The Rialto Theatre Presents...

Jamestown Revival W/ Robert Ellis

Sunday, January 16
Doors: 7:00pm / Show: 8:00pm

Price: $22-$25 + Taxes and Fees

Not On Sale




As of September 20, 2021, all patrons will be required to wear masks while attending an event unless actively enjoying a beverage. Additionally, proof of full COVID-19 vaccination or a negative COVID-19 test result within 48 hours will also be required. At-home tests can only be accepted with results given via an app (which includes your information). The test result will need to include your name and date of birth, and also have a time stamp so we can determine when the test was taken. It will be compared to your photo ID at the door.

If you are uncomfortable with these guidelines, have already purchased a ticket, and would like a refund you may contact the Rialto box office at




Jamestown Revival have made the quietest record of their career with Young Man, yet it may
resonate the most. Recorded in their home state of Texas, it is their first project without electric
guitars, with the emphasis instead on skillful songwriting, flawless harmony, and intricate
fingerpicking. In addition, it’s the first time that bandmates Jonathan Clay and Zach Chance have
created an album with a producer — in this case, Robert Ellis, a fellow Texan and a recording
artist in his own right.
“I really think this is an album about coming of age and settling into an identity,” Clay says. “It’s
about losing your identity and searching for it. It’s feeling like you found it and then realizing
that’s not it. And it’s about our experiences over the last 15 years of making music – the
successes and failures and all of those things mixed up together.”
Sonically the album draws on inspirations such as Crosby, Stills, Nash & Young and The Doobie
Brothers (particularly “Black Water”), yet there’s also a dusty Western feel to Young Man,
similar to a Guy Clark or Townes Van Zandt album where the detailed backdrop and acoustic
arrangements convey the story as eloquently as the lyrics do.
“This is our first excursion with fiddle and we didn’t hold back,” Chance says. “We wrote a lot
of these songs about the questions and the perspectives now that we’re a lot older and have been
doing this longer. It’s almost like having a conversation with ourselves at times. We wanted it to
feel earthy and rootsy, so the fiddle was a big part of that identity.”
A sense of spaciousness came naturally in past projects like 2014’s Utah, recorded in the
Wasatch Mountains, and 2019’s San Isabel, recorded in a Colorado cabin. This time, the band
opted for a studio for the first time, choosing Niles City Sound in Fort Worth, Texas. Studio
co-founder Josh Block engineered Young Man to evoke the experience of musicians huddled
together, singing and playing without headphones or click tracks. Chance and Clay are joined on
the session by their longtime rhythm section of bassist Nick Bearden and drummer Ed Benrock.
“The songs move, the tempos move, but we really wanted to capture the performances,” Clay
explains. “We wanted the songs to push and pull as they needed to, and not to have to adhere to a
grid. It feels like the songs straighten out too much when that happens, so it was cool to be in a
studio with an engineer and producer who really supported that idea.”
Chance continues, “All of the adventures we’ve had recording in different places have been fun,
but the burden of bringing our own gear, setting it up, and then being our own producer is a lot to

carry on our shoulders sometimes. With Robert, he always has an opinion and he could help us
pick a direction. We could relinquish control and focus on capturing our best performance.”
Young Man opens with “Coyote,” a plaintive ballad the duo wrote on their ranch near Huntsville,
Texas, about an hour north of their hometown of Magnolia. With its lonesome tones and sly title
character, it sets the tone for the album, pulling in listeners with blended voices and a narrative
that befits a campfire setting. From there, songs like “Young Man,” “Moving Man,”
“Northbound,” and especially “These Days” further explore their restless frame of mind, due in
no small part to the pandemic.
As Clay explains, “I think what we asked ourselves a lot throughout this process were questions
like, ‘Damn, where did our fire go? Do we still have it?’ I didn’t pick up a guitar for six months
after our tour got canceled when COVID hit. I just felt like music had turned on me. I felt like I
was asking, ‘Am I a musician anymore?’” Chance agrees with that sentiment, adding, “It’s easier
for us whenever we’re in motion. I don’t think you ever stop to question how fragile it actually
is, and then it gets taken away. You lose the ability to identify with it.”
Even as “One Step Forward” finds the duo seeking a silver lining, “Slow It Down” shows them
embracing the situation – by strumming their guitars, driving down dirt roads, and catching
crawfish. That homegrown approach carries over into “Way It Was,” even as the opening lines
address the inevitable changes in life. Meanwhile, “Old Man Looking Back” is a co-write with
Ellis, completed in Chance’s kitchen in the weeks leading up to the sessions for Young Man.
However, it’s a different gathering that set Jamestown Revival on the course to make Young Man.
After a year apart of not playing together, Chance and Clay invited their band to the ranch to
hang out and to record a few songs in their hay barn. The results served as an unintended
pre-production of sorts, sparking ideas that they eventually carried into the sessions with Ellis.
They also wrote “Coyote” during that time, as well as the album’s closer, “Working on Love.”
Asked about the message of that final song, Chance replies, “For me, it was about the idea of
love – and not just intimate love but love in general – being a lifelong journey. It’s similar to how
you’ve got to plow the fields and replant the seeds and water it and tend to it. It’s the same way
you have to approach your patience for love in your life.”
Chance and Clay envision Young Man as a collection of songs that should be played all the way
through, like reading a book. “We had the most amazing time recording this album. We laughed
nonstop,” Clay says. “When I listen to this album top to bottom, I’m really proud of what we did.
I hope that this album transports people because it’s like a time capsule. It takes us right back to
that studio and to that couple of weeks. It felt like we were doing what we were meant to do.”

