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An intimate venue made for a really intimate show. The girls held the crowd with a good balance of chat and music, with both being fun, serous, sweet, and thoughtful in just the right measures. They played several songs from the new Gospel album, and a couple from their first album too. They also threw in a few tunes and songs that they haven’t recorded, which is always a treat. We ended the night with shouts of more, and they had the audience singing with them as they performed a real encore number about the devil taking a man’s wife only to return her from whence she came.

Great sound, great presence, great set. As per usual, I loved their gig and can’t wait for the next one.

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Home Sweet Home: The Local Honeys

By Matt Wickstrom

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Lifelong traditionalists at heart, Linda Jean Stokley and Montana Hobbs of The Local Honeys honor bluegrass’s rich heritage while also carving a new path forward for the genre. It’s all evident on the Kentucky duo’s forthcoming self-titled album, arriving July 15 via La Honda Records.

The Honeys partnered with Jesse Wells, member of Tyler Childers’ touring band and archivist/instructor at Morehead State University’s Kentucky Center for Traditional Music - where the ladies both attended - to produce the project. Known as “The Professor” due to his role at the university, expertise on all instruments and vast knowledge of Kentucky’s music history, Wells has long been a mentor and integral to the Local Honeys’ journey thus far.

According to Stokley, she first met Wells in 2009 while she was a member of the university’s jazz band. The two immediately clicked in what Stokley described as “like reuniting with a long, lost friend”. She began taking fiddle lessons from Wells; her appreciation for the traditional sounds from her home state growing as much as they deviate, depending on what mountain holler you find yourself in.

“There are so many different fiddle styles that you can find in every nook and cranny around the state,” says Stokley. “The fiddlers in Woodford County sound completely different from the ones in Jackson, Estill, Wolfe, Pike County and so on. All that music helped us to become more connected to our home and the history of the music emanating from it”.

When it came to pinning down a producer for the project, Wells was the logical fit, not only due to his knowledge and respect for Kentucky’s traditional roots, but his belief in the Honeys as songwriters and pickers. Having been a longtime advocate for the band, Hobbs says that she couldn’t see anyone else producing the record.

“[La Honda] gave us the option to work with whomever we wanted but, after self-producing our previous projects, we didn’t want to partner with anyone we didn’t know and weren’t comfortable around,” says Hobbs. “I remember talking with Jesse one day about our producer search and he rattled off a bunch of different names. I entertained him for a bit before asking if he’d want to fill the role. He balked at first, saying we deserved better, until I interrupted him and said ‘nobody is better than you’. He’s a top-notch player and knows the ins and outs of Kentucky traditional music better than anyone, so I really couldn’t see us working with anyone else”.

Also helping to bring the album to life were Craig Burletic (electric bass) and Rod Elkins (drums) of Tyler Childers' band, along with Eastern Kentucky mainstay Josh Nolan (guitar). The resulting sound is one that continues to lean heavily into the bluegrass state’s traditional roots that the Honeys adore, while adding more modern and electric elements not commonly associated with such traditional music.

“It’s always been taboo to have drums in a bluegrass band,” says Hobbs. “J.D. Crowe is one of the few people who can get away with something like that. In bluegrass, the banjo and mandolin typically act as the percussion, and anything other than that is often looked at as bastardizing the genre by traditional purists. For that reason, we wanted to make sure we were very tasteful in how we implemented those elements. Jesse did a great job honoring both with his production work”.

It's obvious how much of an influence the state of Kentucky has had on the pair, in both their lives and creativity. Calling in from a beach house in Wilmington, North Carolina while on tour, The Local Honeys sit down to talk about their home state, revealing some of their favorite places in Central Kentucky for the latest edition of Home Sweet Home .

What is the first place you like to visit upon returning home?

Stokley: “Aside from my momma’s farm where my horse and donkey are, my favorite spot to visit is Boonedogs on Old Richmond Road, just south of Lexington. If you’re ever nearby, I suggest you run there as fast as you can and grab as many hotdogs as you can carry. They let you bring your puppy dogs and even have a nice outdoor spot with picnic tables where they’ve started to host live music. I have another donkey that’s kept close to there, so whenever I go to visit him I always make sure to stop in for some hotdogs as well”.

