get app
Regístrate
Iniciar sesión
Comprar entradas
Entradas
About this concert
Join us for three days with musician Max Gomez on the Rio Chama outside of Taos and Santa Fe, New Mexico for campfire music against a backdrop of southwestern wilderness. This special trip is limited to only around 25 spaces, so guests can expect top notch service and intimate musical performances. Please see the river itinerary and camping outline below for more in depth information.
When he’s not on the road — and these days, he’s definitely not on the road — Max Gomez splits his time between his beloved hometown of Taos, New Mexico, and Los Angeles. He received critical acclaim upon the release of his debut album Rule The World (2013, New West Records), and his subsequent EP, Me and Joe (2017, Brigadoon Records), contained a freshly minted classic, “Make It Me,” which gained over two million listeners on Spotify alone.
Today, Gomez is focused on finishing his second album amid a touring hiatus imposed by the worldwide pandemic. But waiting to release one song in particular seemed an impossibility. A traditional folk song first recorded in the thirties, “He Was a Friend of Mine” has been covered by many legendary artists, including Bob Dylan, Willie Nelson, and The Byrds. Gomez’s version features newly written lyrics that comment on historical and contemporary racial and social injustice, with powerful lines like “for not to kill a man, to take the righteous stand, now, I will take a knee.”
And as a budding performer, Max apprenticed in the rarefied musical micro-climate of northern New Mexico, where troubadours like Michael Martin Murphey and Ray Wylie Hubbard helped foster a Western folk sound both cosmic and cowboy. Gomez has assumed stewardship of that lineage by producing the Red River Folk Festival, a boutique event held annually in late September in the musical mountain village of Red River, NM.
Judging by the company he keeps, Gomez is positioned to emerge as a prominent voice of Americana’s next generation. He has shared billing on hundreds of stages with stalwarts of the genre like Shawn Mullins, James McMurtry, Buddy Miller, Jim Lauderdale, Patty Griffin, and John Hiatt. His classic-and-contemporary reading of “He Was a Friend of Mine” proves the point.
Mostrar más
Busca alojamiento
Live Photos
Ver todas las fotos
What fans are saying
PBJ
3 de septiembre de 2023
Max was great! Reminded me how good a songwriter he is. Good set list, his singing and guitar playing were excellent, the sound was good.
El Prado, NM@KTAOS Solar Center
Descubre más artistas que puedes seguir y sincroniza tu música
Encuentra tus favoritos
Compartir evento
Max Gomez Biography
Max Gomez has always had the heart of an old soul. As a child, the first songs he learned to sing were originally recorded in the 50s by Johnny Cash. As a teenage guitarist he adopted Big Bill Broonzy as his blues master. And as a budding performer, he apprenticed in the rarefied musical climate of northern New Mexico, where troubadours like Michael Martin Murphey and Ray Wylie Hubbard helped foster a folk and Western sound both cosmic and cowboy. You’ll find his hometown of Taos and nearby Red River right there between Colorado and Texas on both your sonic and Google maps. Splitting his childhood between there and a farm in the Flint Hills of Kansas, Gomez is at home in the heartland, too.
The youngest of five brothers, by several years—“That’s why I got into ‘old’ music”—Gomez got a children’s guitar for Christmas when he was 10. The family moved from Santa Fe to Taos in the ’80s, and his father, Steve, became a furniture craftsman. “There’s a similarity between my dad’s work and mine,” says Gomez. “He really studied what he did; there were always a lot of books on old furniture in his studio.”
Gomez reports that growing up in Taos was “wild." It’s still the Wild West compared to any city or suburb. You can get away with just about anything there, and we were turned loose as kids.”
At 14, when Gomez performed at a benefit concert, he played “SundayMornin’? ?Coming Down”—the? ?down-and-out? ?classic? ?by? ?future? ?labelmate? ?Kris? ?Kristofferson.? ?Soon? ?thereafter? ?he? ?was playing? ?at? ?a? ?late,? ?lamented? ?institution? ?of? ?a? ?venue? ?called? ?the? ?Old? ?Blinking? ?Light.? ?“The? ?school? ?I? ?went to? ?was? ?playing? ?in? ?that? ?bar,”? ?he? ?says.? ?? ?Country? ?greats? ?like? ?Mentor? ?Williams? ?and? ?Lynn? ?Anderson frequented? ?the? ?place? ?that? ?led? ?them? ?to? ?become? ?fans? ?of? ?his? ?music.
