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Black Heart Booking Presents:

IV and the Strange Band

with Telekinetic Yeti, White Hills, Benjamin Charles Freeman

August 6

8:00 pm

$15 ADV / $20 DOS

Doors at 7 PM

RSVP on Facebook

“Patience is a virtue.” Those words are tattooed across Coleman

Williams’ right arm, forever reminding the alternative-country

singer/songwriter of the benefits of taking one’s time.

The lesson wasn’t always so clear. As the great-grandson of Hank

Williams Sr., grandson of Hank Williams Jr., and only son of Hank 3,

Coleman spent years waging an internal battle with the expectations

thrust upon him by his own lineage. He represented the fourth

generation of country music’s most legendary family — hence his

nickname, “IV” — and the pressure to launch his own career was

enormous. Although Coleman would eventually make his mark with

Southern Circus — the genre-bending debut from his band, IV and the

Strange Band, combining southern storytelling and country textures

with 100-watt guitar amps and DIY attitude — he needed to break free

first and discover his own musical approach along the way.

“Before I even knew who I was, people were already expecting things of

me,” he says. “It felt like there was zero freedom of expression for

someone with the last name ‘Williams.’ Singing about a bloodline

didn’t appeal to me, though. I wasn’t interested in fitting into a

shadow that already existed. What did appeal to me was the underground

scene in Nashville.”

Coleman became a fierce champion of Nashville’s house-show circuit as

a teenager, drawn in by the scene’s supportive spirit and DIY ethics.

This was a community that valued principles over pedigrees. A

community that offered artists of all stripes a place to express

themselves. From punk shows to heavy metal gigs to electronic

experiments, Coleman loved it all… and for the first time in his life,

he felt like he belonged somewhere.

“I was a weird kid who grew up in an unusual situation,” he says.

“When I began going to house shows in Nashville, I felt like I’d found

a family of people whom nobody else wanted — kids who were different

and misunderstood — and during these two-hour shows, everyone

belonged, everyone felt accepted, and everyone had a place. The

experience taught me to trust my instincts. It gave me a new sense of

independence. I have to believe that’s why Hank Williams made music,

too; he could see what it did for people.”

Inspired to blaze his own trail, Coleman left town after high school

and traveled across America, developing musical tastes that were as

diverse as the country itself. Over the decade that followed, he

became a history buff, a poet, a metalworker, and an educator. Back

home in Nashville, he continued his lifelong practice of writing

songs, developing the unique sound — a blend of the amplified and the

acoustic, laced with fiddle one minute and heavy guitars the next —

that would later fill Southern Circus. Coleman took his time. He

wanted the sound to be right. Patience is a virtue, after all.

Local producer Jason Dietz became a fan of Coleman’s songs, prompting

the two to begin collaborating. Guitarist David Talley joined them, as

did banjo player Daniel Mason and drummer Carson Kehrer. All five

musicians (along with fiddler Laura Beth Jewell and steel player, John

Judkins who both appear on the record) came from different musical

backgrounds, but they worked together to build something new, using

Coleman’s acoustic tunes as the blueprint for a southern sound that

was soothing one minute and strident the next. An album began taking

shape. Just shy of his thirtieth birthday, Coleman Williams made his

long-awaited debut with “Son of Sin,” a single that was released in

2021 by IV and the Strange Band.

“I like to say, ‘What doesn’t kill you makes you stranger,'” he

explains. “I love strangeness and I love my Strange Band. The most

genuine people in this world are those who allow themselves to be the

weirdos they truly are, because once you repress yourself, that’s when

you become someone you’re not.”

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