Hobbs: “There’s a Baptist church near my home in Estill County that sits next to a creek where they regularly conduct baptisms. It makes for a great little swimming hole. Other than that, one of my favorite places to visit nearby is Sky Bridge Station in the Red River Gorge. They have music, beer and hotdogs. Everything comes back to hotdogs with us. I live in a dry county, so that’s one of the closest places nearby to grab a drink; plus, you can’t beat the beautiful scenery that the Gorge has to offer”.

Boonedogs, Lexington, KY

What’s your favorite outdoor spot to explore… the Gorge or somewhere else?

Stokley: Montana and I both have vast properties of land we live on and can explore. It reminds me a lot of being a kid growing up. We didn’t have much to entertain ourselves at home, so we used the outdoors as a playground for our imaginations. It was a great way for us to hone our creativity, which has only benefited us with the music we’re making today.

Hobbs: It’s a fine balance. Yes, it’s 45 minutes to the nearest grocery store, but I can also walk out my back door buck naked without a care in the world.

What’s the first place y’all performed together locally in Central Kentucky?

Hobbs: My first gig with the Honeys was at a farmers’ market in Lexington that was being held in a Circle K [gas station] parking lot. It was not a very bougie first gig. Another place we honed our skills often in the group’s early days was at Willie’s Locally Known on Broadway. They would let us get up on stage and practice, helping us to ease into the local scene. We always cherished playing there and are bummed that it’s no longer around.

Red River Gorge, KY (Southern Living)

Earlier Montana mentioned grabbing a drink at Sky Bridge Station in the Red River Gorge. What is your favorite Kentucky brewery to enjoy a drink from?

Stokley: It all depends on what area of the state we’re talking about. If it’s Central Kentucky, then it’s Country Boy Brewing in Georgetown and Lexington all the way. All of their beers are top-notch, especially Cougar Bait (4.9% ABV American Blonde Ale), Halfway Home (5.5% ABV American Pale Ale), Cliff Jumper (7.0% ABV India Pale Ale), Shotgun Wedding (5.5% ABV Brown Ale aged on vanilla beans) and Survive (4.5% ABV Pilsner). If we’re talking Eastern Kentucky, then it’s Sawstone Brewing Co. in Morehead, where we spent many a night while in college.

What’s the first place you’d recommend people visiting the area for the first time check out?

Hobbs: I’ve always loved the hiking trails of Rockbridge in the Red River Gorge. Even just a drive through the Gorge is worth it. I never fully appreciated all of it and Eastern Kentucky’s natural beauty when I was younger. After getting to travel all over the country and world playing music, I’ve gained a greater perspective for just how lucky I am to call the place I do home and just how much I’ve been taking it for granted all these years.

Stokley: “Ballyhigh Show Stables, near my home in Woodford County, is a great spot. It’s a farm owned by my riding coach Joyce Brinsfield, who also works with the University of Kentucky’s equestrian team. If I’m not at my farm, that’s usually where you can find me. I’d also recommend making the short drive to Midway to visit the Heirloom Restaurant. It’s one of several in the area run by Chef Ouita Michel, one of the best culinary minds around. We also like to stop into the Holly Hill Inn, Honeywood, Zim’s Cafe and the other spots she owns for a quick bite.

Ballyhigh Show Stables, KY

Speaking of food, what’s your favorite Kentucky-themed food dish and place to order it?

Stokley: I love me some fried chicken, biscuits and Derby pie (a chocolate and walnut filling inside a traditional pie crust often associated with the Kentucky Derby) and Montana digs soup beans and cornbread. As for where to order them, Montana and I are both great cooks and love fixing this stuff up ourselves. I can make some tasty fried chicken and Montana fries a mean pork chop. However, our dream is to share all of these meals with and prepared by the aforementioned Chef Ouita Michel.

Heirloom, Midway, KY

Other than Chef Ouita Michel, are there any Kentucky musicians, past or present, you’d want to share that dream meal with?

