2023 Summer Concert Series

Beech Mountain Resort presents a summer of live music featuring The Revivalists w/ Son Little, Amos Lee w/ Langhorne Slim, and Grace Potter w/ Morgan Wade

June 10th

The Revivalists w/ Son Little

The Revivalists in New Orleans, LA 2022

Eight-piece rock ‘n’ roll collective The Revivalists – David Shaw [lead vocals, guitar], Zack Feinberg [guitar], Andrew Campanelli [drums], George Gekas [bass], Ed Williams [pedal steel guitar], Rob Ingraham [saxophone], Michael Girardot [keyboard, trumpet], and PJ Howard [drums, percussion] – have made the journey from hole-in-the-wall gigs to sold-out shows at hallowed venues, multiplatinum success, more than 800 million streams and major media praise. Their fifth album, Pour It Out Into The Night (Concord Records) is a life-affirming album about living in the moment, fueled by lessons in gratitude and life realizations. As the world came to a standstill in the years since their last album, Take Good Care, personal experiences and life challenges abounded, with band members having their first children, getting married, and navigating the mental hurdles of lockdown. On lead single “Kid” – a hopeful anthem about capturing the essence of life, self-belief, and living for the spirit – piano peeks through bright acoustic guitar as a bold beat powers the chantable chorus, “Hey kid, just sing the songs that wake the dead, then you keep them ringing in your head.” “Kid” introduces an album that offers a nostalgic hopefulness rooted in living for who you are, an unburdening, and an appreciation for the here and now. Renowned for their live prowess, soulful alt-rock anthems, distinct mix of many of the classic styles of American music, and outward generosity through their philanthropic Rev Causes initiative, The Revivalists broke through with 2015’s Men Amongst Mountains, which featured the double-platinum smash single and Billboard Hot 100 hit “Wish I Knew You.”


Son Little, praised by American Songwriter as “one of the best songwriters working today,” conceived his latest album, Like Neptune, in a cabin overlooking the Delaware River in upstate New York. Trading in the existential dread permeating his previous work for unbridled joy and self-acceptance, Son Little transmutes the chronic pain of self-doubt into a beautiful and freeing opus about overcoming generational trauma. Hailed by Afropunk as “a stunning statement of purpose,” Like Neptune decorates the altar of the primordial blues and elevating the labor of healing to high art. “I’ve always felt as though I was making music because I had to, something inside compelled me. Fueled me,” Little shared. “This the first time in a long time I’m making music for the pure joy of creating.”

Son Little and his band, comprised of Little on vocals/guitar, Steve McKie (drums), and DeShawn Alexander (keys/bass), will tour North America for the first time support of Like Neptune through November and December.

Tickets on sale Friday March 17

July 15th

Amos Lee w/ Langhorne Slim

With one foot in the real world and the other in a charmed dimension of his own making, Amos Lee creates the rare kind of music that’s emotionally raw yet touched with a certain magical quality. On his eighth album Dreamland, the Philadelphia-born singer/songwriter intimately documents his real-world struggles (alienation, anxiety, loneliness, despair), an outpouring born from deliberate and often painful self-examination. “For most of my life I’ve walked into rooms thinking, ‘I don’t belong here,’” says Lee. “I’ve come to the realization that I’m too comfortable as an isolated person, and I want to reach out more. This record came from questioning my connections to other people, to myself, to my past and to the future.”

In the spirit of fostering connection, Lee made Dreamland in close collaboration with L.A.-based producer Christian “Leggy” Langdon (Banks, Meg Myers). “I met with Leggy, who I really didn’t know anything about, and before we even started to work we had a very open and vulnerable conversation about what was going on in our lives,” he recalls. “So much of what I do is solitary work, and it felt good to find someone I could connect with—sort of like, ‘I’m a lonely kid, and I wanna play.’” Thanks to that palpable sense of playfulness, Dreamland embodies an unpredictable and endlessly imaginative sound—a prime showcase for Lee’s warmly commanding voice and soul-baring songwriting.

