Indiana Boys
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Indiana Boys

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"Indiana Boys embrace new album"

In 2004, the band the Indiana Boys was a loose concept — different musicians flowed in and out of the group on a consistent basis.

Each time, however, one man stayed at the center. Dick Gist, vocalist, guitarist and songwriter, began pulling in the rough edges of the group, along with Kenan Rainwater, another vocalist and songwriter.

Now, the band has five stable members: Gist, Rainwater, Joe Bolinger, Barry Todd and Dan Bilger.

“The music business is multi-faceted and can absorb more work per band than a Sham-wow chamois,” Rainwater said. “It really comes down to making a living at what I enjoy, where I enjoy myself most. There is no telling what the future holds for this band.”

After years of searching for the right guys for the band, Gist and Rainwater finally created the current Indiana Boys.

“Everything you do in life has been inspired by something,” Gist said. “We all came from very different backgrounds, and music brought us together. Hearing each others’ stories inspired the songs we play.”

Todd, also one of the founding members of the Indiana Boys, plays the mandolin and occasionally provides vocals.

Keeping the group’s sound together as its “rock-steady” bassist, Bilger holds up his end by playing the guitar, mandolin, keyboard and violin.

Bolinger, who joined the band after being asked by Rainwater, plays the banjo, writes songs and occasionally does back-up vocals.

“The Indiana Boys have existed, in some form, since 2004,” Bolinger said. “After finally getting pulled together, we’ve had the great opportunity of being a band for a little over a year now.”

The Indiana Boys recently recorded its first album, “Muddy Boots,” and plans a release party for it at the Muddy Boots Café in Nashville. The album was named after the café.

“We have one cover on that CD,” Bolinger said. “The rest are all originals. We each wrote songs, so I would say that we contributed at least two apiece. We went into the studio and recorded it right before Christmas where we had a solid week of recording and editing, but we got it done. Now, it’s ready for its spring release.”

Funded by the Muddy Boots Café and recorded at Farm Fresh Studios by Jake Belser, the album is to be released on March 16.

“We’re gonna try to get as many people as we can to listen to it,” Bolinger said. “We all have family and job commitments, so we aren’t planning on trying to go national with this or anything. We just want to make a name for ourselves in the area. We’re trying to be as professional as we can by doing shows in and around Indiana, and we hope that the CD will be enjoyed by a lot of people.”

Though sales of the album might bring some profit to the Indiana Boys, they said what they really play for is the enjoyment the music brings.

“Who knows what the future holds for us?” Gist said. “Honestly, if we don’t make a lot of profit from the album, it’s not going to bother me. All I can ask for is to be happy playing music and enjoying every moment of being in the band.” - Indiana Daily Student


"Indiana Boys embrace new album"

In 2004, the band the Indiana Boys was a loose concept — different musicians flowed in and out of the group on a consistent basis.

Each time, however, one man stayed at the center. Dick Gist, vocalist, guitarist and songwriter, began pulling in the rough edges of the group, along with Kenan Rainwater, another vocalist and songwriter.

Now, the band has five stable members: Gist, Rainwater, Joe Bolinger, Barry Todd and Dan Bilger.

“The music business is multi-faceted and can absorb more work per band than a Sham-wow chamois,” Rainwater said. “It really comes down to making a living at what I enjoy, where I enjoy myself most. There is no telling what the future holds for this band.”

After years of searching for the right guys for the band, Gist and Rainwater finally created the current Indiana Boys.

“Everything you do in life has been inspired by something,” Gist said. “We all came from very different backgrounds, and music brought us together. Hearing each others’ stories inspired the songs we play.”

Todd, also one of the founding members of the Indiana Boys, plays the mandolin and occasionally provides vocals.

Keeping the group’s sound together as its “rock-steady” bassist, Bilger holds up his end by playing the guitar, mandolin, keyboard and violin.

Bolinger, who joined the band after being asked by Rainwater, plays the banjo, writes songs and occasionally does back-up vocals.

“The Indiana Boys have existed, in some form, since 2004,” Bolinger said. “After finally getting pulled together, we’ve had the great opportunity of being a band for a little over a year now.”

