Marcedes Carroll & Co. with Lena Marie Schiffer Trio, Shelly Besler and Tony Polecastro

Doors : 7pm, Show : 8pm
Cover : $15 in advance, $20 at the door

Join southwest Montana’s best folk artists at the Filling Station May 30th for an excellent night of music! Featuring Marcedes Carroll & Co., The Lena Marie Schiffer Trio, and Shelly Besler and Tony Polecastro, it’s an all star songwriter’s showcase of the area’s best!

Lone Elder with Cactus Cuts

Doors : 8pm, Show : 9pm
Tickets : $10 in advance, $15 at the door

Join Lone Elder and Cactus Cuts for a night of country music at the Filling Station April 5th at 9pm!

About Lone Elder:

“Hailing from the dusty plains and echoing canyons of the American West, Lone Elder weaves tales of the frontier’s forgotten souls. Blending the raw energy of rock with the mournful soul of blues, their music paints vivid pictures of cowboys, outlaws, and the restless spirits that linger in their wake. Through electrifying guitar riffs, and vocals that echo through the night, Lone Elder doesn’t just tell stories – they summon the ghosts themselves.

Get ready to tap your boots one minute and feel shivers down your spine the next, all while experiencing the untamed spirit of the Wild West.”

About Cactus Cuts:

Cactus Cuts is a captivating five-piece Americana folk band. Drawing inspiration from the harmonious melodies of the Milk Carton Kids and the virtuosic guitar stylings of Doc Watson, Cactus Cuts are quickly making waves with their fresh and unique sound. Formed in 2022 in Bozeman, MT, Cactus Cuts weaves together acoustic arrangements, storytelling, and simple vocal harmonies that are the perfect combination of modern bluegrass and old-time Americana. With their heartfelt delivery, the band invites listeners on a sonic journey, with beautiful ballads, foot-stomping hoedowns, and everything in between. Cactus Cuts has shared the stage with The Last Revel, and Laney Lou and The Bird Dogs. Whether performing in intimate venues or commanding larger stages, their passion for the music and genuine camaraderie shines through, creating an unforgettable experience for their audience.

Electric River Presents: Jess Williamson with Hannah Jo Lally

Doors: 7pm, Show : 8pm
Cover : $25 in advance on
Tickets available here:

Endless prairies and ocean waves; long drives and highway expanse; dancing, smoke, sex, and physical desire – the core images of Jess Williamson’s new album Time Ain’t Accidental revel in the earthly and the carnal. After a protracted breakup with a romantic partner and longtime musical collaborator who left Williamson and their home in Los Angeles at the start of the pandemic, the album’s reckoning with loss, isolation, romance, and personal reclamation signals a tectonic shift for Williamson as a person and as an artist: from someone who once accommodated and made herself small to a woman emboldened by her power as an individual.


A daringly personal but inevitable evolution for the Texas-born, Los Angeles-based singer, songwriter, and multi-instrumentalist, Time Ain’t Accidental is evocative of iconic Western landscapes, tear-in-beer anthems, and a wholly modern take on country music that is completely her own. Above everything, sonically and thematically, this album is about Williamson’s voice, crystalline and acrobatic in its range, standing front and center. Think Linda Rondstadt turned minimalist, The Chicks gone indie or even Emmylou Harris’ work with Daniel Lanois. Ringing boldly and unobscured, it’s the sound of a woman running into her life and art head-on, unambiguously, and on her own terms for the first time.


Last year, Williamson and Katie Crutchfield of Waxahatchee released I Walked With You A Ways under the name Plains; a critically acclaimed record filled to the whiskey-barreled brim with feminine confidence, camaraderie, and straight-up country bangers and ballads. After past records Cosmic Wink (2018) and Sorceress (2020), both released on Mexican Summer, Williamson felt primed to shift in a new direction. Revisiting what she loved growing up, simplifying her process, and making music with a friend proved to be the best step forward for Williamson.