The very first song that Lee and Langdon created together, “Hold You” set the standard for Dreamland’s open-hearted confession. With its delicate convergence of so many exquisite sonic details—luminous guitar tones, ethereal textures, tender toy-piano melodies—the track finds Lee
looking inward and uncovering a deep urge to provide comfort and solace. “Especially if you’ve grown up with a less-than-appealing inner voice, you have to start with yourself,” he notes. On “Worry No More”—the mantra-like lead single to Dreamland—Lee shares his hard-won insight into riding out anxiety. “I’ve had a lot of episodes with anxiety in my life and now I feel much more equipped to handle them, partly because my family and friends have always been so supportive of me,” he says. “Music has also been so healing for me, and helped me to find a place in my mind that isn’t purely controlled by fear.” To that end, “Worry No More” gently exalts music’s power to brighten our perspective, with the song’s narrator slipping into a headphone-induced reverie as they wander a broken world (“I’m listening to the sounds of Miles/Spanish sketches, playground smiles/Crowded streets and empty vials/For all to share”). All throughout Dreamland, Lee embraces an unfettered honesty, repeatedly shedding light on the darkest corners of his psyche. On “Into the Clearing,” for instance, the album takes on a moody intensity as Lee speaks to a desire for obliteration. “There’s always a longing to be one with the universe, to be one with nature, to be one with the sky,” he says. “And sometimes the only way you can be with the sky is to be smoke.” A powerfully uplifting track with a gospel-like energy, “See the Light” evokes a fierce resolve to hold tight to hope (“Since I know I’m going to be singing these songs over and over, I like to infuse them with helpful messages to myself,” Lee says). With its soulful piano work and soaring string arrangement, “Seeing Ghosts” reflects on anxiety’s insidious ability to warp our perception. “For a lot of people with anxiety disorders, there’s this fog that sets in, where your brain becomes overwhelmed and you disconnect,” says Lee. “I’ve definitely seen ghosts my whole life.” In a striking tonal shift, Lee then delivers one of Dreamland’s most euphoric moments on “Shoulda Known Better,” a radiant piece of R&B-pop fueled by his dreamy falsetto. “That song’s looking at the messy side of life,” he says. “It’s saying, ‘I was dumb, I shouldn’t have done that, but we had a lot of fun. I don’t regret it at all.’” In the making of Dreamland, Lee found his songwriting indelibly informed by his recent reading of Johann Hari’s 2018 book Lost Connections. “It’s about depression, which I have a pretty deep history with, and how our society and our generation looks at mental health and healing in terms of medication rather than thinking about our personal relationship to the people and the world around us,” he says. And with the release of Dreamland, Lee hopes that his songs might inspire others to live more fully and free of fear. “Over the course of my life I’ve come to understand that music is my bridge to other people,” he says. “I have no idea what the waters are like below that bridge—it might be lava for all I know—but music allows me to float over the whole thing and connect. To me that’s the whole point of why we do this: to give people something to listen to and be enveloped by the love of another human being, and just be reminded that humanity is beautiful.”


Langhorne Slim didn’t write a song for more than a year. A battle with clinical anxiety disorder and prescription drug abuse, which came to a head in 2019, had dimmed the light within. The man who once seemed to ooze spontaneity was now creatively adrift, stumbling along in the fog.

In December, he entered a program and, for the first time in a long time, a path toward healing began to emerge. He began to see that inner peace was possible, even with the world outside raging.

A few months later, in February, a tornado came and decimated East Nashville, his adopted hometown. Covid-19 took root just days later, changing lives forever. In the early days of his recovery, a different reality was beginning to take shape, both within and without. New worlds were being born; old worlds were dying.

Knowing he was struggling to write songs and make sense of it all, Slim was finally able to flesh out a throwaway ditty one afternoon. His close friend Mike then suggested he try penning a song a day. Slim didn’t like the idea, but he gave it a shot.

To his surprise, the songs came. In a flurry of stream-of-consciousness writing, the new tunes tumbled out, one after another, like little starbursts of joy, gifts from the gods you might say. Slim was tuning out the noise and finding beauty in the madness of a world coming undone. Over the course of a couple of months from March to May, Slim penned more than twenty that were certified keepers. Out of this bumper crop came the songs that make up his new album, Strawberry Mansion, which is being released this winter on Dualtone Records.