The Indiana Boys recently recorded its first album, “Muddy Boots,” and plans a release party for it at the Muddy Boots Café in Nashville. The album was named after the café.

“We have one cover on that CD,” Bolinger said. “The rest are all originals. We each wrote songs, so I would say that we contributed at least two apiece. We went into the studio and recorded it right before Christmas where we had a solid week of recording and editing, but we got it done. Now, it’s ready for its spring release.”

Funded by the Muddy Boots Café and recorded at Farm Fresh Studios by Jake Belser, the album is to be released on March 16.

“We’re gonna try to get as many people as we can to listen to it,” Bolinger said. “We all have family and job commitments, so we aren’t planning on trying to go national with this or anything. We just want to make a name for ourselves in the area. We’re trying to be as professional as we can by doing shows in and around Indiana, and we hope that the CD will be enjoyed by a lot of people.”

Though sales of the album might bring some profit to the Indiana Boys, they said what they really play for is the enjoyment the music brings.

“Who knows what the future holds for us?” Gist said. “Honestly, if we don’t make a lot of profit from the album, it’s not going to bother me. All I can ask for is to be happy playing music and enjoying every moment of being in the band.” - Indiana Daily Student


"Doing Brown County with Breezy Peyton"

"Between the Ditches," the title of the just-released seventh album by the Rev. Peyton's Big Damn Band, hints at what life is like for the Hoosier trio that plays high-energy rural blues throughout the United States and Europe.

The Big Damn Band's current tour includes an Aug. 11 headlining appearance at the Indiana State Fair's Free Stage.

The Rev. Josh Peyton and Breezy Peyton are the husband-and-wife team that's out front when the Big Damn Band performs, complemented by drummer Aaron Persinger. ... - Indy Star


"Doing Brown County with Breezy Peyton"

"Between the Ditches," the title of the just-released seventh album by the Rev. Peyton's Big Damn Band, hints at what life is like for the Hoosier trio that plays high-energy rural blues throughout the United States and Europe.

The Big Damn Band's current tour includes an Aug. 11 headlining appearance at the Indiana State Fair's Free Stage.

The Rev. Josh Peyton and Breezy Peyton are the husband-and-wife team that's out front when the Big Damn Band performs, complemented by drummer Aaron Persinger. ... - Indy Star


"Indiana Boys on them Indiana Nights"