Hobbs: I’d have to go with the late Tom T. Hall and Jean Ritchie, the latter of whom is a distant relative of mine. We paid tribute to her on the new album with a cover of her song ‘The L & N Don’t Stop Here No More’. In the case of Tom T. Hall, Linda and I have been listening to his music for years and even hosted a songwriting workshop for kids a few years back called “Crafting Little Tom T. Halls”.

It led to a handful of middlemen connecting us to Tom T. Hall himself, who sent us a handwritten letter in response to us getting him one of our CDs. It was a surreal moment, and one we’d love to discuss with him over an assortment of our favorite Kentucky-themed food dishes.

The Local Honeys' self-titled debut album is released 7/15 via La Honda Records. You can purchase the record from one of Holler's selected partners below:

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The Local Honeys Announce Self-Titled Album – Out July 15th on La Honda Records

When a master songsmith like Tom T. Hall calls someone “a great credit to a wonderful Kentucky tradition,” it’s time to pull up a chair and pay attention. As it pertains to the nearly-decade-running duo The Local Honeys, he was right on the money. The duo—Linda Jean Stokley and Montana Hobbs—have long been an integral part of Kentucky’s musicscape, and on July 15th, they’ll be adding a new entry into the Bluegrass State’s rich musical canon. Their first release on La Honda Records (Colter Wall, Riddy Arman, Vincent Neil Emerson), The Local Honeys features ten winsome vignettes of rural Kentucky, conjuring 90’s alternatives sounds with hillbilly Radiohead lilts, soaring above layers of deep grooves and rich tones masterfully curated by longtime mentor Jesse Wells, a GRAMMY-nominated producer, musician (currently a member of Tyler Childers’ band The Food Stamps), and Assistant Director at the Kentucky Center for Traditional Music at Morehead State.

Today, The Local Honeys shared their first taste of the new album with “Dead Horses,” an emotional look at the tragedy of animal husbandry. With lines like “Suppose we’re all just animals with slightly different hides,” Stokely displays a cut and dried existence on the farm and the world at large while drums and banjo meld together propelling the tune from verse to verse. The accompanying music video finds Stokley and Hobbs surrounded by nostalgic photos of their equine counterparts, contributed by the band’s fanbase, adding weight to the meaning of the song itself. The“Dead Horses” video can be viewed right here and pre-order or pre-save The Local Honeys ahead of its July 15th release at this link .

Over the years, The Local Honeys have paid their dues, garnering countless accolades and accomplishments (tours with Tyler Childers, Colter Wall, praise from the New York Times), and have become the defining sound of real deal, honest-to-god Kentucky music. With The Local Honeys, Stokley and Hobbs ended up with the most nuanced, moody, deep-holler sound they have captured to date. “This is the first time we’ve actively gotten to express who we are and where we’re from” says Linda Jean, “The songs on the album speak for us,” adds Montana “they’re about what we know, reflections of us as people. We realized we have the power to add our own narrative into Kentucky music.”

More About The Local Honeys: Throughout The Local Honeys, the duo demand to be interpreted as creators and storytellers, not just purveyors of tradition. Similarly, the sounds captured within the project cement their place as innovators and rule-breakers. Rollicking banjo meets overdriven guitar hooks and blue-collar rural grit is met with lush melodies and nimble harmonies; it’s a project filled with juxtaposition and it isn’t by accident. It’s reflective of who they are and who they run with. Wells along with the rest of Childers’ band The Food Stamps – Rod Elkins (percussion) Craig Burletic (bass) and Josh Nolan (guitar) from Clay City, Kentucky, all lent their expertise and signature groove as collaborators during the session creating a fluidity, warmth, and cohesion that can only be created through friendship. “Who better to record an album that defines your sound than the people who helped you find your sound, the people that understand where you come from, how you listen and who you are,” The Local Honeys said. The project was engineered in Louisville at Lalaland by GRAMMY winner Anne Gauthier.