“I wasn’t sitting on the songs and I wasn’t overthinking them,” Slim says of the writing process of those months. “Something cracked open with the slowing down and the stillness of quarantine.

After finishing a song, whether he liked the tune or not, he’d call Mike, a videographer, and they’d record it and post it to Instagram. It was a form of therapy, he now realizes. “There was nothing precious about the process and it was a bonding thing between me and Mike as much as anything else,” Slim says. “It also gave me a release and maybe some potential form of healing, and was an opportunity to not always listen to the shitty thoughts in my head. I wasn’t ever thinking that I was writing songs for a new record.”

Prior to this creative outburst, Slim’s anxiety had grown so acute there were times when he actually feared picking up his guitar and trying to write. With the help of therapy and friends, he was now learning to confront his demons rather than run from them. So, in the midst of a panic attack one day, he picked up his guitar and the song “Panic Attack” was born. It’s a raw, off-the-cuff number that rises above the dark subject matter with spirit, irony and humor. “I called a healthcare professional/ Wanna speak to someone confidentially/ Don’t know just how I’m feelin’/ But I’m feelin’ feelings exponentially,” he sings.

Album-opener “Mighty Soul” details a world beset by Biblical-grade plagues (coronavirus, the Nashville tornado) and government malfunction. It ultimately calls for healing through community and the recognition that we can all make a difference. It functions as the album’s spiritual center, a secular gospel number for all mankind.

“Morning Prayer” is inspired by the songwriter’s effort to pray for the first time in his life. “It’s not in the key of any one religion,” Slim says of the number. “For this, I’m grateful that my guitar was unknowingly yet appropriately out of tune. It’s a song to help me practice compassion, surrender, connection to nature, the spirits and beyond.”

The second part of “Morning Prayer” is one of the most affecting moments on Strawberry Mansion, with the singer reaching out and offering prayers for his loved ones who are struggling, for all of humanity, really. “For my friends who suffer/ For my mother, father and brother/ For a world down on its knees/ I pray for thee,” he sings with great poignancy.

The road to Strawberry Mansion, which was recorded at Daylight Sound in Nashville with longtime compadres Paul DeFigilia (Avett Brothers) and Mat Davidson (Twain), began in 2019 with Slim’s decision to get sober. Even though the singer-songwriter kicked alcohol years ago, the insidious monster of addiction had crept back into his life in different guises. The last straw came during a road trip with a friend, who, at the end of the journey, let it be known that the man he knew and loved was no longer recognizable. So Slim called his manager and loved ones and soon checked into a program. That experience and his ongoing recovery program have given him a framework for grappling with the personal demons that have always skulked in the shadows, and helped him find light in the void. “It’s important for me to talk honestly about these things, because I feel it gives me strength, and it might help others along the way.” he says.

Strawberry Mansion is the singer-songwriter’s seventh full-length album. He released his first record, Electric Love Letter, back in 2004. Since then he has graced the stages of Bonnaroo, Lollapalooza, Newport Folk Festival, and the Conan O’Brien show, winning fans over with his heart-on-a-sleeve sincerity and rousing live shows.

Born Sean Scolnick in 1980, Slim took part of his artistic moniker from his hometown of Langhorne, Pennsylvania, a place he’s still very much connected to despite making his home in Nashville. Since the advent of Covid-19, he has been traveling back to PA once a month to see his mother and grandmother, and, like many Americans, finding strength in his origins and family bonds. The title Strawberry Mansion refers to the neighborhood in Philadelphia where both of his grandfathers grew up, a place he calls “dirty but sweet, tough but full of love, where giants roamed the earth and had names like Whistle and Curly.” That idea of a mythical wonderland informs the new album from head to toe. Strawberry Mansion is not so much about nostalgia for the past as it is about the possibility of better days ahead in this world. These are songs that remind us we’re all part of a collective “Mighty Soul,” united in one journey, just like the characters in that old Philly neighborhood. It’s a life-affirming album for these times.

