Jamgrass, newgrass, funkgrass, whatever you want to call it— Armchair Boogie is rapidly
becoming one of the country’s hottest acts. With an unbounded sound, this Wisconsin-based
quartet is known for their powerful harmonies, timeless originals, and choice covers, along with
unforgettable live performances. Listed as a “Must-See Roots Artists at Bourbon & Beyond'' by
The Bluegrass Situation who wrote, “We recently caught this jammy Wisconsin outfit at Earl
Scruggs Music Festival, where they burnt down their late-night set.”
Armchair Boogie is Augie Dougherty on banjo with Ben Majeska acoustic & electric guitars
backed by tight, driving rhythms of Eli Frieders on electric bass and Denzel Connor on drums.
This unconventional lineup enhances their lightning-fast bluegrass, allowing them to freely
venture into the realms of funk or country. A band on the verge, Armchair Boogie is excited to
independently release their 4th studio recording, Hard Times & Deadlines, on March 15.

Composing these songs around the beginning of the pandemic, Majeska and Dougherty—who
sing lead on the respective songs they wrote—were experiencing the stresses of entering their
late 20s.
Majeska says “Life comes with highs and lows, and Hard Times & Deadlines captures the fleet
of emotions that come with it. From broken hearts and fond memories. To broad horizons and
the inevitable end of this human journey.”
"Hard Times & Deadlines is a pretty literal explanation of what I felt life was turning into,”
Dougherty says. "The fluffy part of college and party life was beginning to fade away and it
seemed like it was time to put my head down and work. "Once the tunes were drafted, they were
brought to the whole band for collaboration. "This is where the tune truly becomes a Boogie
song. Everyone adds their touch of creative input and we're able to polish it up collectively pretty
quickly,” explains Dougherty.
 

In a modern musical world made of loops, grids and plug-ins, honest, organic songs played live might be as relevant now as ever before. Roman & the Long Haul is the kind of outfit that almost accidentally brings you to reflection right before enticing a knee slap, then finding a partner and jumping to your feet. The five and sometimes six piece wears the kind of life experience that comes from hard work and many nights playing on dimly lit stages in small town bars. Roman’s unmistakingly raw, emotionally charged stories leave little doubt of authenticity. It’s music reminiscent of a time when it wasn’t so simple to tell the difference between blues and country. When it was all, as Hank Williams used to say, ‘folk’ music. It was around the same time when Leo Fender started boosting electrical signals with vacuum tubes and speakers in pine boxes wrapped with tweed. That’s who these guys are. Not nostalgia, worn like a costume, rather a kinship to the past and respect for a type of storytelling we might be careful to keep around.

Roman’s first record was cut in 2019 with the help of Nick Champeau (Drew Parker, Gary LeVox) In it you hear trucker country song turned rock & roll through the fingers of guitarist’s Woody Davidson’s tele as Giberson proudly pronounces being not just a son, but a grandson of men who toggled’ engine brakes and avoided ‘city kitties’ for a living. Or the vengeful fantasy in the recurring dream of Sinner’s Waltz, as he describes a ‘cold blue iron, striking the night like a flame in hell,’ or the father, in the regretful, yet sanguine Belle’s Song to his daughter, promising to finally ‘get it right.” Champeau’sguitar guitar elevates beautifully along with Giberson’s baritone in the grit filled Big Joe, about a WWII era farm boy and his penchant toward hell raising .The record was engineered and produced by Giberson and Jon Oistad of LB3 Studios in Portland, Oregon.

Whatever the future holds in modern music, let’s hope there’s always a place for this kind of authentic human honesty. It’s a little loud and rowdy, it’s American as hell, a little like country and blues had a baby.