance and would lose my scholarship, BUT I could redeem myself by making up the classes and apologizing to my teacher. I did apologize, but I did not make up the classes, and I left.

My next move was a graveyard shift as head donut processor at Krispy Kreme...awesome. And then a year at the University of Georgia as a history major, huh? Then a summer job in a country music show at a theme park, where in my purple wranglers, cowboy boots, and big hair, it occurred to me that I wanted to write songs (thanks to some lovely, life changing inspiration from Nanci Griffith's album, "One Fair Summer Evening"), so I announced to my family I was moving to Nashville. My concerned, but supportive Dad, stepped in with a suggestion that I go to Belmont University where they had a music business program...and recording studios!! That sealed the deal.

I finished college, where I learned about recording, got a little better as a guitar player, and then ran off playing bar gigs for a few years all around the southeast, but mostly in Georgia. Four hour shifts of covers mixed with some of my own songs (peddling my garage-recorded CD from the corner of the room), lots of drinking, lots of driving, lots of tips, lots of loading in heavy PA equipment all by myself, because I didn't play music venues, I played dives mostly. I played brother and I once played a gig together for a Super 8 Motel opening. But I got sick of that after a while, because I wanted more and more to play my own music, and as much as I respect and love the Indigo Girls, I couldn't play another one of their songs without smashing someone's beer out of their hand with my guitar.

So I moved to Los of dreamers, artists, weirdos, people - a place where I was forced to put my own art out in the world, because there was no market for cover artists. In my 13 years there, I played keyboards, sang and wrote for a neo-soul band called Paper Sun, wrote and sang with a super hippy and fun Laurel Canyon band called the Bennett Cale Project, and then I ventured out on my own with solo work. At the time I was living in a Hollywood apartment with a big old thrift store piano, a bed and pretty much nothing else, and that's where I really began writing about my life, my past, my crazy family.

I booked two weeks studio time at New Monkey Studio (former studio of Elliott Smith, one of my heroes) on a credit card. No producer, no band, barely enough songs, but somehow it all worked out, and I made Amarillo, my first real solo project (second to my garage album) all recorded on analaog tape with a live band. Oh, sidenote, I prefer analog over digital, because the performance is imperfect but more emotional and in the moment.

Are you still with me? This is long...I'm almost done.

Following Amarillo, I've toured all over the country, written songs for TV and film, played music in a couple of films, and made another album in Asheville, NC, called Too Many Heartaches that is broken up in to two releases, Pt. 1 is out, Pt. 2 is coming soon. It was while I was making this record, I met songwriter Sarah Roberts, who blew me away at a Hotel Cafe, Hollywood, show one night...I walked away crying from her songs and the magic of her voice...I'd never heard anyone sing like that before. We were brought together by a mutual friend, which led to our band Ladies Gun Club, my absolute favorite musical project ever. We made an EP quickly in a Laurel Canyon studio, produced by Mike Vizcarra. It's just called Ladies Gun Club. But then all this pregnancy and babies started with the two of us. Ha! Over the last six years one of us or both have been pregnant, but no one is pregnant now, and just last month we released our first full length album, Take My Love Away, a psychedelic, hillbilly experience in feminism, witchiness, and just plain ole love.

Oh...and I don't want to forget to tell you about my punk rock adventure that happened last fall when I went to Bisbee, Arizona with two long time friends that I previously wrote and played with in other bands, Jason Thomas Gordon and Cary Beare. We spent four days locked up in a warehouse writing and recording stream of consciousness style, punk rock music. We screamed, we cried, we bled, we acted like teenagers, and it was fucking great. We are called The Rodgers, and we have an album called You Ain't Us. It's filthy and juvenile.

So there you have it...if you made it this far, you're probably a stalker or my management company. Thanks for listening. I love you too.

About Brian Wright


Over the last few years, Brian Wright may be most widely recognized as that guy standing to the right of Aaron Lee Tasjan, trading killer guitar licks with ALT, singing background vocals and occasionally playing a few bars on the keyboard/synth. But Brian Wright is way more than that guy.

In fact, it was Brian's genius as a songwriter and solo artist that first caught ALT's attention and led to their collaboration. Before they met and teamed up...

...Brian's life as a traveling troubadour began in Waco, Texas near the highway and the trains.  That is where his father took a job that required a great deal of travel, making the family VW van Wright’s first crib. Consequently Wright feels most at home when on the road, and this movement has helped shaped Wright’s sense of bare-boned lyrics and achingly beautiful songs that seem both distant and intimate at the same time.

After spending his early twenties on the Austin/Waco/Dallas bar circuit, playing everything from punk to covers, Wright flipped a coin to decide his future home, either New York City or Los Angeles.  Going West won the day, where he resided in Los Angeles for close to 10 years, and was the front man and lyricist for his band Brian Wright and the Waco Tragedies, a band that has gathered a devoted fan base across the country.