In early 2020, while getting used to the new estrangement and in quarantine with her thoughts, Williamson wrote and recorded the stripped-back standalone single “Pictures of Flowers” by herself at home. This experience became the foundation on which Time Ain’t Accidental was built. The song’s lyrical themes were terrestrial and plain-spoken, with Williamson’s voice set against a drum machine and paired with textural guitar by her friend Meg Duffy (Hand Habits). Soon, Williamson realized that musically she was just as good—better, even—on her own. Tours with Weyes Blood, Kevin Morby and Hamilton Leithauser, and José González bolstered this newfound self-assurance, letting her voice ring out in rooms the size of which she hadn’t played before.


Amidst the uncertainty of the pandemic, Williamson began dating in Los Angeles and tracking demos centered on the realness of those experiences, filled with excitement, anxiety, and disappointment. The drum machine stuck around (this time in the form of an iPhone app), as did her determination to forge a new path as a truly solo singer and songwriter; as a woman finding the sound of herself without anyone else’s input. It was a lonely, but revelatory, period.


The core essence of that time is summed up in the opening line of “Hunter.” “I’ve been thrown to the wolves and they ate me raw,” Williamson sings, clear-eyed and with resolve, having come out the other side. Though tumultuous, the process of dating in LA revealed the album’s North Star, which anchors the song’s chorus and the album’s underlying sentiment more broadly: “I’m a hunter for the real thing.”

This theme comes up on the vivid torch song “Chasing Spirits,” when she sings, over whispers of steel guitar, that “the difference between us is when I sing it I really mean it.” The same energy resurfaces on “God in Everything”, with Williamson turning to the supernatural as a way of rising above the earthly realities of dating and rejection. “Being in lockdown alone, fresh out of a breakup, was a real hard time for me,” she remembers. “What I’m grateful for is having a period of stillness and desperation that forced me to turn inward and find comfort in a power greater than myself”.

In the album liner notes, Williamson too included a quote from Carl Jung that was sent to her by a close friend during this era of uncertainty and upheaval. It reads: “To this day God is the name by which I designate all things which cross my willful path violently and recklessly, all things which upset my subjective views, plans, and intentions, and change the course of my life for better or worse.”

After many months spent alone and searching, Williamson finally found the realness she’d been longing for. First came the idea of Plains and the subsequent writing and recording sessions. Then, on one of her regular drives between her adopted home in southern California and her native Texas, Williamson found and rescued her dog, Nana, who had been abandoned and was running alongside a desert highway in New Mexico.


But all good things come in threes, and she soon found new love with an old acquaintance in Marfa, Texas, addressed straightforwardly in the title track “Time Ain’t Accidental.” “We fell for each other when I was out in West Texas visiting a friend, but then I left to go back to LA,” Williamson explains. “I wasn’t sure if or when we’d see each other again, but I felt so full of love and I hadn’t felt that way in a very long time. I wrote this song the day I got back home. It’s really the story of a day together—we flirted by a hotel pool bar and went on a drive, we had a sweet night—and then I had to go, neither of us really knowing what, if anything, would come next.”


Williamson brought the suite of demos and her newfound assurance to Brad Cook (who’d produced Plains) in Durham, North Carolina. The familiar setting fostered a safe environment for the deeply personal material, and Williamson unleashed her voice with total unselfconsciousness. They tracked her vocals in just a couple of takes for each song. “I kept thinking, ‘my voice feels different now – it’s been liberated,’” Williamson reflects. Cook encouraged Williamson to keep the iPhone app drum machine beats she’d programmed for some of the demos, then married it with banjos and steel guitars for an evident sense of old-meets-new.


Williamson now splits her time between Marfa, Texas and Los Angeles. Time Ain’t Accidental, with its synthesis of traditional country instrumentation with digital effects and modern sounds, unequivocally embodies the energy of the two very different places that she calls home. The album’s artwork, subtly menacing and neon in awareness and strength, displays, in Williamson’s words, “that supernatural forces are acting all around us, that we can trust that we will be in the right place at the right time.”


While Time Ain’t Accidental is remarkable for its bare confidence born of searching and longing for something real, Williamson also recognizes the mysterious whims of time that bricked her path (and she memorialized them on the title track). Ultimately, these unseen forces lured the singer back into her own. The timing was, indeed, no accident.

