Cesar Rosas

Penn’s Peak is proud to announce Los Lobos with North Mississippi Allstars, Friday, June 9, 2023 at 8pm. 

The journey of Los Lobos began in 1973, 50 years ago this year, when David Hidalgo (vocals, guitar, and pretty much anything with strings), Louie Perez (drums, vocals, guitar), Cesar Rosas (vocals, guitar), and Conrad Lozano (bass, vocals, guitarrón) earned their stripes playing revved-up versions of Mexican folk music in restaurants and at parties.

The band evolved in the 1980s as it tapped into L.A.’s burgeoning punk and college rock scenes. They were soon sharing bills with bands like the Circle Jerks, Public Image Ltd. and the Blasters, whose saxophonist, Steve Berlin, would eventually leave the group to join Los Lobos in 1984.

Early on, Los Lobos enjoyed critical success, winning the Grammy® for Best Mexican-American Performance for “Anselma” from its 1983 EP …And a Time to Dance.

A year later, the group released its full-length, major-label debut, How Will the Wolf Survive? Co-produced by Berlin and T Bone Burnett, the album was a college rock sensation that helped Los Lobos tie with Bruce Springsteen as Rolling Stone’s Artist of the Year.

A major turning point came in 1987 with the release of the Ritchie Valens biopic, La Bamba.

The quintet’s cover of Valens’ signature song topped the charts in the U.S. and the U.K. Rather than capitalize on that massive commercial success, Los Lobos instead chose to record La Pistola y El Corazón, a tribute to Tejano and Mariachi music that won the 1989 Grammy® for Best Mexican-American Performance.

That kind of sharp artistic turn has become Los Lobos’ trademark, serving to both fuel the band’s creativity and keep its fans engaged. In 1992, that willingness to defy expectations led them to record Kiko, an adventurous album produced by Mitchell Froom that’s considered by many to be one the band’s very best.

Since then, Los Lobos has continued to deliver daring and diverse albums such as Colossal Head (1996), Good Morning Aztlán (2002), The Town and the City (2006), Tin Can Trust (2010) and Gates of Gold (2015). On top of that, the band’s live shows never disappoint, as documented on the recent concert recordings Live at the Fillmore (2005) and Disconnected in New York City (2013).

Through the years, they’ve managed to keep things interesting with unexpected side trips like an album of Disney songs in 2009, along with countless contributions to tribute albums and film soundtracks.

One of those – “Mariachi Suite” from the 1995 film Desperado ­– earned the band a Grammy® for Best Pop Instrumental Performance. Los Lobos’ love letter to the city of Los Angeles as their album Native Sons (2021), returned the band to the Grammy winner’s circle with Best Americana Album of 2022. In 2023, Los Lobos celebrates its 50^th anniversary as a band, a rare and impressive feat, as the band continues its great legacy.

Los Lobos has sold millions of records, won prestigious awards and made fans around the world. But perhaps its most lasting impact will be how well its music embodies the idea of America as a cultural melting pot. In it, styles like son jarocho–norteño, Tejano,folk, country, doo-wop, soul, R&B, rock ’n’ roll and punk all come together to create a new sound that’s greater than the sum of its parts.

North Mississippi Allstars

Nothing runs deeper than family ties. Brothers, sisters, fathers, mothers, sons, and daughters understand one another at the purest level. When families rally around music, they speak this oft-unspoken bond aloud and into existence.

North Mississippi Allstars

After 25 years, twelve albums, four GRAMMY® Award nominations, and sold out shows everywhere, North Mississippi Allstars open up their world once again on their thirteenth album, Set Sail [New West Records], welcoming other family (by blood and by the road) into the fold.

As legend has it, Luther and Cody Dickinson started the band in 1996 as a loose collective of like-minded second-generation musicians who shared a local repertoire and regional style. Over the years, the lineup shifted by design, and each subsequent record offered up a different combination of collaborators. This time around, they mined the talents of Jesse Williams on bass and Lamar Williams, JR. on vocals. During the Allman Betts Band Family Revival, the Dickinsons first linked up with Lamar, son of the Allman

Brothers bassist Lamar Williams, Sr., becoming fast friends and collaborators and eventually paving the way for Set Sail.

