Honeydrops-Poster

The California Honeydrops summer tour includes two new covers dropping Aug. 20 “Ripple” by The Grateful Dead and “Tulsa Time’’ by Don Williams from their upcoming “Covers from the Cave” album (Tubtone Records, 2021). Covers from the Cave” is a compilation of Honeydrops covers of their many musical heroes.

The Honeydrops visit the Lawn at South Main Aug. 24-25.

Both nights, Nathan & Jessie will be opening and after the Honeydrops show on the Lawn Tuesday night, Dragondeer will play a free show after the Honeydrops in the Surf Hotel’s Ivy Ballroom at 10:30 p.m. Wednesday night, there will be a free late night Lobby Jam inside the Surf Hotel.

By popular demand, on Aug. 20 they will also release their most recent live album “Remember When: Vol. 3” (2020) on vinyl.

The Honeydrops are also pleased to announce an upcoming Carbon Offset initiative as part of their Spreadin’ Honey Project, which will launch at their first Colorado show in BV.

The Honeydrops have stayed busy in 2021 and during the ongoing coronavirus pandemic with recording music and their weekly live streams. In lieu of their fully canceled past year of touring, they have been offering free weekly live streams, mostly from Wierzynski’s house (which the band calls “The Blues Cave”), and on special occasions from the historic Sweetwater Music Hall in Mill Valley, CA. Reaching audiences of over 25,000 per stream, the band continues to donate 25% of each week’s revenue to a different charity as part of their Spreadin’ Honey philanthropic initiative; check out the streams HERE.

“Covers from the Cave” began as a video series. Their cover of The Drifters’ “Under the Boardwalk” has reached more than 14 million people. View/share the video HERE. In 2020, the band launched their podcast, “The Bee’s Wax,” exploring the ways in which The California Honeydrops write and record their music. Each episode focuses on a single song, breaking down the process from both a songwriting and an engineering perspective and featuring anecdotes relevant to the piece’s evolution and meaning. Episodes can be found HERE.

Covers from the Cave follows live albums Remember When: Vol. 3 and Honeydrops Live 2019, and 2018’s double-album Call It Home: Vol. 1 & 2, which Billboard praised as “a new level of ambition” for the band, and about which No Depression raved, “There’s something for everybody here, a fun-filled, funky goodie basket for all occasions.” VICE called the title track “a smooth, sensuous song, with a guitar part evoking a hot summer day, an organ that sends you to the front pew and a brass section that feels like something straight out of The Blues Brothers,” while Rolling Stone noted that it evokes “the greasy rumble of Booker T and the MGs in the opening bars before channeling the spiritual ecstasy of Sly and the Family Stone in the soaring choruses.”

Co-founded by Lech Wierzynski and Ben Malament, The Honeydrops got their start busking in Oakland, California where they quickly developed a passionate following that has continued to grow over the course of more than a decade of nonstop American, European, and Australian touring and recording. Joined by Johnny Bones on tenor sax and clarinet, Lorenzo Loera on keyboards, and Beau Bradbury on bass, the band has stayed true to the group’s diverse sound and street-level origins, drawing on musical influences including Bay Area R&B, funk, Southern soul, Delta blues and New Orleans second-line.

In addition to their own extensive touring, The Honeydrops were honored to support Bonnie Raitt throughout her 2016-17 North American tour and have performed in support of B. B. King, Allen Toussaint, Buddy Guy, and Dr. John, among others. They have sold out headline shows at venues across the U.S. and performed at major festivals worldwide including Outside Lands, Monterey Jazz, High Sierra, Bluesfest Byron Bay, North Sea Jazz Festival, Edmonton Folk Music Festival, and many more. Widely acclaimed for the energy captured in both their live performances and recordings, the group remains dedicated to fostering a genuine connection with their audiences and listeners.

“The whole point is to erase the boundaries between the crowd and us,” Wierzynski says, “to make people become a part of the whole thing by dancing along, singing, picking the songs, and generally coming out of their shells.”

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