The Indiana Boys are Kenan Rainwater (vocals, guitar, harmonica) Dick Gist (vocals, guitar, mandolin), and Joe Bolinger (vocals, banjo), with mandolin virtuoso Barry Todd (Elkins) and “Picker” Dan Bilger (bass) along, when they aren’t playing for The White Lightning Boys. The Indiana Boys fit loosely into the acoustic roots, progressive bluegrass genre. Bluegrass is the dominant “root,” creating the fairly tight constraints of their musical form. But their music is definitely of this time. The acknowledged philosopher of the band, Joe Bolinger, notes, “We’re doing original music with a pretty wide range of content and fairly traditional forms. That’s kind of a unique thing. There are not a lot of bands like us.” Here Dick Gist quips, “there’s NO band like us.” The Indiana Boys have two CDs out now, Muddy Boots released on the spring equinox, 2012 and October Nights, released on the fall equinox, 2012. No accident that these releases tie to the rhythm of the earth, the movement of the heavens.
The chorus from the first song on the first CD, Kenan Rainwater’s “The Hadza,” gives a clue to the complexity of the songwriting that continues to unfold in surprising ways over both CDs. We’re gonna live in the moment This moment’s why we’re here Like the Hadza have done in the bush For the last ten thousand years.
Irony. Longing. Admiration. Resolve. Loss. The inevitability of time and change. In four short lines. Rainwater laughingly points to “angst,” as a shaping force in both his and
The Indiana Boys
She grew up in a Indiana town, Had a good lookin’ mama who never was around. But she grew up tall and she grew up right With them Indiana boys on an Indiana night. -Tom Petty, “Mary Jane’s Last Dance”
Bolinger’s songs, then adds, in serious counterpoint, “Being a deep thinker is both a blessing and a curse. Telling about life like it is—is not always happy. And then too, the happy songs may seem a little cheesier.” The angst is startlingly and originally present, for example, in Bolinger’s “The Crows,” “America,” and “Reap” from October Nights, and Rainwater’s “Concrete Town,” from Muddy Boots. They write songs about ambivalent patriotism and about the alloyed pain and joy of family life. And they have fun with the cheesiness, poking fun at it, just enjoying it in the moment. The Indiana Boys started out in 2004 as a rotating ensemble of musicians, centered around singer- songwriter and guitarist, Dick Gist and mandolin player-vocalist Barry Elkins. For years, Gist notes, they had a different sound for every show. Dick married into a talented musical family, where, he says, he learned nearly everything he knows about music. His wife, Harmony, and lead singer Kenan Rainwater had been friends “since before they could talk.” She introduced the two. Kenan brought in Bolinger, and they became a band about a year ago. They played with renaming the group, contemplating 25 to 30 names. But The Indiana Boys are Indiana boys, steeped in the idiosyncratic Brown County ethos that merges love and family and church and God with rugged individualism, deep connection to the beauty of the natural world, the love of a good story well-told and, of course, a little rebelliousness on the side. The name stuck. They began playing local music venues, especially Nashville’s Muddy Boots and The Pine Room Tavern (both currently managed by Gist). The group became a favorite of two of the co-owners, Betsy and James Oblack, who have provided encouragement and material support. And they are getting attention. They opened for Academy of Country Music’s top vocal group, Rascal Flatts, at Indianapolis’s Klipsch Music Center in late August. They played to a mobile crowd of 12,000 to 15,000 people. “People were stopping to listen. They were saying, ‘Who ARE these guys?’” They also played at the Indiana State Fair this year. And they are playing farther and farther from home—Evansville to Ft. Wayne—as word gets around. They hope to head back into the studio again this winter or spring. “Maybe we’ll have a release on the solstice,” Rainwater says, only half joking. But the future is, as it always is, clearly uncertain. Joe is only two years away from his Ph.D. from Indiana University in public policy studies. Dick and his wife have a baby on the way. Rainwater has a five-year-old daughter. Repeatedly mentioning the gratitude they have for the life and friends and family they have now, they focus
Established in 1926, Brown County’s original art gallery offers for sale artwork by contemporary artists and consigned early Indiana art. Selections from the Permanent Collections are also on display. Open Year-Round Monday – Saturday 10 am–5 pm · Sunday Noon–5 pm 306 E. Main St · Nashville, IN 47448 · 812-988-4609 www.browncountyartgallery.org
INDIANA BOYS continued from 12
on the near-term. “We want to stay around here, we have no desire to move to a bigger city,” Rainwater says. “I just hope that we can continue to have the fun that we had in t - Into Art


"Indiana Boys on them Indiana Nights"