“The chemistry we have with this lineup is powerful,” observes Luther. “We are all

second-generation musicians and share a telepathic, relaxed ease about creating and

performing. I believe music is a form of communion with our loved ones and conjuring this vibe with members of musical families can be inspirational. Lamar and I are like-minded. I’ve never had the pleasure of working with a singing partner like Lamar. He has a true-blue quality in his musicality that will pull you in and break your heart. At the same time, Jesse grew up playing music with his brothers and his father—as did we. He plays like a sibling. We recorded the album fresh off the road and captured the energy we had worked up with him. I’m drawn to musical families, regardless of style. Playing with second- or third-generation players allows us an easy unspoken musical dialog. It’s not a big thing; it’s just what we do. We never had to figure out what it means and takes to be a musician. We all inherently know.”

They picked up this wisdom by osmosis. As sons of legendary producer and musician Jim Dickinson, Luther and Cody have been producing records themselves since they were teenagers. Separately, the brothers have produced albums by Samantha Fish, R.L. Boyce, Lucero, Amy Lavere, the Birds of Chicago, Ian Segal, and more. Luther produced two records from Otha Turner, including Everybody Hollerin’ Goat, which was named one of the ten most important blues albums of the nineties. Luther and Cody co-produce North Mississippi Allstars records as the “Dickinson Brothers.”

“We learned an enormous amount from our father,” Luther says, “Cody and I made mistakes, but we’ve always believed in ourselves, and we had to learn for ourselves. Rock ‘n’ roll is self-taught. Each generation has to reinvent itself and shed the skin of the elders. On Set Sail, we feel as if we’ve once again ‘broken the code,’ and know what we want and how to get it.”

Following 2019’s Up and Rolling, which received a GRAMMY® Award nod in the category of “Best Contemporary Blues Album,” Set Sail continues the band’s tradition of creating roots music that displays remarkable variety. Luther and Cody Dickinson dig in with the production and different guitar tones; the record sizzles with hard yet understated groove, grown folk music. Luther’s wide-ranging guitar style features jazz riffs, psychedelic sounds, and soulful slide. Drummer and multi-instrumentalist Cody draws on roots music, rock, jazz, rap, and other styles to create rhythms that propel the band’s sounds and move it forward. Their two aesthetics combine to create the band’s unique style, “Primitive Modernism,” melding the new and the old, traditional, and futuristic, crafted lyrics and improvisational music. Speaking of, the first single

and title track “Set Sail Part I” [feat. Lamar Williams, JR.] rides a riff right out of the Southern Delta into the embrace of a horn section as the vocal interplay simmers on the line, “The water may rise again, but we shall set sail.”

“‘Set Sail’ really set the tone,” Cody goes on. “It could be taken literally or figuratively.

Philosophically, it’s about the way the waters literally do rise. We’re talking about climate

change in a literal sense, but it’s also symbolic in a social sense. It won’t be the first time.”

“See The Moon” [feat. Lamar Williams, Jr. & Sharisse Norman] hinges on a head-nodding bass line as Sharisse’s harmonies uplift a downright spellbinding performance from Lamar underlined by Luther’s unpredictable guitar phrasing. The most familial moments on the record happen when Luther’s daughters Lucia and Isla sing together on “Authentic” and “Didn’t We Have A Time,” marking a full circle moment in poetic fashion. Delicate instrumentation wraps around plaintive and powerful lyrics laced with nostalgia on the lullaby-style chorus. “It’s one of my favorite songs,” smiles Cody, who has recently become a father himself. “Hearing my nieces on it was a high point. It was really meaningful, deep, and beautifully sad, but also hopeful.”