Jamestown Revival deliver skillful songwriting, flawless harmony, and intricate fingerpicking on
their newest album, Young Man. The project is their first without electric guitars and their first to
be recorded in a studio. Jonathan Clay and Zach Chance forged a musical bond as teenagers
growing up in Magnolia, Texas. They draw musical inspiration from groups like Crosby, Stills,
Nash & Young and The Doobie Brothers, as well as songwriters such as Guy Clark and Townes
Van Zandt. With themes like coming of age and settling into an identity, Young Man is
envisioned as a collection of songs that should be played all the way through. Sonically, the
album evokes the experience of musicians huddled together, singing and playing without
headphones or click tracks. Chance and Clay are joined on the Young Man sessions by producer
Robert Ellis and the band’s longtime rhythm section of bassist Nick Bearden and drummer Ed




since making their acclaimed debut with 2013’s dark holler pop, north carolina-bred four-piece mipso have captivated audiences with their finely layered vocal harmonies, graceful fluency in the timeless musical traditions of their home state, and a near-telepathic musical connection that makes their live show especially kinetic. on their self-titled sixth album and rounder records debut, fiddle player libby rodenbough, mandolinist jacob sharp, guitarist joseph terrell, and bassist wood robinson share their most sonically adventurous and lyrically rich work to date, each moment charged with the tension between textural effervescence and an underlying despair about the modern world. mainly recorded at echo mountain in asheville, north carolina, mipso finds the band joining forces with sandro perri (a musician/producer known for his work with acts like great lake swimmers, as well as his own post-rock/experimental-electronic material). in overseeing the production process, perri guided mipso toward their goal of shaping a sonic landscape that was expansive and atmospheric yet surprisingly personal, even playful. to that end, the band dreamed up mipso’s resplendent textures by stretching the limits of their acoustic instruments, rather than employing outside musicians to create new sounds. the result is a body of work with spacious arrangements that gently illuminate the idiosyncratic details and refined musicianship at the heart of every song.



Before signing with New West Records in early 2011, country songwriter Robert Ellis made a name for himself in Houston. Inspired by the country, folk, and bluegrass records he’d heard while growing up in southern Texas, Ellis began playing shows around the city, eventually landing a Wednesday-night residency at a local venue called Fitzgerald’s. His audience grew as a result of those weekly shows, nicknamed “Whiskey Wednesdays” for their rowdy nature and half-drunk clientele, and Ellis earned more fans on the strength of his self-released debut, The Great Rearranger. One of those converted fans was George Fontaine, Sr., president of New West Records, who signed Ellis in 2011. Photographs was released that summer, mixing acoustic folk songs with up-tempo country numbers. The album was selected by American Songwriter as one of its Top 50 albums for that calendar year. Ellis toured the United States and Europe before relocating to Nashville. His more eclectic sophomore album, The Lights from the Chemical Plant, was recorded there and produced by Jacquire King and issued in February 2014.

After extensive touring and experiencing the dissolution of his marriage, Ellis returned to recording. He self-produced his next album, simply titled Robert Ellis, at Sugar Hill Studios in Houston. It was engineered by Steve Christiansen and mixed by John Agnello. A pre-release single and video for “How I Love You” did well on streaming sites, and the album appeared in June 2016.

After a nearly three-year break, Ellis returned in February 2019 with Texas Piano Man, an album that emphasized his eccentric pop side. ~ Andrew Leahey, Rovi

The Rialto Theatre Foundation is a 501(c)(3) non-profit organization dedicated to the stewardship and preservation of the historic Rialto Theatre, a unique entertainment venue and cornerstone of downtown Tucson, offering a broad range of high-quality performing arts that are reflective of the diverse and vibrant community it serves.

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Covid-19 Venue Policy

As of September 20, 2021, both the Rialto Theatre and 191 Toole will require all patrons to wear masks while attending an event unless actively enjoying a beverage. Additionally, Proof of full COVID-19 vaccination or a negative COVID-19 test result within 48 hours will also be required. 

We cannot accept all at-home tests. If it's an at-home test that gives results via an app (which includes your information) those are acceptable. The test result will need to include your name and date of birth, and also have a time stamp so we can determine when the test was taken. It will be compared to your photo ID at the door.

***Visiting artists and productions may elect to follow increased health and safety protocols. Therefore, vaccinations, specific capacity, distancing, and face-covering protocols may vary from show to show***

For information about Covid-19 vaccination and free Covid-19 Testing sites in Pima County, please click HERE


A partir de Septiembre 20, 2021, ambos Rialto Theatre y 191 Toole requerira a todos los patrocinadores que usen mascarillas mientras esten asistiendo un evento, a menos que queue activamente esten disfutando de una bebida.

Adicionalmente, tendran que mostrar una prueba complete de la vacuna COVID-19, o resultados de una prueba negativa de COVID-19, de dentro las ultimas 48 horas.

No podemos aceptar todas las pruebas en casa. Si se trata de una prueba en casa que da resultados a través de una aplicación (que incluye su información), esos son aceptables. El resultado de la prueba deberá incluir su nombre y fecha de nacimiento, y también tener una marca de tiempo para que podamos determinar cuándo se realizó la prueba. Se comparará con su identificación con foto en la puerta.

***Artistas invitados, visitantes y producciones podran decider el aumento en el protocolo a seguir para la seguridad y salud.Por lo tanto, los protocolos de vacunas, capacidad especifica, distanciamiento, y cubiertas faciales, pudiesen variar, de evento a evento.***

Para informacion acerca de los sitios en el Condado Prima de pruebas gratuitas de Covid-19, por favor presione AQUI