Tickets on sale Friday March 17

August 12th

Grace Potter w/ Morgan Wade

Grace Potter is a Grammy-nominated multi-instrumentalist, songwriter, and internationally acclaimed rock musician from Waitsfield, Vermont. She formed Grace Potter & the Nocturnals in 2002 while attending St. Lawrence University in upstate New York. Grace Potter & the Nocturnals toured extensively, playing festivals and venues throughout North America. After signing with major record label Hollywood Records, Potter and her band went on to release four full-length studio albums: Nothing But The Water (2006), This is Somewhere (2007), Grace Potter and the Nocturnals (2010), and The Lion The Beast The Beat (2012), with the latter two both debuting in the Top 20 of the Billboard charts. Potter also duetted with country singer Kenny Chesney on the Grammy-nominated, platinum-selling hit “You and Tequila” in 2010.

In 2011 Potter established the Grand Point North Festival, a Vermont-based two-day music festival that has featured The Avett Brothers, Fitz & The Tantrums, The Flaming Lips, Nathaniel Rateliff & The Night Sweats, Trey Anastasio, and many more. Potter has played every major US music festival, including Coachella, Lollapalooza, and Bonnaroo, as well as international festivals such as Byron Bay Bluesfest, Rock in Rio, and Fuji Rock. She has shared the stage with legendary artists such as The Rolling Stones, The Allman Brothers Band, Robert Plant, Willie Nelson, Neil Young, and Mavis Staples. In 2015 Potter received the ASCAP Harry Chapin Vanguard Award by WhyHunger for her charitable work. She was also honored by her home state with the Governor’s Award for Excellence in the Arts, Vermont’s highest honor in the creative sector. Her 2015 album, Midnight, was released to critical acclaim, debuting at #17 on the Billboard 200 chart.

Potter released her latest album Daylight (Fantasy) in 2019, garnering two Grammy nominations. Described by Spin as “one of the greatest living voices in rock today” and by SF Weekly as “the whole package,” Potter continues to impress both critics and audiences with her musical achievements and captivating live shows. Potter has plans to release new music and tour extensively in 2023, as well as continue to pursue her passion for filmmaking, podcasting, and writing.


Morgan Wade didn’t write to be a sensation, for critical acclaim or massive concert tours. She wrote to speak her truth, to save her own life – and perhaps throw a rope to others struggling with the weight of a world moving too fast, loves where you fall too hard and nights that, good or bad, seem to go on forever.

2021 saw Reckless, her Thirty Tigers/now Sony Music Nashville debut, and lead single “Wilder Days” topping critical lists from Rolling Stone, TIME, Stereogum, New York Times, Boston Globe, FADER, Tennessean, Whiskey Riff, Billboard, and The Boot and Taste of Country who both proclaimed, “a once-in-a-decade debut.” With a voice that is raw hurt, deep knowing and somehow innocence retained, Wade wrote or co-wrote a song cycle about the reality facing teens and 20-somethings that embraced raw desire, the reality of getting high and getting sober, the realm of crawling through the wreckage with a tough vulnerability that is as singular as the young woman from Floyd, Virginia. “I didn’t know anybody like me when I was a kid, listening to music,” she confesses. “That’s why I fell in love with Elvis, that raw emotion. He held nothing back, and I loved that, so when I started writing, that’s where I went. I didn’t know you couldn’t. And to tell kids ‘do your own thing,’ that’s a bit much, but if I can show them something else? That might light a fire.” The sinewy songwriter covered in ink understands striking that fire. Wade, shamed for singing at school, felt the singe. She recalls, “I’d spent so long being told, ‘Your voice is weird’ by other kids, and it’s such a pivotal time. They’d say, ‘What’s wrong with you? You can play for yourself but do it at home.’ “And it helps,” she knowingly concedes, “because you do it for you.” Developing her distinctly singular – turpentine and honeycomb – vocal tone, her emotional transparency suggests Etta James, Adele, Patti Griffin, Lana Del Ray, St. Etienne’s Annie Clark, even Alison Krauss.