Strings and horns give way to the smoky blues of “Never Want To Be Kissed” [feat. William Bell], illuminating yet another side of the sound. Luther notes, “Most of these songs have been floating around in my lyric books, waiting for their time to come. ‘Rabbit Foot’ and ‘Outside’ were inspired by conversations I remember having with Otha Turner and R.L. Burnside. We leaned into our other greatest influences: folk, soul, and psychedelic rock, but everything we play feels like North Mississippi. The recording also benefited from a new creative process I learned from a book, Q on Producing, that Cody sent me. I read about Quincy Jones’s philosophy of never recording a vocalist reading a lyric sheet. Up and Rolling was recorded with the band in the room. The genesis of Set Sail was the nylon string guitar and the vocals, and letting the memorized lyrics shape the song structure or lack thereof. This led to a whole new phonetics-based editing process that I’d never used before. Some of the lyrics were improvised and created on the mic, capturing the moment of creation.”

Building the songs from the guitar and BPM on Set Sail enabled Luther and Cody to experiment with their drum and guitar sounds in a leisurely way they hadn’t afforded themselves since their debut album, Shake Hands with Shorty (1999). In the studio, Cody mixed the songs again and again, working tirelessly but never losing perspective. Cody’s grooves and Luther’s songwriting furnish the album’s foundations.

Luther admits, “Recently, I had my mind blown by Rick Rubin saying that fitting lyrics into the puzzle of structure can compromise the message. Indeed, rules are made to be broken. I’m glad these songs came to fruition at this time because I was able to express my stance on life and love. The fear of having my children grown up and asking me why I didn’t speak up for what I believed in has driven me and helped mature my songwriting and solidify my stance. Having kids made me get my story straight.”

The Dickinson brothers have recorded and toured with Mavis Staples, Charlie Musslewhite, John Hiatt, Robert Plant and Patty Griffin, G Love, Jon Spencer, the Tedeschi Trucks Band, Los Lobos, and the Black Crowes. Meanwhile, their seminal debut, Shake hands with Shorty (2000), earned the band the first of four GRAMMY® nominations, and changed the Dickinson brothers’ lives forever.

Luther adds, “Quincy says, ‘Music gives back what you put into it.’ We have dedicated our lives to music, and it’s given us a fantastic journey that’s still only beginning.

In 1997, R.L. Burnside hired me and took me on the road. R.L., Kenny Brown, and Cedric

Burnside taught me how to tour nationally after years of touring locally. The Shake Hands with Shorty tour in 2000 took Cody and I around the world and changed our lives. We never really slowed down.”

They forge ahead always as a family, first and foremost. “North Mississippi Allstars means family,” Cody concludes. “I get the joy of working with my brother. Our families keep growing too. There’s a sense of history. The older I get, the more I realize how important it is to record this music, so younger kids can hear it. I just want to make sure we pass it on. It’s a huge honor to be a part of this tradition.”

Tickets on sale Friday, March 10^th at 10:00AM at all Ticketmaster outlets, the Penn’s Peak Box Office and Roadies Restaurant and Bar.  Penn’s Peak Box Office and Roadies Restaurant ticket sales are walk-up only, no phone orders.

Reserved Seating

Premium Reserved: $38.50

Regular Reserved: $33.50

About Penn’s Peak

Penn’s Peak, a beautiful mountaintop entertainment venue located in Jim Thorpe, Pennsylvania, can comfortably host 1,800 concertgoers.  Enjoy a spacious dance floor, lofty ceilings, concert bar/concession area and a full service restaurant and bar aptly named Roadie’s. Complete with a broad open-air deck for summertime revelry, Penn’s Peak patrons enjoy a breathtaking overlook of nearby Beltzville Lake, plus a commanding, picturesque 50-mile panoramic view of northeastern Pennsylvania’s Appalachian Mountains. Choose Penn’s Peak for your next wedding, banquet or special event and treat your guests to an event truly “Above the Rest”.

Geographically convenient to residents of major population zones in Hazleton, Scranton, Wilkes-Barre, Stroudsburg, the Lehigh Valley, Philadelphia and New York City, Penn’s Peak is an ideal location for any event.  It is located only four miles from Exit 74 of the northeast extension of the Pennsylvania Turnpike.  For more information on Penn’s Peak, go to www.pennspeak.com or call 866-605-7325.