Gomez? ?moved? ?to? ?Los? ?Angeles? ?at? ?18? ?to? ?pursue? ?his? ?music? ?career? ?and? ?began? ?writing? ?songs? ?and performing? ?around? ?the? ?city? ?at? ?many? ?notable? ?clubs.? ?He? ?wrote? ?some? ?songs? ?with? ?Shawn? ?Mullins, who? ?later? ?recorded? ?them.? ?“That’s? ?when? ?I? ?began? ?taking? ?it? ?all? ?a? ?little? ?more? ?seriously? ?and? ?turned? ?my music? ?into? ?a? ?job,”? ?says? ?Gomez.
In? ?his? ?early? ?twenties? ?he? ?began? ?recording? ?his? ?own? ?songs? ?with? ?producers? ?in? ?? ?New? ?York,? ?L.A.,? ?and Nashville.? ?His? ?debut? ?album,? ??Rule? ?the? ?World?,? ?was? ?released? ?in? ?2013? ?by? ?New? ?West? ?Records,? ?home to? ?the? ?likes? ?of? ?John? ?Hiatt,? ?Buddy? ?Miller,? ?and? ?Steve? ?Earle.? ?Soon? ?after,? ?Kiefer? ?Sutherland? ?directed the? ?music? ?video? ?for? ?the? ?single? ?“Run? ?From? ?You.”
Gomez? ?grew? ?up? ?in? ?a? ?rich? ?musical? ?environment,? ?but? ?represents? ?more? ?than? ?the? ?sum? ?of? ?his influences—he’s? ?got? ?that? ?ineffable? ?and? ?instantly? ?recognizable? ?x-factor? ?called? ?talent.? ?Melodies that? ?flow? ?naturally.? ?Trenchant? ?lyrics? ?that? ?express? ?wise-beyond-his-years? ?observations? ?on? ?the ways? ?of? ?the? ?heart.? ?Laconic? ?phrasing? ?in? ?a? ?cafe? ?mocha? ?timbre,? ?and? ?guitar? ?skills? ?that? ?can? ?stand alone.? ?In? ?short:? ?the? ?whole? ?package.
Judging? ?by? ?the? ?company? ?he? ?keeps,? ?Gomez? ?is? ?there? ?positioned? ?to? ?emerge? ?as? ?a? ?prominent? ?voice of? ?Americana’s? ?next? ?generation.? ?Since? ?the? ?release? ?of? ?his? ?debut? ?album,? R?? ule? ?the? ?World?,? ?in? ?2013, he’s? ?shared? ?billing? ?on? ?hundreds? ?of? ?stages? ?with? ?stalwarts? ?of? ?the? ?genre? ?like? ?Shawn? ?Mullins,? ?James McMurtry,? ?Buddy? ?Miller,? ?Jim? ?Lauderdale,? ?Patty? ?Griffin,? ?and? ?John? ?Hiatt.
“I? ?first? ?saw? ?Max? ?perform? ?when? ?he? ?was? ?17,? ?about? ?10? ?years? ?ago,”? ?says? ?songsmith? ?and? ?sideman extraordinaire? ?Keith? ?Sykes.? ?“I? ?sensed? ?he? ?had? ?something? ?even? ?then.? ?When? ?I? ?saw? ?him? ?last? ?year,? ?I was? ?pleased? ?to? ?see,? ?and? ?hear,? ??something?? ?has? ?turned? ?into?? ?it?.? ?Listen? ?and? ?you’ll? ?see,? ?and? ?hear, what? ?I? ?mean.? ?He’s? ?among? ?the? ?best? ?of? ?his? ?generation.”