The Indiana Boys are Kenan Rainwater (vocals, guitar, harmonica) Dick Gist (vocals, guitar, mandolin), and Joe Bolinger (vocals, banjo), with mandolin virtuoso Barry Todd (Elkins) and “Picker” Dan Bilger (bass) along, when they aren’t playing for The White Lightning Boys. The Indiana Boys fit loosely into the acoustic roots, progressive bluegrass genre. Bluegrass is the dominant “root,” creating the fairly tight constraints of their musical form. But their music is definitely of this time. The acknowledged philosopher of the band, Joe Bolinger, notes, “We’re doing original music with a pretty wide range of content and fairly traditional forms. That’s kind of a unique thing. There are not a lot of bands like us.” Here Dick Gist quips, “there’s NO band like us.” The Indiana Boys have two CDs out now, Muddy Boots released on the spring equinox, 2012 and October Nights, released on the fall equinox, 2012. No accident that these releases tie to the rhythm of the earth, the movement of the heavens.
The chorus from the first song on the first CD, Kenan Rainwater’s “The Hadza,” gives a clue to the complexity of the songwriting that continues to unfold in surprising ways over both CDs. We’re gonna live in the moment This moment’s why we’re here Like the Hadza have done in the bush For the last ten thousand years.
Irony. Longing. Admiration. Resolve. Loss. The inevitability of time and change. In four short lines. Rainwater laughingly points to “angst,” as a shaping force in both his and
The Indiana Boys
She grew up in a Indiana town, Had a good lookin’ mama who never was around. But she grew up tall and she grew up right With them Indiana boys on an Indiana night. -Tom Petty, “Mary Jane’s Last Dance”
Bolinger’s songs, then adds, in serious counterpoint, “Being a deep thinker is both a blessing and a curse. Telling about life like it is—is not always happy. And then too, the happy songs may seem a little cheesier.” The angst is startlingly and originally present, for example, in Bolinger’s “The Crows,” “America,” and “Reap” from October Nights, and Rainwater’s “Concrete Town,” from Muddy Boots. They write songs about ambivalent patriotism and about the alloyed pain and joy of family life. And they have fun with the cheesiness, poking fun at it, just enjoying it in the moment. The Indiana Boys started out in 2004 as a rotating ensemble of musicians, centered around singer- songwriter and guitarist, Dick Gist and mandolin player-vocalist Barry Elkins. For years, Gist notes, they had a different sound for every show. Dick married into a talented musical family, where, he says, he learned nearly everything he knows about music. His wife, Harmony, and lead singer Kenan Rainwater had been friends “since before they could talk.” She introduced the two. Kenan brought in Bolinger, and they became a band about a year ago. They played with renaming the group, contemplating 25 to 30 names. But The Indiana Boys are Indiana boys, steeped in the idiosyncratic Brown County ethos that merges love and family and church and God with rugged individualism, deep connection to the beauty of the natural world, the love of a good story well-told and, of course, a little rebelliousness on the side. The name stuck. They began playing local music venues, especially Nashville’s Muddy Boots and The Pine Room Tavern (both currently managed by Gist). The group became a favorite of two of the co-owners, Betsy and James Oblack, who have provided encouragement and material support. And they are getting attention. They opened for Academy of Country Music’s top vocal group, Rascal Flatts, at Indianapolis’s Klipsch Music Center in late August. They played to a mobile crowd of 12,000 to 15,000 people. “People were stopping to listen. They were saying, ‘Who ARE these guys?’” They also played at the Indiana State Fair this year. And they are playing farther and farther from home—Evansville to Ft. Wayne—as word gets around. They hope to head back into the studio again this winter or spring. “Maybe we’ll have a release on the solstice,” Rainwater says, only half joking. But the future is, as it always is, clearly uncertain. Joe is only two years away from his Ph.D. from Indiana University in public policy studies. Dick and his wife have a baby on the way. Rainwater has a five-year-old daughter. Repeatedly mentioning the gratitude they have for the life and friends and family they have now, they focus
Established in 1926, Brown County’s original art gallery offers for sale artwork by contemporary artists and consigned early Indiana art. Selections from the Permanent Collections are also on display. Open Year-Round Monday – Saturday 10 am–5 pm · Sunday Noon–5 pm 306 E. Main St · Nashville, IN 47448 · 812-988-4609 www.browncountyartgallery.org
INDIANA BOYS continued from 12
on the near-term. “We want to stay around here, we have no desire to move to a bigger city,” Rainwater says. “I just hope that we can continue to have the fun that we had in t - Into Art


"Indiana Boys: Muddy Boots"

The Indiana Boys’ debut album, Muddy Boots plays like an Indiana summer – sweet and dreamy, easygoing yet still sharp and astute.

I think part of why I relate to artists like the Indiana Boys and why they fit the region so well is that Americana music is like the growing season. Each listen ripens your appreciation like slow growing fruit. You start to pick up on the interplay between the banjo and mandolin, or lyrics like “The rumbling in my stomach said the twinges of regret had begun” start to stand out.

The music isn’t complicated, but it’s rich with culture, humor, and adept solos.

Pay special attention to the last three songs, written by Indiana Boys’ banjo player, Joe Bolinger. A wordsmith, Bolinger’s stories are vivid and gripping. Kenan Rainwater pulls the album together with a commanding and alluring vocals.

The album is named, I believe, after Muddy Boots Cafe in Nashville, where you’ll often see the boys on the calendar. The best way to grab the album is to go to one of their shows and pick one up. A great live band with lots of synergy. I expect their albums to only get better as they grow together, as Indiana Boys are wont to do.