Electric River Presents : Boot Juice with The Prawns

Doors: 7pm, Show : 8pm
Cover : $12 in advance on
Tickets available here:


Boot Juice hails from the Hills of the Sierra Nevada Mountains in Northern California. The band features electric and acoustic guitars, three vocalists, bass, drums, saxophone and trumpet. Inspired by the likes of The Band and Railroad Earth with an intensely energetic show reminiscent of Talking Heads, Boot Juice has been gaining buzz with their vibrant performances and party-sparking reputation. Shifting effortlessly between driving bluegrass and americana into cosmic rock’n’roll and swing. They deliver three part vocal harmonies and dynamic instrumental arrangements with a sultry dose of blues and soul. The collective effect leaves crowds little choice but to shake it down on the dance floor.

Boot Juice has been kicking around the west since 2017, leaving audiences happy, and dance floors sticky. They have kept an ambitious tour schedule, hitting the road in their 96’ International school bus, constantly adding to their ever-growing resume of festival and club appearances. Founding members Connor Herdt (acoustic guitar and vocals) and Evan Daly (electric guitar and vocals) have been friends since childhood. The two have been playing music together since their teenage years, combining their respective passions for americana and rock’n’roll songwriting with a desire to create a big sound that feels right at home in a barroom or on a large festival stage. Brett Worley (bass wizard) not only holds down the low end, he is also Evan’s cousin and has been touring with the band since the beginning. Brett’s melodic bass style has become a signature of the Boot Juice sound. Jess Stoll (vocals and artwork) joined the band shortly after, bringing another lead and backing voice to the group for deeply layered harmonies. She wears many hats for the band, acting as the artistic director for all of the band’s design concepts and providing the vision and drive necessary for a big production. Billy D. Thompson (drums) has been a staple of the Sacramento music scene for the past decade, graduating from Sacramento State University with a degree in Jazz Drum Performance. Billy brings his soul and funk influence into the Americana realm, adding yet another dimension to the band’s sound. In 2019 Boot Juice came into it’s full current lineup with the addition of its horn section. Caleb Sanders (alto and tenor saxophone), Matt Vollmer (Trumpet and Trombone) and Micah Marmorstein (trumpet) bring an infectious energy and tight horn harmonies to the stage, making it tough not to dance. It’s not uncommon to see these guys hanging off the rafters or running into the crowd by the end of the night.

Boot Juice plays music that will attempt to bring you to the street corner, the river side, or the open highway. They released their debut LP album, Speaking in Tones, in May 2019 and followed in March 2021 with their second record, Shifting gears. The group is currently tracking its third LP, which will be released in 2023.

Cactus Cuts with Kyle Hunter and Carly King

Doors : 8pm, Show : 9pm
Cover : $10 in advance, $15 at the door

Cactus Cuts:
Kyle Hunter:
Carly King:

Cactus Cuts is a captivating five-piece Americana folk band. Drawing inspiration from the harmonious melodies of the Milk Carton Kids and the virtuosic guitar stylings of Doc Watson, Cactus Cuts is quickly making waves with their fresh and invigorating sound. Formed in 2022 in the picturesque landscapes of Bozeman, MT, Cactus Cuts weaves together intricate acoustic arrangements, compelling storytelling, and lush vocal harmonies that are the perfect musical combination of modern bluegrass and old-time Americana.

At the forefront of Cactus Cuts’ sound are the dynamic duo of Benn and Abel. Their musical chemistry, creates a mesmerizing tapestry of sound that lingers long after the last note fades. With their heartfelt delivery, the band invites listeners on a sonic journey, with beautiful ballads, foot-stomping hoedowns, and everything in between. Whether performing in intimate venues or commanding larger stages, their passion for the music and genuine camaraderie shine through, creating an unforgettable experience for their audience.

As they carve their path in the Bozeman music scene, Cactus Cuts is quickly gaining recognition for their unique and compelling sound. Their ability to infuse the traditional roots of Americana folk with a modern sensibility has garnered them a dedicated and ever-growing fanbase. With their debut EP Lies Are Sweet out this fall, the band is poised to make a lasting impression, not only in Montana but across the vast American music landscape.