With insider trade HITS proclaiming, “Imagine Kris Kristofferson as a Gen Z woman,” The New York Times raving, “she sounds like she’s singing from the depths of history” and FADER offering, “Wade has a voice like a jagged blade, sharp enough to draw blood but lustrous under the light,” Reckless landed hard and true. A product of her collaboration with Sadler Vaden (guitarist in Jason Isbell + the 400 Unit) and engineer Paul Ebersold, the trio worked to keep the guitars forward, the edges rough and her voice the star in the loose tumble of players meshing on the edge of Tom Petty/Lucinda Williams’ rock & roll. Just as importantly, Vaden – who came across Wade at a music festival, where his guitar tech asked for a CD – recognized the power of a woman being truly honest. Rather than shy away from her faltering places, self-doubt or demons, the first thing they worked on was “The Night,” a white-knuckled account of rough emotions and meaner addictions. The straightforward lyricist explains, “Growing up in the South, people are always saying, ‘Well, you’re just having your feelings…’ But instead, you’re having a panic attack, or you’re masking something. You have to ask, ‘So, what’s causing that?’ “For so long, we try to act like ‘I’m fine, you know.’ I got sober. It’s all hunky dory,” she continues. “But it’s not. No one wants to talk about the struggle, but it happens. I wrote ‘The Night’ in an obviously dark time – and people really responded; that song means so much to so many people, I can’t tell you. But we figured since it had already been out, we didn’t need to include it on Reckless.”

Unprepared for the response to her debut album, the relentlessly touring artist just kept bringing her music to the people. A stouter kind of country that never sacrifices lyricism, she spent the fall on the road with Lucero, the hard-driving Memphis-based soul/rock/Americana icons. With “Wilder Days” becoming a SiriusXM Highway Find, then hitting No. 1 on their fast-tracking country station, Wade’s song – one of TIME’s 10 Best of 2021 in any genre – opened a portal for Americana, alternative and rock fans to an artist straddling the craggy terrain across genres, but also life. Signed to Sony Music Nashville by a label head who’d grown up in bands with Kim Richey, Byron House and Bill Lloyd, the power of defying genres in the name of harder truths inspired Randy Goodman to want to bring Morgan Wade to the biggest audience possible without compromising what made her so special.

As people caught on, the reaction to songs like “The Night,” the ones not on the album, created a conversation about what else might not have been included in her exquisite ten song debut. With as much life lived – Wade formed her first band off Craigslist; “my friend and I drove over to this house in a pretty rough part of town, went down to the basement and found some pretty good players” – and absorbed, she was fearless in documenting her journey. In college, studying medical sciences, she played out after a break-up, performing a song to put it all out there. Without a role model, she performed the same way she learned to sing and write: for herself, to herself. But when she gigged, something happened. People connected to her alienation, distress and seeking answers for things no one was talking about. “I guess the songs are saying the things they can’t say,” she concedes. “I see these big guys crying. I’ve had these great big men come up to me after my shows to tell me I’m saying what everybody’s thinking.”

That drove her forward, bringing Reckless to fruition. The loping want-you-now reality-checking “Matchsticks and Metaphors” with its confession, “if you don’t want me, that don’t bother me at all/ don’t be upset when I don’t answer if you call…,” the stark Appalachia of “Met You” and the swirling, snapped finger compulsion beyond drugs or alcohol “Last Cigarette” captivated listeners for their white knuckled hold on reality. Like “Wilder Days” – with its j’accuse “You said you hate the smell of cigarette smoke…” hook, which Rolling Stone called “the year’s most irresistible country-rock chorus” – the sense of mystery allows listeners room their own lives in her songs. “I’m not naming names,” Wade says, eyes rolling at the idea. “But I’m always for whatever paths gonna pave the way for the next outcast, the next person who feels so alone. If the songs speak to the people who need to hear them, it makes me feel good about having been so vulnerable and honest. When people scream ‘Wilder Days’ right back to me or tell me they feel like they have a story, their story in my story, that’s when you know you’re not alone.”

To that end, Wade, Vaden and Ebersold talked about what’s next. With songs left uncut, songs that expand the story, it seemed a shame to move on. “We decided we wanted to share some more. Take ‘The Night.’ In concert, people sing that back to me as loud as ‘Wilder Days,’ so there were things we wished we could change – there’s a B-3 part that got buried in the mix – and this way, we could bring back it into the story. To me, that’s what all of this is… The story of where I was, what I want and where I’m going.” In a nod to Elvis Presley, whose “Suspicious Minds” she’s been scalding live with a portion of AC/DC’s “You Shook Me (All Night Long)” interjected, Deluxe contains a sizzling rendition that dials up its sexual obsession. At the other end of the spectrum, there’s “Through Your Eyes,” a chiming power- pop perspective shift on her recklessness.