Album recorded at Farmfresh Studios - Bloomington Area Music


"Indiana Boys: Muddy Boots"

The Indiana Boys’ debut album, Muddy Boots plays like an Indiana summer – sweet and dreamy, easygoing yet still sharp and astute.

I think part of why I relate to artists like the Indiana Boys and why they fit the region so well is that Americana music is like the growing season. Each listen ripens your appreciation like slow growing fruit. You start to pick up on the interplay between the banjo and mandolin, or lyrics like “The rumbling in my stomach said the twinges of regret had begun” start to stand out.

The music isn’t complicated, but it’s rich with culture, humor, and adept solos.

Pay special attention to the last three songs, written by Indiana Boys’ banjo player, Joe Bolinger. A wordsmith, Bolinger’s stories are vivid and gripping. Kenan Rainwater pulls the album together with a commanding and alluring vocals.

The album is named, I believe, after Muddy Boots Cafe in Nashville, where you’ll often see the boys on the calendar. The best way to grab the album is to go to one of their shows and pick one up. A great live band with lots of synergy. I expect their albums to only get better as they grow together, as Indiana Boys are wont to do.

Album recorded at Farmfresh Studios - Bloomington Area Music


"New Year’s Eve Show @ The Bluebird Nightclub-Featuring The Reverend Peyton’s Big Damn Band w/opening acts The Indiana Boys and The New Old Calvary"

This New Year’s Eve I happily chose to stay close to home and attend a well-rounded lineup of Central Indiana musicians. The night featured an eclectic mixture of Traditional Bluegrass, Newgrass(Progressive Bluegrass), Outlaw Country, American Psychedelia, Blues, and Southern Jam Rock. Rev. Peyton’s Big Damn Band headlined the holiday event, with The Indiana Boys and The New Old Calvary as supporting acts. Initially, seeing The New Old Cavalry was my sole reason for attending, but proved to be very myopic given the caliber of music on display. The Indiana Boys were the first to take the stage, starting the night with an excellent set. Their set was fun, energetic, and featured a very talented presentation of music. Also, the veteran musicians’ stage presence undeniably displayed a certain sense of swagger. The first half of the set featured two mandolins feverishly plucking away, while Kenan Rainwater(lead vocals, harmonica, and rhythm guitar) added a rich and wholesome element in contrast to the energetic sounds coming from the other members. Barry Todd, mandolin, lived up to the label of a virtuoso on the instrument, owning the stage for most of the set. The second half of the set featured the band inviting other musicians from Dan Bigler’s other group, White Lighting Boys, to join them on stage. This proved to be beneficial and added even more musical depth to their already impressive set.The apex of the set, and easily the crowd favorite, was when The Indiana Boys played their rendition of Snoop Doggy Dogg’s classic gangster rap hit, “Gin & Juice”. It was honestly a well-executed cover, not letting the silliness of the lyrics detract from the quality musical composition. The Boys fed off of the energy of the crowd, taking it up a notch with huge smiles adorned across their faces as they closed their set on a very high note. I was very impressed with the entire set, and those gentlemen are obviously professionals.

My excitement began to rise in anticipation of The New Old Cavalry’s set to begin. After the briefly playful stint of sound adjustments, their set quickly began in a fury. Chris Doller, guitar and vocals, and Alex Wukmer, Dobro and vocals, began the set by energizing the tempo and the amassing crowd with heavy hitting play on their respected instruments. The first portion of the set featured the two trading back and forth between who led the charge. They traded off in perfect sync, forging ahead into seemingly improvised bluegrass-psychedelia jams. Justin Hughey, electric banjo, plucked along in lockstep, providing the hard-hitting music with crisp melodies and the signature bluegrass twang. It didn’t take too long for Hughey cut loose and took control of the music, taking the Psychedelia jam into a Newgrass jam. I absolutely love the hearing a banjo(electric or not) relentlessly push the tempo faster and faster, especially when properly executed, which he did so with ease. Brandon Lee, mandolin, also came to the forefront of the jam, furthering the sound of the Progressive Bluegrass gets down. Chills crept down my spine as the rest of the stage-front attendees and I began to boogie, revival style. I must also point out, Brian Chomka, Upright Bass, was essential in holding the sound together with booming bass lines, well-timed changes with the beats, and tightly held the music together. He was the glue holding the rhythms of the far out jams in tact. I was impressed when the guys took the music down several notches, adding a nice flow to their set with the beautiful track. The abrupt tempo change was all they could do to add some sort of flow to their short forty-five minute set. They finished the set just as they had begun, in a fireball fury. A band like The New Old Cavalry deserves at least an hour and a half to properly deliver their seemingly improvisational Newgrass psychedelic jams. Honestly, I was a little disappointed they weren’t allowed to play much longer, but they most certainly made the best of their allotted time. It’s always a treat to hear their fusion of several genres of music. Every time I see them their music continues to evolve.