The songs on The Local Honeys speak to a new generation, a new Appalachian, the people who understand the beauty, the struggle, and the complexity of contemporary Appalachian life. In “The Ballad of Frank and Billy Buck,” Hobbs describes the grace, humor, and irony of an aging hillbilly leading up to the final moments of his unjust demise. Or there’s “If I Could Quit,” a song that grapples with the horrors of the ongoing opiate epidemic and the guttural pain of watching a friend deteriorate through addiction. Pride and sense of place run deep in songs like “Throw Me in the Thicket (When I Die),” a love letter about Linda’s family orchard in Central Kentucky. Playful colloquialisms and regional idiosyncrasies also permeate throughout the record as illustrated in “Better Than I Deserve,” a song built around an informal greeting Montana’s Papaw used throughout her childhood. The album is rounded out with “The L & N Don’t Stop Here No More,” (the only cover on the record written by Appalachian royalty and kin to Hobbs, Jean Ritchie) a song highlighting the hardships of post-coal communities painting an all too familiar scene of contemporary rural Appalachia. Reflecting upon these songs Linda notes, “Songwriting can freeze people in time like a photograph, preserving little nuances particular to specific cultures and I love that.”

Catch The Local Honeys On Tour: May 20 – Baltimore, MD – Baltimore Crankie Festival June 3 – Saxapahaw, NC – Haw River Ballroom June 5 – Wilmington, NC – Bourgie Nights June 10 – Charlotte, NC – Neighborhood Theatre July 10 – Crossville, TN – Byrd’s Creek Music Festival July 15- Nashville, TN- The Basement (album release show) July 17- Knoxville, TN- Barley’s Taproom July 19- Asheville, NC- The Grey Eagle July 20- Decatur, GA- Eddie’s Attic July 21- Memphis, TN- Hernando’s Hideaway July 22- St. Louis, MO- Off Broadway July 23- Kansas City, MO- Knucklehead’s July 26- Denver, CO- Lost Lake Lounge July 28- Red Lodge, MT- One Legged Magpie July 29- Emigrant, MT- The Old Saloon July 30- White Sulphur Springs, MT- Red Ants Pants Festival July 31- Bozeman, MT- Live from the Divide

For more tour dates and ticket information, please visit thelocalhoneys.com/tour .

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The Local Honeys: Rooted in Appalachian Folk, Communicating to the World

In normal times, you might find Kentucky-hearted duet the Local Honeys touring the UK or out on the road with folks like Colter Wall and Tyler Childers. But, like so many, the past year has been a paused their movement, allowing space and time to experience life in a way that most busy artists rarely get to.

Many caught wind of the group after a viral New York Times article in late 2020 about our nation’s cultural depression. But like other defendants of Appalachian people and culture, Montana Hobbs and Linda Jean Stokley, who make up the pair, have been outspoken via their music for a long time. Their new double-sided single continues a demand of accountability from big industry. “It’s a modern anthem of the American working class,” said Stokley.

BGS  caught up with the Local Honeys to talk about these two songs — “Dying To Make a Living” and “Octavia Triangle” — as well as the message in their music.

BGS: In the before times, you’ve led pretty busy schedules, including multiple international tours. What have you been up to since the pandemic began?

Montana Hobbs: Well, I can tell you what we’ve be into. We’ve been in our jammies a lot! But you know, we’ve experienced probably a similar story to anybody else that has been in the gig industry. We’ll all remember it as a point in our lives and a point in our careers that was kind of sedentary, if you will. I think our story is not much different, we’ve had more time at home to focus on things that we don’t get to do on the road – like exercise, cook at home, read. At the new year we both decided that we weren’t gonna think so much about what this past year has been, but think more about what this new year is going to be for us.

In a time of so much uncertainty, what inspired this new release?

LJS: We recorded those in October of 2019, and we’d been working on trying to change up our sound a bit, to make our sound bigger but not non-traditional, kind of neo-traditional. So we were thinking in 2020, how are we gonna release these songs? Then in October 2020, our friend Jimmy McCowan, who’s on one of those tracks, suddenly passed away from a heart attack. So, we talked to La Honda and asked if we could finally get these out. That’s kind of what spawned the release of this A-side/B-side single.

