Direct From The

Alabama Music Hall of Fame

SAT APRIL 22nd 8pm (doors 7pm)

Rebel Artist Recording Artist

DAVID DAVIS & The

Warrior River Boys

"More lonesome than a whippoorwill!"

  

"Top drawer and polished!" - Bluegrass Today

“Sure-fire picking and

train-whistle harmonies.” - USA TODAY

Alabama native and member of The Alabama Bluegrass Music Hall of Fame, David Davis has traveled and preformed as frontman for the bluegrass group, David Davis and the Warrior River Boys since 1984. He is recognized as one of the foremost practitioners of the Monroe mandolin techinique. His interest in old-time and bluegrass music grew organically from a musical family, both his father and grandfather were players and singers. His uncle, Cleo Davis, was Bill Monroe’s original Blue Grass Boy.

 

When it comes to lonesome, nobody does it better than David Davis. On this, his self-titled Rebel debut, David has assembled a top flight band and perfected the stark, mournful sound that has garnered the attraction and praise of fans and critics alike for over two decades. DDWRB -  http://daviddavisandwrb.com

David Davis has come a long way since he first picked up the mandolin. As leader of the Warrior River Boys for nearly 25 years, he has seen many festivals, hotels, diners and overnight drives. Decidedly the most significant thing he’s seen in those years is the evolution of his music. From a strict adherence to the traditional style of bluegrass to a more contemporary sound, Davis has always strived to bring a fresh, sincere sound to his fans. His latest album - Two Dimes and a Nickel - is testament to this man’s ambition and the latest installment in his life’s work.

 

Davis took over the Warrior River Boys in 1985 and carried it on with the traditional lineup of fiddle, guitar, banjo, mandolin and bass. At the time, the young leader was obsessed with Bill Monroe and stayed very much within the borders of Monroe’s playing style. He, the mandolin player, was the tenor singer in the band; the guitar player was the lead singer; gospel numbers were done as quartets. The band held tightly to this format on their earliest recordings.

 

Though Davis and the band toured regularly throughout the late 90s and early 2000s, they stayed away from the studio until 2004. That year he released his first album for Rebel and, with it, revealed a new direction in his music. Gone was the fierce devotion to the Monroe-doctrine of bluegrass and in its place was a fresher, more creative sound. Davis handled more of the lead vocal work, and the arrangements–while still traditional in their timing and overall sound–were distinctly more contemporary in style and taste. The most important change, however, was in the choice of material. No longer were there tired “war horses” done up in revivalist fashion. Davis was unearthing new material from up-and-coming writers while at the same time reviving and reworking overlooked classics. He found his true musical identity in this style and has continued to refine it ever since.