Kyle Hunter, is an Americana/ Alt Country singer/songwriter based out of Missoula, Montana. Alongside his 6 piece band, The Mountain Standard, he has been tearing up stages in the northwest producing sounds similar to Sturgill Simpson, Tyler Childers, and even some Allman Brothers. Seamlessly marrying sublime guitar tones reminiscent of the Dead all the while paying homage to country, western & folk roots. With snappy and undulating jazz and funk rhythms, the sound is punctuated by a sonic array piping out of the multi-faceted players on fiddle and keys. KHTMS inspires goosebumps with their one of a kind electric, roundhousing entertainment experience.

For the New Jersey-born and Wyoming-braised singer-songwriter, what started as a self-exploration into the Mountain West has now become the early stages of a promising career as folk artist. Carly King just wants to “go to the mountains alone, buy a plane ticket home and throw out her phone…”

West Dakota Stutter with Russ Chapman

Doors: 7pm, Show : 8pm
Cover : $10 in advance, $15 at the door

West Dakota Stutter is an Americana folk/rock band featuring Neil Filo Beddow and friends including Edd Gryder, John Sanders, Dean Wakerlin, Dan Bradner, Mike Helland, Terry Heaton, and Mike Davis. Bringing original music and tongue-in-cheek humor to stages across Southwest Montana.

Russ Chapman is a songwriter and storyteller. Winner of the Telluride Emerging Blues Artist award, his upbeat folk-blues sensibility is matched with creative word-smithing and light-hearted humor. Your feet will tap while your fancy is tickled. If you’re wondering who will speak for all of the hopelessly optimistic people seeking incredibly impractical solutions to completely imaginary problems—you’ve found the answer.

Taylor Burlage Presents : The Dead and Down with Jacob Rountree

Doors : 8pm, Show : 9pm
Cover : $10 in advance, $15 at the door


Bozeman’s very own Cosmic Roots Rock band The Dead & Down hit the stage for another unforgettable night at the Filling Station. Their creative musicality blends a variety of genres that will make you want to dance, laugh, and sometimes cry. Expect nothing less than damn good music with good people at the Filler.

Jerry Joseph – Solo


Doors open at 7pm, show at 8pm

Tickets : $20 in advance on

Jerry Joseph solo acoustic in support of his new album: Baby Your the Man Who Would Be King. With special guest: Matt Wallin solo.

The Hellroaring + Matt Wallin & HIs Nervous Breakdown

Bozeman Magazine presents:
The Hellroaring (Billings) + Matt Wallin & His Nervous Breakdown (co-headlining)
Friday December 1, Filling Station (2005 N Rouse)


Doors at 7pm, show at 8pm
$15 advance Tickets are on sale now at:
Don’t miss your chance to see The Hellroaring’s Filling Station Debut

Strumbucket with STiLGONE

Doors: 8pm, Show: 9pm

Cover: $10 in advance, $15 at the door

Strumbucket is a five-piece “twang-funk” band from Jackson, Wyoming known for their colorful multi-genre live shows. Drawing from a wide range of sounds, their original music weaves together funked bass grooves, banjo driven twang, latin beats, electro-psych synth lines, and classic rock guitar. Listening to the group’s offerings, one gets the sense that a good laugh is one piece of the puzzle that keeps the fun meter in check.


Forming in 2018, the band has grown outside the local Jackson music scene, playing everything from rowdy bar gigs to fun-filled community events, local venues to supporting acts such as JoJo Herman (Widespread Panic), DJ Williams’ Shot’s Fired, Polyrhythmics, and The Ghost of Paul Revere along the way.


The band consists of Peter Henderson (drums), Lavender Jones (bass, vocals), Grove Miller (keys), Pat Bottini (lead guitar), and Alex Blackwelder (banjo, lead vocals). The band released their first full length album, Hold On, I’m Strummin’, in July of 2022.


Strumbucket is influenced by the likes of The Meters, Little Feat, and one non-mainstream band for which they’re known to cover frequently, Ween.