LJS: In July of 2019, there was a blockade in Harlan County, [Kentucky], and over a thousand miners in central Appalachia were out of work, because of the Blackjewel mining company. They went bankrupt, and they didn’t tell anybody. They didn’t tell any of their workers until the day of. In the middle of the day, they said, “this is your last day.” That is completely illegal. It was strange that it had to happen in Harlan County, which is so synonymous with all these bloody labor wars. To have something like this happen with one of the largest coal companies in the nation just shows that they can get away with all kinds of unlawful behavior. These people, their checks bounced. Of course that’s going towards their mortgage or rent, but it’s also going towards their medical costs, because there are so many disabled miners. We started thinking about this song more and more. We sang it a little bit, but didn’t have a need to sing it necessarily because we didn’t have anything to say. When we were on tour a lot, we would tell the story of what was going on, and put song and emotion into what’s happening, to get people to listen.

MH: To add on that, the song became more relevant to us in this time frame. It was a song that we were familiar with, via the band Foddershock, but also Rick & the Po’ Folk, Rich Kirby and his traditional band, and Pierceton Hobbs [who released his own version in 2020]. Basically, we felt like when you’re given the stage to speak on things like this, you might as well take advantage of the time and the attention that you’ve been given. Make that time worth it, and get a message that you feel is important across. When we would go over to England, which is also a very post-coal society that we didn’t know much about, we had firsthand connections where they told us stories of tragedy, how their grandfathers were miners, and so on. It made the whole history of traditional music come full circle for us, to where we had the opportunity to sing a song, but we also had the opportunity to tell a story of where we’re from and what’s happening where we are. Which is what traditional music was in its first iteration. 

MH: We went and visited the miner’s blockade in August. We just went down there and hung out with these people, they had their entire families on the train tracks. They had little encampments set up. People like Brett Ratliff, Rich Kirby, Tanya Turner at the time worked for Appalshop, went down there with us. Son, it was so hot. It was very much like third world conditions in what’s supposed to be the greatest country.

The week before, we were at Cowan Creek Mountain Music School in Whitesburg, Kentucky. Jim McCowan has been a member of the faculty there probably as long as the school has been around. This guy in my class asked, “Have you heard the song that Jimmy’s mother wrote?” We were both very close to Jim, he was a very bright light. So I sat on a picnic table with him and said, “I heard that you do a song your mother wrote.” And I’m one of those people that’s a real sneaky recorder with my phone, and I have about a 10 or 15 minute clip of him playing this song called the “Octavia Triangle.” He had such a beautiful delivery of the song.

We were thinking of something that would pair well with “Dying To Make a Living,” which is economic hardship, being pushed under the rug. Even though this work is essential, they’re being treated less than they’re worth. So then I thought that “Octavia Triangle” completely highlighted what it is to actually live, and work, and die, and love, in the coalfields. This was a true story that happened in Pike County, Kentucky. Who’s to blame other than these harmful practices which we still practice today?

LJS: I absolutely love Foddershock, I’m always trying to find their CDs. I’m waiting on WV [Hill] to send me some recordings. Obviously, I think “Dying to Make a Living” is one of the best places to start. I would also say “Eat Possum & Prosper” is one of my favorite tracks of theirs. And I really love “When Coal Was King.” There’s one that’s called “Live in a Trailer.” “Cahoots,” as well.  

Do you have any new goals or ideas to try for when things turn around and we can all get back on the road?

MH: Hmm… we are ready and willin’! Open for suggestions, open for bookings… But like I said before, this is a time that we will all remember as a pause in our lives and a pause in history, even though it’s been a hell of a lot of history put into one year. We’ve been granted this time to kind of work on things, we’ve been writing a lot. It’s always been something we’ve done and tried to practice, but now it seems like it’s at the forefront of our minds. We want to be seen as not just traditional musicians, not just old-time musicians, but we wanna be known as songwriters as well. Carrying on that storytelling, and showing how I feel about what’s going in the time and place I’m from. That’s one of the biggest connectors in music in general, it’s saying you’re not alone. Like when we went to Wales, even our song “Cigarette Trees,” which is about strip mining, people would come up to us and say, “They do that here too, and we don’t like it either.”