Gomez’s? ?career? ?is? ?being? ?steered? ?by? ?the? ?veteran? ?A&R? ?man? ?Gary? ?Briggs,? ?who? ?signed? ?him? ?to? ?New West? ?and? ?has? ?now? ?assembled? ?an? ?industry? ?A-team? ?around? ?him? ?as? ?the? ?first? ?signing? ?of? ?the? ?newly formed? ?Brigadoon? ?Records.? ?Neil? ?Young’s? ?managers? ?Frank? ?Gironda? ?and? ?Elliot? ?Roberts? ?are? ?on board,? ?and? ?Frank? ?Riley? ?is? ?handling? ?booking.
Jim? ?Scott—who’s? ?worked? ?with? ?Johnny? ?Cash,? ?Tom? ?Petty,? ?and? ?Lucinda? ?Williams—produced Gomez’s? ?new? ?EP? ??Me? ?&? ?Joe?,? ?which? ?features? ?Williams? ?collaborator? ?Doug? ?Pettibone? ?on? ?guitar? ?and Eric? ?Clapton? ?and? ?Jackson? ?Browne? ?accompanist? ?Greg? ?Leisz? ?on? ?pedal? ?steel.? ?The? ?soundscape? ?is acoustic? ?and? ?warm,? ?a? ?comfort? ?zone? ?for? ?Gomez’s? ?buttery? ?vocals.? ?“Senseless? ?Love”? ?and? ?“Make? ?it Me”? ?reflect? ?on? ?love? ?lost? ?and,? ?perhaps,? ?found,? ?while? ?“Sweet? ?Cruel? ?World”? ?sounds? ?like? ?it? ?could? ?find its? ?way? ?onto? ?a? ?Taj? ?Mahal? ?album.? ?“Rule? ?the? ?World? ?(Reprise)”? ?revisits? ?and? ?re-works? ?the? ?title? ?song? ?of his? ?debut? ?album,? ?which—like? ?the? ?new? ?“Make? ?it? ?Me”—has? ?the? ?ring? ?of? ?a? ?neo-classic.? ?The? ?surprise tune? ?here? ?is? ?“Joe,”? ?written? ?by? ?Max’s? ?musical? ?compadre? ?Jed? ?Zimmerman.? ?The? ?song? ?is? ?sung? ?from the? ?point? ?of? ?view? ?of? ?a? ?regretful? ?character? ?who? ?compares? ?cocaine? ?to? ?coffee? ?and? ?pain? ?to? ?cash? ?in? ?a powerful? ?twist? ?of? ?emotion? ?laid? ?on? ?a? ?rich? ?bed? ?of? ?steel? ?guitar? ?and? ?swirling? ?cellos.? ?Gomez? ?considers the? ?track? ?”lightning? ?in? ?a? ?bottle.? ?It? ?took? ?us? ?15? ?minutes? ?to? ?make? ?that? ?record.? ?Jim? ?Scott? ?would? ?always say,? ?‘You? ?know? ?how? ?long? ?it? ?takes? ?to? ?make? ?a? ?hit? ?record?? ?Three? ?minutes.’? ?”
“I? ?asked? ?Max? ?to? ?try? ?the? ?song? ?and? ?he? ?nailed? ?it,”? ?says? ?Briggs,? ?the? ?executive? ?producer? ?on? ?the recording.? ?“Max’s? ?passion? ?and? ?pursuit? ?for? ?the? ?perfectly? ?written? ?song? ?has? ?always? ?inspired? ?me. He’s? ?always? ?been? ?a? ?great? ?singer? ?and? ?as? ?a? ?self-taught? ?performer? ?he’s? ?been? ?surrounded? ?by headliners? ?and? ?learned? ?from? ?the? ?best.? ?He’s? ?on? ?the? ?verge? ?of? ?finding? ?his? ?audience.”
Leer másThe youngest of five brothers, by several years—“That’s why I got into ‘old’ music”—Gomez got a children’s guitar for Christmas when he was 10. The family moved from Santa Fe to Taos in the ’80s, and his father, Steve, became a furniture craftsman. “There’s a similarity between my dad’s work and mine,” says Gomez. “He really studied what he did; there were always a lot of books on old furniture in his studio.”
Gomez reports that growing up in Taos was “wild." It’s still the Wild West compared to any city or suburb. You can get away with just about anything there, and we were turned loose as kids.”