After a brief intermission spent with whiskey consumption providing necessary warmth and perfect numbness outside in the freezing cold while chain-smoking, I finally reentered The Bluebird a few moments before Reverend Peyton’s Big Damn Band took the stage. I stood, uncertain of what was about to transpire, with this being my first Reverend Peyton show(that I can remember). The uncertainty quickly subsided as Washboard Breezy Peyton came out playing a washboard and harmonica with Reverend wailing on the guitar. It was truly a gnarly concoction of sound, in a very good way. His unique voice and edgy guitar play boisterously roared through the venue. I totally get the irony of the band’s name, with Aaron “Cuz” Persinger(drums, vocals) rounding out the trio, but their music does provide an illusion of a big damn band actually playing. Rever - IndyMoJO


"New Year’s Eve Show @ The Bluebird Nightclub-Featuring The Reverend Peyton’s Big Damn Band w/opening acts The Indiana Boys and The New Old Calvary"

This New Year’s Eve I happily chose to stay close to home and attend a well-rounded lineup of Central Indiana musicians. The night featured an eclectic mixture of Traditional Bluegrass, Newgrass(Progressive Bluegrass), Outlaw Country, American Psychedelia, Blues, and Southern Jam Rock. Rev. Peyton’s Big Damn Band headlined the holiday event, with The Indiana Boys and The New Old Calvary as supporting acts. Initially, seeing The New Old Cavalry was my sole reason for attending, but proved to be very myopic given the caliber of music on display. The Indiana Boys were the first to take the stage, starting the night with an excellent set. Their set was fun, energetic, and featured a very talented presentation of music. Also, the veteran musicians’ stage presence undeniably displayed a certain sense of swagger. The first half of the set featured two mandolins feverishly plucking away, while Kenan Rainwater(lead vocals, harmonica, and rhythm guitar) added a rich and wholesome element in contrast to the energetic sounds coming from the other members. Barry Todd, mandolin, lived up to the label of a virtuoso on the instrument, owning the stage for most of the set. The second half of the set featured the band inviting other musicians from Dan Bigler’s other group, White Lighting Boys, to join them on stage. This proved to be beneficial and added even more musical depth to their already impressive set.The apex of the set, and easily the crowd favorite, was when The Indiana Boys played their rendition of Snoop Doggy Dogg’s classic gangster rap hit, “Gin & Juice”. It was honestly a well-executed cover, not letting the silliness of the lyrics detract from the quality musical composition. The Boys fed off of the energy of the crowd, taking it up a notch with huge smiles adorned across their faces as they closed their set on a very high note. I was very impressed with the entire set, and those gentlemen are obviously professionals.