“When you have younger siblings, when they say ‘I wanna be like you,’ thinking you’re so cool, that’s sobering,” Wade explains. “You see all of it in a very different light. You know, it’s one thing when you know you shouldn’t, and you do it anyway; it’s another when you realize a three-year-old is taking it in.”

As for Elvis, “It’s very sacred to cover one of his songs, and I wanted to choose one I could make my own. I have a lot of younger fans who don’t know, who think it’s my song, so I love that I can take something and introduce it to a new generation… but we wouldn’t have done it, just to do it. “Vocally, it works for me; it’s got a great range, especially when I hit that chorus. I’m kind of weird about covers, but when I asked the band, ‘What do you think about this?’ They were all in.”

Between the road, the critical acclaim, the growing radio believers, Wade knows the future is coming – and intends to be ready. With one foot strongly in the realm of where she’s been, she wrote the tumbling the rollicking “When the Dirt All Settles,” with The Cadillac Three’s Jaren Johnston and “Run” – Vaden a co-writer on both tracks – to find a lighter way to escape the things that pull you down. She knows sobriety is a daily battle, that the dark moods and other issues are a fact of life. But the wide-eyed songwriter also knows how we face the day is often up to us. Rather than drowning in boredom or desperation, “Run” is a launching pad, looking both ways and finding whatever escape might be found in the company of someone outrunning their own sad memories – and the galloping running into the distance “When the Dirt All Settles.” “It was fun, the polar opposite of what I thought [writing with someone new would be],” she says.  “I’ve always written out of emotion, out of the moment, so I had it in my mind you had to be all serious all of the time. But sometimes it’s okay to kind of let go, to just have three minutes to just kick it out and have some fun. You can keep the honesty, but maybe take it from somewhere else.” Somewhere else? For Morgan Wade, wherever that is, you can bet it’ll be wild and free and seeking.

“I figure if I keep saying the things I want to say, then people are still going to be thinking them, too. We’re all running into those feelings, so let’s just get it out in the open where we can let ‘em go.”

Tickets on sale Friday March 17

General Show Info

  • This show is open to all ages.
  • 5:00PM VIP GATES and FOOD TRUCKS | 5:30 PM GA GATES and FOOD TRUCKS | 7:00PM SHOW (set times subject to change at artists discretion)
  • This event is rain or shine.
  • There is no re-entry into the concert venue, except for emergency situations.
  • Children 5 years of age and under are admitted free.
  • Camping chairs and blankets are permitted, however chairs will NOT be allowed within 150 feet of the front of stage.
  • All tickets are General Admission.

Food, Beverage, Retail

  • A wide selection of your favorite food and retail vendors will be available. Cold bottled water, beer and wine is also for sale at the event through Beech Mountain Brewing Co.

Drug and Alcohol Policy

You must be 21 to drink and you must possess a valid ID to purchase alcohol. Beech Mountain Resort Summer Concert Series is a zero tolerance venue. All local and State laws will be strictly enforced. There will be no tolerance for illegal activities.

Restroom Facilities

Portable restrooms will be available on site and include hand sanitizing stations.

All tickets are final sale and cannot be exchanged or refunded. In the case of an event cancellation without a rescheduled date, a full refund will be automatically issued to each patron on the credit card used to purchase. By purchasing a ticket to this event, you agree to this purchase policy. Before purchasing your tickets, we urge you to confirm the title, time and location of the event.

Additional Info

Beech Mountain Ski Resort and staff reserve the right to banish any patron (without refund) that is not in compliance with rules and regulations.

Prohibited Items

  • Pets
  • Outside food and beverage
  • Professional photography or video is not allowed, with the exception of written permission from Beech Mountain Resort.
  • Drugs or illegal substances
  • Pop-up tents, canopies, or umbrellas
  • Coolers
  • Weapons of any kind (includes pocket knives, pepper spray, etc.)
  • Laser pointers or air horns
  • Oversized bags or purses.
  • Wagons, chair caddies, etc.
    Failure to comply with bag search will result in denial of entry into the venue. This is strictly enforced.