With Wright’s 2010 release of House on Fire (Sugar Hill Records), Brian declared a new chapter in his life as a musician and producer.  His two previous albums, Bluebird and Dog Ears were recorded with a live band in the studio, both in the span of three days.  These were done in an attempt to capture the true essence of the band’s energy.  House on Fire (co-produced with Mike Vizcarra) approached the recording process from a different angle.  That album was the fulfillment of a lifelong dream of Brian’s to play every instrument on the record. The result was an album that truly reflects the man behind the voice.

In September 2013, Brian released his latest album Rattle Their Chains (Sugar Hill Records), recorded in Los Angeles, which came with a vision: “I was picturing this band playing these songs- my friends- and I could hear what was going to happen: a band in a room, guys who really love each other and are really tight”. Wright and his buddies nailed it.  He sought the spontaneity of a live show, a roots-rock hoot to smolder and sting, and he got it.  But the resulting album also reflects something more: a shadow-grapples-light intensity where regret and hope square off like already-bruised boxers staggering through another round.

Wright also experienced luminous changes through the sessions for Rattle Their Chains. He moved his family from Los Angeles to Nashville, the decision made even as the record took shape.  “It definitely informed the music,” he says.  “I was thinking a lot about where I was from; I was thinking about Los Angeles. I came through as a naïve kid and I learned a lot about being an artist. I lost love, I found love, and then I started a family- and I also made a lot of mistakes.”

Besides Bob Dylan and the Band, Wright also found himself drawn to “the storytelling of Texas songwriters. I find myself really into Townes Van Zandt; he had so many beautiful songs. Woody Guthrie, Willie Nelson, Lightnin' Hopkins, Guy Clark and Kris Kristofferson all lived there; there's something in the water in Texas that yields a poetic, left of center style of writing that seems unique to so many artists from there. It’s where all these great stories come from. But I'm also influenced by great rock and roll: The Rolling Stones, The Beatles, The Kinks and other bands like that."

About Cafe Rooster Records

When Brian Wright and Sally Jaye turned a tiny shed in their backyard into a recording studio in Nashville, they never thought that would lead them to owning and running an independent record label. Wright recorded an album, Cafe Rooster Sessions, Vol. I in the tiny shed and as a result friends started to come by to jam and hang late into the night, one of those regulars being songwriter/storyteller and now Cafe Rooster artist, Darrin Bradbury.

In the summer of 2016, Bradbury had his now critically acclaimed album, Elmwood Park: A Slightly Melodic Audiobook, in the can and was looking for a label home. In a moment of half joking and half seriousness, he asked Wright if he could release his record on his label. Wright answered, “Sure, but I don’t have a label.” A month later, Cafe Rooster Records (CRR), a uniquely structured label, was launched. The label is collectively owned and operated solely by the artists and incorporates music, visual arts and art projects paired with causes.

That September, Wright and Jaye bought the house next door and moved their studio into a larger building that although is not publicly open for business, has been a place for artists and friends to create, work, record and make videos, including artists such as Rayvon Pettis, Rorey Carroll (producer, artist), Yellow Feather, and more.

At the September 2016 launch of the label, a day concert at Little Harpeth Brewing, over 500 people showed up for a lineup of CRR artists and friends: Brian Wright, Darrin Bradbury, Ladies Gun Club, Aaron Lee Tasjan, Joe Purdy, Jon Latham, Paul Luc, and Tim Easton.

Since its inception, the label has released Bradbury’s Elmwood Park and the psychedelic/hillbilly rock duo, Ladies Gun Club’s latest album, Take My Love Away. The label also is home for catalogues of Brian Wright and Sally Jaye. This summer, they will release Jon Latham’s sophomore album, Lifers, as well as a compilation, Strange Freedom: Songs of Love and Protest, a collection of songs in response to the latest presidential election featuring Mary Gauthier, Radney Foster, Derek Webb, Will Kimbrough, Rorey Carroll, Steve Poltz, producer/artist, Matt Haeck and more.

Also in the works, the label will be working with East Nashville activist, writer, photographer, Stacie Huckeba to nationally expand her recent editorial exhibit, This Shoe Doesn’t Fit, a story of diversity told through the journey of an Ivanka Trump brand pair of fancy shoes. And the label has more visual artists working with different mediums on deck to join the family including rock n roll cartoonist and creator of Wannabe, Chris Prunckle.

In addition, Cafe Rooster Records has collaborated with artists and causes on campaigns to raise awareness and funds for homeless outreach, opioid addiction, and Planned Parenthood.




Concert to Benefit Healing Action

Healing Action is committed to combating commercial sexual exploitation through a multi-system approach of creating awareness by sharing our experience / strength / hope with others, advocacy with/on behalf of survivors for programs and services needed to empower them, and healing action to create spaces where all can thrive.

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