My excitement began to rise in anticipation of The New Old Cavalry’s set to begin. After the briefly playful stint of sound adjustments, their set quickly began in a fury. Chris Doller, guitar and vocals, and Alex Wukmer, Dobro and vocals, began the set by energizing the tempo and the amassing crowd with heavy hitting play on their respected instruments. The first portion of the set featured the two trading back and forth between who led the charge. They traded off in perfect sync, forging ahead into seemingly improvised bluegrass-psychedelia jams. Justin Hughey, electric banjo, plucked along in lockstep, providing the hard-hitting music with crisp melodies and the signature bluegrass twang. It didn’t take too long for Hughey cut loose and took control of the music, taking the Psychedelia jam into a Newgrass jam. I absolutely love the hearing a banjo(electric or not) relentlessly push the tempo faster and faster, especially when properly executed, which he did so with ease. Brandon Lee, mandolin, also came to the forefront of the jam, furthering the sound of the Progressive Bluegrass gets down. Chills crept down my spine as the rest of the stage-front attendees and I began to boogie, revival style. I must also point out, Brian Chomka, Upright Bass, was essential in holding the sound together with booming bass lines, well-timed changes with the beats, and tightly held the music together. He was the glue holding the rhythms of the far out jams in tact. I was impressed when the guys took the music down several notches, adding a nice flow to their set with the beautiful track. The abrupt tempo change was all they could do to add some sort of flow to their short forty-five minute set. They finished the set just as they had begun, in a fireball fury. A band like The New Old Cavalry deserves at least an hour and a half to properly deliver their seemingly improvisational Newgrass psychedelic jams. Honestly, I was a little disappointed they weren’t allowed to play much longer, but they most certainly made the best of their allotted time. It’s always a treat to hear their fusion of several genres of music. Every time I see them their music continues to evolve.



After a brief intermission spent with whiskey consumption providing necessary warmth and perfect numbness outside in the freezing cold while chain-smoking, I finally reentered The Bluebird a few moments before Reverend Peyton’s Big Damn Band took the stage. I stood, uncertain of what was about to transpire, with this being my first Reverend Peyton show(that I can remember). The uncertainty quickly subsided as Washboard Breezy Peyton came out playing a washboard and harmonica with Reverend wailing on the guitar. It was truly a gnarly concoction of sound, in a very good way. His unique voice and edgy guitar play boisterously roared through the venue. I totally get the irony of the band’s name, with Aaron “Cuz” Persinger(drums, vocals) rounding out the trio, but their music does provide an illusion of a big damn band actually playing. Rever - IndyMoJO


Discography

March 2012-Muddy Boots (radio play with WFHB, Bloomington; KORN Country, Columbus, Indiana)
Sept 2012-October Nights(WFHB & KORN Country)
Jan 2013-"EP"
July 2013-"untitled album"

Itunes, Spotify, & Pandora (coming soon)

Photos

Bio

The Indiana Boys started out life in 2004 as a rotating ensemble of musicians, centered around singer-songwriter and guitarist, Dick Gist. The band evolved through various permutations, finally crystallizing around Dick and a talented young vocalist and songwriter named Kenan Rainwater. With Dick's encouragement, the two slowly assembled a body of original music that they would perform with regular help from bassist Dan Bilger and mandolin virtuoso Barry Todd.

Kenan began pestering his long-time friend, banjo player Joe Bolinger, to open Pandora's box and let him perform some of the original songs that Joe had written over the years and had stored in various (literal) shoe boxes in his house. This lead to Joe eventually joining the band as a songwriter, banjo player, and occasional backup vocalist.

Finally, with this core group of Dick, Kenan, Joe, Barry, and Dan, the band felt complete.

With a wide range of influence from John Prine, Tom Petty, Johnny Cash, Bill Monroe, U2, Grateful Dead.....(lots more) we like to take the sounds we hear, try to imitate them and add our Southern Indiana Flavor to get the Indiana Boys sound.

In 2012 the Indiana Boys shared the stage with the likes of the Traveln' McCourys, Reverend Peytons Big Damn Band, Rascal Flats, Little Big Town, Tim Grimm, Jason Wilbur & the Rumpke Mountain Boys; just to name a few. Being based in Brown and Monroe Counties in Indiana, the IBs' traveled as far as South Bend, the Indiana State Fair, the John Hartford Memorial Festival, and Klipsch Music Center to entertain crowds. With the release of "Muddy Boots" in March and "October Nights" in September the IBs have grown a strong supportive fan base. In 2013 the they are planing to go back into Farm Fresh Studios to record their third album of original material. Influenced by their surroundings, families, and experiences on the road this next album is sure to be one you don't want to miss out on. & You can see us June 15th at Klipsch Music Center with Tom Petty & the Heartbreakers!

Do you need entertainment for an event, house concert, or think the Indiana Boys would work well in your venue? Click on contact page and send us a message!

Looking forward to seeing you in 2013!