LJS: We’re finding so many relatable things to talk about when we tour in the UK specifically. Touring has really given us a way and a platform to connect with all these people around the world that are dealing with similar situations. Every time we go anywhere, we talk to people about the whole idea of ‘saving Appalachia,’ and trying to tell people that no, we have to pay attention to the causes of poverty and suppression that are happening within our state and within the entire southeast region. We don’t need saving, and we don’t need developing — we need somebody to actually understand what is going on in our area. We’re looking forward to reconnecting with people.

Photo credit: Zachary Martin

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The Local Honeys Announce Self-Titled Album

The new album will be released on July 15.

When a master songsmith like Tom T. Hall calls someone "a great credit to a wonderful Kentucky tradition," it's time to pull up a chair and pay attention.

As it pertains to the nearly-decade-running duo The Local Honeys, he was right on the money. The duo-Linda Jean Stokley and Montana Hobbs-have long been an integral part of Kentucky's musicscape, and on July 15th, they'll be adding a new entry into the Bluegrass State's rich musical canon.

Their first release on La Honda Records (Colter Wall, Riddy Arman, Vincent Neil Emerson), The Local Honeys features ten winsome vignettes of rural Kentucky, conjuring 90's alternatives sounds with hillbilly Radiohead lilts, soaring above layers of deep grooves and rich tones masterfully curated by longtime mentor Jesse Wells, a GRAMMY-nominated producer, musician (currently a member of Tyler Childers' band The Food Stamps), and Assistant Director at the Kentucky Center for Traditional Music at Morehead State.

Today, The Local Honeys shared their first taste of the new album with "Dead Horses," an emotional look at the tragedy of animal husbandry. With lines like "Suppose we're all just animals with slightly different hides,"

Stokely displays a cut and dried existence on the farm and the world at large while drums and banjo meld together propelling the tune from verse to verse. The accompanying music video finds Stokley and Hobbs surrounded by nostalgic photos of their equine counterparts, contributed by the band's fanbase, adding weight to the meaning of the song itself. The"Dead Horses" video can be viewed below and pre-order or pre-save The Local Honeys ahead of its July 15th release at this link.

Over the years, The Local Honeys have paid their dues, garnering countless accolades and accomplishments (tours with Tyler Childers, Colter Wall, praise from the New York Times), and have become the defining sound of real deal, honest-to-god Kentucky music. With The Local Honeys, Stokley and Hobbs ended up with the most nuanced, moody, deep-holler sound they have captured to date.

"This is the first time we've actively gotten to express who we are and where we're from" says Linda Jean, "The songs on the album speak for us," adds Montana "they're about what we know, reflections of us as people. We realized we have the power to add our own narrative into Kentucky music."

More About The Local Honeys: Throughout The Local Honeys, the duo demand to be interpreted as creators and storytellers, not just purveyors of tradition. Similarly, the sounds captured within the project cement their place as innovators and rule-breakers. Rollicking banjo meets overdriven guitar hooks and blue-collar rural grit is met with lush melodies and nimble harmonies; it's a project filled with juxtaposition and it isn't by accident.

It's reflective of who they are and who they run with. Wells along with the rest of Childers' band The Food Stamps - Rod Elkins (percussion) Craig Burletic (bass) and Josh Nolan (guitar) from Clay City, Kentucky, all lent their expertise and signature groove as collaborators during the session creating a fluidity, warmth, and cohesion that can only be created through friendship.

"Who better to record an album that defines your sound than the people who helped you find your sound, the people that understand where you come from, how you listen and who you are," The Local Honeys said. The project was engineered in Louisville at Lalaland by GRAMMY winner Anne Gauthier.

The songs on The Local Honeys speak to a new generation, a new Appalachian, the people who understand the beauty, the struggle, and the complexity of contemporary Appalachian life. In "The Ballad of Frank and Billy Buck," Hobbs describes the grace, humor, and irony of an aging hillbilly leading up to the final moments of his unjust demise.

