Logjam Presents

Cory Wong

Power Station Tour Feat. Sierra Hull and Robbie Wulfsohn (of Ripe)

The ELM

Bozeman, MT
Add to Calendar 11/07/2022 20:00 11/08/2022 01:00 America/Boise Cory Wong

Logjam Presents is pleased to welcome Cory Wong for a live in concert performance at The ELM on Monday, November 7th, 2022. Tickets go on sale Friday, August 5, 2022 at 10:00am online or by phone at 1 (800) 514-3849. Reserved balcony loge seating, reserved premium balcony seating, reserved balcony wing seating, and general admission standing room… Continue Reading

Logjam Presents - Missoula, Montana false MM/DD/YYYY
7:00PM (door) 8:00PM (show)
$30-$40 (Adv.) $35 (DOS) + applicable fees
All Ages
Tickets

Logjam Presents is pleased to welcome Cory Wong for a live in concert performance at The ELM on Monday, November 7th, 2022.

Tickets go on sale Friday, August 5, 2022 at 10:00am online or by phone at 1 (800) 514-3849. Reserved balcony loge seating, reserved premium balcony seating, reserved balcony wing seating, and general admission standing room tickets are available. All ages are welcome.

Additional ticketing and venue information can be found here.

About Cory Wong

Music motivates at the most primal level.

You instinctually hum a tune in order to get pumped up in the morning, for fuel on the treadmill, to soundtrack your commute, or as the pre-game to a big night out. As much as he treasures his roles as a guitarist, composer, and producer, Cory Wong fashions himself “a hype man, first and foremost. Living up to this classification, he slings a Stratocaster and hurls “dad jokes” from the stage with the same panache, poise, and power.

“For me, it’s all about the listener’s experience,” he explains. “I want them to have a visceral response like: ‘I feel better,’ ‘That was really fun, or ‘I got to escape for an hour. You’ll hear my voice through the guitar, but I’m just a hype man. To uplift audiences with instrumental music that has no singing or lyrics is a fun challenge. I’m trying to solve the riddle. If I can get one person to feel good this way, it’s a success.

Straight out of Minneapolis, Cory positioned himself as music’s answer to motivational speakers like Tony Robbins since emerging in 2011. Head-spinning rhythm guitar wizardry, technical ebullience, laugh-out-loud jokes, and radiance on stage established him as both a sought-after collaborator and celebrated solo artist alike. He lent his talents to television programs such as The Voice at the dawn of his career. After an impromptu meeting at the weekly jam hosted by Prince’s rhythm section (where the Purple One often either performed or watched), he crossed paths with Vulfpeck who welcomed him as a frequent collaborator and member of the band. Solidifying a fruitful partnership, the group named their most popular instrumental  track “Cory Wong,” in tribute. Lighting up the stage in the band everywhere from Red Rocks Amphitheatre to Madison Square Garden, he remains a cornerstone of Vulfpeck’s storied gigs.

“I try to feature the guitar, but I don’t force myself into being the star of every song,” he says. “The instrument plays an appropriate role. It’s not all flash. I’m bringing rhythm to the forefront where it’s not so shreddy. I refer to it as ‘Covert chops. I’m doing things that are sneakily hard, but they lay in the cut. I allow the song to breathe and present myself as more of a composer rather than a guitar player.”

In the end, Cory transmits joy in its purest form through the guitar.

“The guiding light is to impart a feeling of joy,” he leaves off. “I want people to experience instrumental music in a different way. This is hype. It’s more than just guitar.”

Power Station Tour Feat. Sierra Hull and Robbie Wulfsohn (of Ripe)

Power Station Tour Feat. Sierra Hull and Robbie Wulfsohn (of Ripe)	 Image

About Sierra Hull

Sierra Hull’s positively stellar career started early. That is, if you consider a Grand Ole Opry debut at age 10, called back to the famed stage a year later to perform with her hero and mentor Alison Krauss to be early. She played Carnegie Hall at 12; at 13 signed with Rounder Records and issued her debut, Secrets, and garnered the first of many nominations for Mandolin Player of the Year. She played the Kennedy Center at 16 and the next year became the first bluegrass musician to receive a Presidential Scholarship at the Berklee College of Music. As a 20-year-old, Hull played the White House.

It’s only a two-hour drive to Nashville from her tiny hometown hamlet of Byrdstown, Tennessee. Hull credits her family for paving the first few miles to Music Row. Her mother, holding her as a toddler, taught her to sing. She ran next door to hear Uncle Junior pick mandolin, and listened intently to the church choir on Sundays. Her Christmas gift- a full-sized fiddle- proved too daunting. While waiting for a smaller replacement, her father showed her some notes on the mandolin. Hull was hooked, soon known as the eight-year-old wowing the locals at bluegrass jams.

She found inspiration in Krauss, Ricky Skaggs, and Sam Bush. And, just as importantly, affirmed her own sense of identity in the album covers of Rhonda Vincent, the queen of bluegrass. She heard the words of her parents, prepping her for life’s big moments yet to come, repeatedly instilling the mantra: Hard work, more than anything, will get you somewhere. It certainly did.

In 2010, Hull captured her first IBMA award for Recorded Event of the Year. She was shedding the prodigy tag, turning virtuoso, and releasing her second album, Daybreak, with seven of her own original compositions. In Byrdstown, she hosted an eponymous annual bluegrass festival.

“There’s a voice in the back of my head telling me to keep working, to keep moving forward,” Hull says. “You have to keep progressing and introducing new things.”

By 2016, Hull had reached a more mature place in her life and in her art. She tapped legendary bluegrass musician Bela Fleck to produce her third album, Weighted Mind. A departure from her opening pair of records that blended progressive elements with traditional structure, Hull let go of whatever preconceptions existed- both hers and those of her audience- and birthed a Grammy-nominated masterpiece.

“I created from a more vulnerable, honest place by asking myself what kind of music will I make if I’m not at all concerned with genre,” says Hull. “What do I want to say with my music? What do I want to feel when I stand onstage and sing these songs? I needed to have a deeper connection.”

Enlisting bassist Ethan Jodziewicz (and Fleck on two cuts), and harnessing vocal contributions from Krauss, Abigail Washburn, and Rhiannon Giddens, Hull trusted her foundation of influences to support this artistic leap. Months later she was taking home the Mandolin Player of the Year. After a near-decade of consecutive noms, Hull broke that last glass ceiling, becoming the first woman to win the prestigious title. Of all the numerous awards and achievements Sierra Hull has earned, that one occupies a special place on the mantel. Then she took home a pair to join it, winning again in 2017 and 2018.

Hull has maintained a rigorous touring schedule, as well. Even when off the road, she is frequently guesting with friends and legends, joining such icons as the Indigo Girls, Garth Brooks, and Gillian Welch, and performing at the Country Music Awards with Skaggs, Brad Paisley, and Marty Stuart.

She says she’s ready, now, for something new. Currently in the midst of work for the follow-up to Weighted Mind, her next album will consist of all original songs. Beyond that, there are tantilizing ideas she won’t divulge for collaborations and, perhaps, an all-instrumental record. There is a plan, but not a timetable, which is just fine.

“I love playing music. It’s all I ever wanted to do. I don’t see it, necessarily, as a bad thing that I’m slow to make albums. I want my albums to be something I can be proud of.”