At 14, when Gomez performed at a benefit concert, he played “SundayMornin’? ?Coming Down”—the? ?down-and-out? ?classic? ?by? ?future? ?labelmate? ?Kris? ?Kristofferson.? ?Soon? ?thereafter? ?he? ?was playing? ?at? ?a? ?late,? ?lamented? ?institution? ?of? ?a? ?venue? ?called? ?the? ?Old? ?Blinking? ?Light.? ?“The? ?school? ?I? ?went to? ?was? ?playing? ?in? ?that? ?bar,”? ?he? ?says.? ?? ?Country? ?greats? ?like? ?Mentor? ?Williams? ?and? ?Lynn? ?Anderson frequented? ?the? ?place? ?that? ?led? ?them? ?to? ?become? ?fans? ?of? ?his? ?music.
Gomez? ?moved? ?to? ?Los? ?Angeles? ?at? ?18? ?to? ?pursue? ?his? ?music? ?career? ?and? ?began? ?writing? ?songs? ?and performing? ?around? ?the? ?city? ?at? ?many? ?notable? ?clubs.? ?He? ?wrote? ?some? ?songs? ?with? ?Shawn? ?Mullins, who? ?later? ?recorded? ?them.? ?“That’s? ?when? ?I? ?began? ?taking? ?it? ?all? ?a? ?little? ?more? ?seriously? ?and? ?turned? ?my music? ?into? ?a? ?job,”? ?says? ?Gomez.
In? ?his? ?early? ?twenties? ?he? ?began? ?recording? ?his? ?own? ?songs? ?with? ?producers? ?in? ?? ?New? ?York,? ?L.A.,? ?and Nashville.? ?His? ?debut? ?album,? ??Rule? ?the? ?World?,? ?was? ?released? ?in? ?2013? ?by? ?New? ?West? ?Records,? ?home to? ?the? ?likes? ?of? ?John? ?Hiatt,? ?Buddy? ?Miller,? ?and? ?Steve? ?Earle.? ?Soon? ?after,? ?Kiefer? ?Sutherland? ?directed the? ?music? ?video? ?for? ?the? ?single? ?“Run? ?From? ?You.”
Gomez? ?grew? ?up? ?in? ?a? ?rich? ?musical? ?environment,? ?but? ?represents? ?more? ?than? ?the? ?sum? ?of? ?his influences—he’s? ?got? ?that? ?ineffable? ?and? ?instantly? ?recognizable? ?x-factor? ?called? ?talent.? ?Melodies that? ?flow? ?naturally.? ?Trenchant? ?lyrics? ?that? ?express? ?wise-beyond-his-years? ?observations? ?on? ?the ways? ?of? ?the? ?heart.? ?Laconic? ?phrasing? ?in? ?a? ?cafe? ?mocha? ?timbre,? ?and? ?guitar? ?skills? ?that? ?can? ?stand alone.? ?In? ?short:? ?the? ?whole? ?package.
Judging? ?by? ?the? ?company? ?he? ?keeps,? ?Gomez? ?is? ?there? ?positioned? ?to? ?emerge? ?as? ?a? ?prominent? ?voice of? ?Americana’s? ?next? ?generation.? ?Since? ?the? ?release? ?of? ?his? ?debut? ?album,? R?? ule? ?the? ?World?,? ?in? ?2013, he’s? ?shared? ?billing? ?on? ?hundreds? ?of? ?stages? ?with? ?stalwarts? ?of? ?the? ?genre? ?like? ?Shawn? ?Mullins,? ?James McMurtry,? ?Buddy? ?Miller,? ?Jim? ?Lauderdale,? ?Patty? ?Griffin,? ?and? ?John? ?Hiatt.
“I? ?first? ?saw? ?Max? ?perform? ?when? ?he? ?was? ?17,? ?about? ?10? ?years? ?ago,”? ?says? ?songsmith? ?and? ?sideman extraordinaire? ?Keith? ?Sykes.? ?“I? ?sensed? ?he? ?had? ?something? ?even? ?then.? ?When? ?I? ?saw? ?him? ?last? ?year,? ?I was? ?pleased? ?to? ?see,? ?and? ?hear,? ??something?? ?has? ?turned? ?into?? ?it?.? ?Listen? ?and? ?you’ll? ?see,? ?and? ?hear, what? ?I? ?mean.? ?He’s? ?among? ?the? ?best? ?of? ?his? ?generation.”
