- Saturday, December 31st – New Year’s Eve Part I @ House of Blues, Las Vegas, NV, 6pm
- Saturday, December 31st – New Year’s Eve Part II @ Rebel Republic, Las Vegas, NV, 10pm
- Thursday, January 26th – TBA w/Folk Hogan, Las Vegas, NV
With Ken Osborne skillfully playing banjo, mandolin, and just about anything else with strings; Cindy Osborne thumping the upright bass like it owes her money; Michael Louis Austin effortlessly lending his flawless six-string chops; and Brenna Lee weaving her beautiful, and sometimes haunting, cello around it all… The All-Togethers display their passion for what they do so well… play music that is reminiscent of times long gone with a freshness that will keep you smiling long into the night.
-Blake Phillips: Our Kind of Music Radio-
10 Nevada Bands You Should Listen To Now
“This charming quartet like to lump their sound under the heading of “hillbilly jazz.” Not a bad way to think about The All-Togethers sound at all, really, as the quartet keeps their instrumental simple and acoustic (guitar, mandolin, and cello drive the sound), ready for a back porch jam session, but play a woozy, gin-fueled style of hot jazz that would be welcome in any speakeasy around the world.”
-Robert Ham: Paste Magazine-
a four-piece flurry of strings
Las Vegas is the land of many sights and sounds. The All-Togethers add Hillbilly Jazz to the city’s mixtape by bringing a four-piece flurry of strings with banjo, mandolin, cello, upright bass and guitar. The sound of To the Sober Go the Spoils is staged in a room with red brocade walls and gold filigree angels around the bar mirrors… The All-Togethers weave songs using the music of time gone yet their tunes drift on a breeze as fresh as the scented trail of flowers.
-Danny McCloskey: The Alternate Root Magazine-
furious bluegrass beguilers
The band’s fervor comes from all of these instruments coming together and each individual member adding their own flair to the music. The All-Togethers may not be the music of today’s generation, but their sound is an inspired and welcomed change. Fans of genre music would do well to give To the Sober Go the Spoils a listen because it exemplifies just how well older forms of music can be when given a new world spin. And stylistically it’s pretty darn fun to listen to when you’ve had a few.
-Jamie Robash: The Equal Ground-
a folky treat
From toe-tapping opener “Self-Defense” (with an even catchier chorus), to the winter-in-the-country vibes of “Shadowboxing,” The All-Togethers’ Americana-folk will make you feel like you hopped in a time machine set to 1925—minus that whole Prohibition thing. Cindy Osborne’s stand-up bass, Brenna Luman-Glimp’s gorgeous cello lines, Michael Louis Austin’s guitar and Ken Osborne’s rich vocals, mandolin and banjo make To the Sober Go the Spoils a folky treat for ears and feet.
-Leslie Ventura: Las Vegas Weekly Magazine-
“…self-described “hillbilly jazz,” channeling old-Vegas swagger with the chutzpah of a moonshine-fueled speakeasy stomp—drawn from their Virginia roots…Live gigs are indeed the band’s element, when their bluegrass wails and harmonies and Cindy’s thumping bass can echo uninhibited throughout a room. Their sound is refreshingly devoid of the infectious indie twee popular in recent years—they’re more Tom Waits than Arcade Fire—but it manages to get you stomping, chanting and swooning in much the same way.”
-Andrea Domanick: Las Vegas Weekly-
Don't Call Them Folksy
“And then The All-Togethers begin to play, and your expectations drop like the walls of Hoover Dam. Traditional Bluegrass fills the room. Which proves (they) aren’t just wannabes of the fast-plateauing suspender set. Unlike The Lumineers, Of Monsters and Men, et al, this Las Vegas-via-Virginia acoustic act doesn’t peddle folk ‘n’ harmonies as schtick… Versatility has best served the new and certainly unlikely Vegas favorites, who have successfully acclimated their throwback package for a fickle and fussy bunch.”
-Mike Prevatt: Desert Companion Magazine-
usual warm Southern style
“My night kicked off as any proper Sunday should: with The All-Togethers’ Sunday best, spiffy wing-tips, tea-length dresses, vests, flat caps—the whole nine. Though as anyone who’s ever heard them knows, their retro roots are more than skin-deep. They served up their usual warm Southern style via bass, banjo, guitar and cello, closing first with “When the Night Comes,” a slower number with an edge that makes you feel as if you’re being stalked down a NOLA alley by a vampire. But their ultimate closer hit the gas, energizing the crowd with a song whose lyrics matched the freight-train sound. So much better for seeming less than all together.”
-Molly O’Donnell: Las Vegas Weekly-