Or there's "If I Could Quit," a song that grapples with the horrors of the ongoing opiate epidemic and the guttural pain of watching a friend deteriorate through addiction. Pride and sense of place run deep in songs like "Throw Me in the Thicket (When I Die)," a love letter about Linda's family orchard in Central Kentucky.

Playful colloquialisms and regional idiosyncrasies also permeate throughout the record as illustrated in "Better Than I Deserve," a song built around an informal greeting Montana's Papaw used throughout her childhood.

The album is rounded out with "The L & N Don't Stop Here No More," (the only cover on the record written by Appalachian royalty and kin to Hobbs, Jean Ritchie) a song highlighting the hardships of post-coal communities painting an all too familiar scene of contemporary rural Appalachia. Reflecting upon these songs Linda notes, "Songwriting can freeze people in time like a photograph, preserving little nuances particular to specific cultures and I love that."

The Local Honeys Tour Dates

May 20 - Baltimore, MD - Baltimore Crankie Festival

June 3 - Saxapahaw, NC - Haw River Ballroom

June 5 - Wilmington, NC - Bourgie Nights

June 10 - Charlotte, NC - Neighborhood Theatre

July 10 - Crossville, TN - Byrd's Creek Music Festival

July 15- Nashville, TN- The Basement (album release show)

July 17- Knoxville, TN- Barley's Taproom

July 19- Asheville, NC- The Grey Eagle

July 20- Decatur, GA- Eddie's Attic

July 21- Memphis, TN- Hernando's Hideaway

July 22- St. Louis, MO- Off Broadway

July 23- Kansas City, MO- Knucklehead's

July 26- Denver, CO- Lost Lake Lounge

July 28- Red Lodge, MT- One Legged Magpie

July 29- Emigrant, MT- The Old Saloon

July 30- White Sulphur Springs, MT- Red Ants Pants Festival

July 31- Bozeman, MT- Live from the Divide

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The Local Honeys Concert Setlists & Tour Dates

Upcoming shows.

• Date and Venue Doors Scheduled
• May 08 2024 Wildwood Smokehouse & Saloon Iowa City, IA, USA Add time Add time Add times

The Local Honeys at Freight & Salvage, Berkeley, CA, USA

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The Local Honeys at Off Broadway, St. Louis, MO, USA

• Dying To Make A Living
• Dead Horses
• Cigarette Trees
• Better Than I Deserve
• Hares On The Mountain
• The L&N Don't Stop Here Anymore

The Local Honeys at Rootsy Summer Fest 2023

The local honeys at eastside bowl, nashville, tn, usa.

• Octavia Triangle
• Psycho Killer

The Local Honeys at Oskar Blues Grill & Brew, Colorado Springs, CO, USA

• Freight Train Blues
• Dumbass, Nebraska
• Last Mule in the Holler
• Throw Me In The Thicket (When I Die)

The Local Honeys at Railbird Festival 2023

The local honeys at merlefest 2023, the local honeys at the loud, huntington, wv, usa, the local honeys at saint andrew's hall, detroit, mi, usa.

• If I Could Quit

The Local Honeys at Agora, Cleveland, OH, USA

The Local Honeys

More from this artist.

• Artist Statistics
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Most played songs

• Cigarette Trees ( 10 )
• Dying To Make A Living ( 6 )
• Hares On The Mountain ( 6 )
• Freight Train Blues ( 5 )
• If I Could Quit ( 5 )

More The Local Honeys statistics

Nobody has covered a song of The Local Honeys yet. Have you seen someone covering The Local Honeys? Add or edit the setlist and help improving our statistics!

Artists covered

Emmylou Harris The Imagined Village Talking Heads

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Gigs seen live by

22 people have seen The Local Honeys live.

brookedainty bthompz PerForADay mkinley_daniel EvaKB CubsFan517 concertmick23 DaddyCool tonydrakeovich Kadyfollowill ryanpaschal 2klightyrsaway kornhole2008 dmorgan4 lemonbritches Rifugium tupelopenny joeri_eilish rootscontroller prince_goulash robb belars

The Local Honeys on the web

Music links.

• The Local Honeys Lyrics (de)
• Official Homepage

Tour Update

Marquee memories: the dandy warhols.

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