Gomez’s? ?career? ?is? ?being? ?steered? ?by? ?the? ?veteran? ?A&R? ?man? ?Gary? ?Briggs,? ?who? ?signed? ?him? ?to? ?New West? ?and? ?has? ?now? ?assembled? ?an? ?industry? ?A-team? ?around? ?him? ?as? ?the? ?first? ?signing? ?of? ?the? ?newly formed? ?Brigadoon? ?Records.? ?Neil? ?Young’s? ?managers? ?Frank? ?Gironda? ?and? ?Elliot? ?Roberts? ?are? ?on board,? ?and? ?Frank? ?Riley? ?is? ?handling? ?booking.
Jim? ?Scott—who’s? ?worked? ?with? ?Johnny? ?Cash,? ?Tom? ?Petty,? ?and? ?Lucinda? ?Williams—produced Gomez’s? ?new? ?EP? ??Me? ?&? ?Joe?,? ?which? ?features? ?Williams? ?collaborator? ?Doug? ?Pettibone? ?on? ?guitar? ?and Eric? ?Clapton? ?and? ?Jackson? ?Browne? ?accompanist? ?Greg? ?Leisz? ?on? ?pedal? ?steel.? ?The? ?soundscape? ?is acoustic? ?and? ?warm,? ?a? ?comfort? ?zone? ?for? ?Gomez’s? ?buttery? ?vocals.? ?“Senseless? ?Love”? ?and? ?“Make? ?it Me”? ?reflect? ?on? ?love? ?lost? ?and,? ?perhaps,? ?found,? ?while? ?“Sweet? ?Cruel? ?World”? ?sounds? ?like? ?it? ?could? ?find its? ?way? ?onto? ?a? ?Taj? ?Mahal? ?album.? ?“Rule? ?the? ?World? ?(Reprise)”? ?revisits? ?and? ?re-works? ?the? ?title? ?song? ?of his? ?debut? ?album,? ?which—like? ?the? ?new? ?“Make? ?it? ?Me”—has? ?the? ?ring? ?of? ?a? ?neo-classic.? ?The? ?surprise tune? ?here? ?is? ?“Joe,”? ?written? ?by? ?Max’s? ?musical? ?compadre? ?Jed? ?Zimmerman.? ?The? ?song? ?is? ?sung? ?from the? ?point? ?of? ?view? ?of? ?a? ?regretful? ?character? ?who? ?compares? ?cocaine? ?to? ?coffee? ?and? ?pain? ?to? ?cash? ?in? ?a powerful? ?twist? ?of? ?emotion? ?laid? ?on? ?a? ?rich? ?bed? ?of? ?steel? ?guitar? ?and? ?swirling? ?cellos.? ?Gomez? ?considers the? ?track? ?”lightning? ?in? ?a? ?bottle.? ?It? ?took? ?us? ?15? ?minutes? ?to? ?make? ?that? ?record.? ?Jim? ?Scott? ?would? ?always say,? ?‘You? ?know? ?how? ?long? ?it? ?takes? ?to? ?make? ?a? ?hit? ?record?? ?Three? ?minutes.’? ?”
“I? ?asked? ?Max? ?to? ?try? ?the? ?song? ?and? ?he? ?nailed? ?it,”? ?says? ?Briggs,? ?the? ?executive? ?producer? ?on? ?the recording.? ?“Max’s? ?passion? ?and? ?pursuit? ?for? ?the? ?perfectly? ?written? ?song? ?has? ?always? ?inspired? ?me. He’s? ?always? ?been? ?a? ?great? ?singer? ?and? ?as? ?a? ?self-taught? ?performer? ?he’s? ?been? ?surrounded? ?by headliners? ?and? ?learned? ?from? ?the? ?best.? ?He’s? ?on? ?the? ?verge? ?of? ?finding? ?his? ?audience.”
Americana
Blues & Country.
Original Americana Roots Music
Folk
Love Folk
Protest Songs
Seguir artista