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The Vanguard and Bros. Houligan Present...

The Wilder Blue

with Jason Scott & The High Heat
Fri Mar, 8 8:00 pm ( Doors: 7:00 pm )
The Vanguard
All Ages
$15 PRE / $20 DOS / $40 MEZZ
Additional Info
No backpacks or other large bags will be permitted at entry. If a bag is necessary, we encourage you to carry something the size of a standard fanny pack or clutch. All bags subject to search at entry.

All patrons will be subject to wanding with a metal detector at entry. No weapons, including folding pocket knives, will be allowed to enter the venue. 

No outside drinks or reusable drink containers will be permitted. This includes Camelbak style backpacks. 

No smoking allowed inside venue. We have an open re-entry policy, so you will be permitted to go outside if you would like to smoke during the event. 
The Wilder Blue
  1. “There is music. And then there is The Wilder Blue, who feel so transcendent, they’re in a category all of their own.” —Saving Country Music The Wilder Blue began in 2019 when Zane Williams, already a seasoned troubadour with seven solo albums under his belt, pulled together a select group of multi-talented musicians from the Texas music scene. Their debut album HillCountry(2020) and its follow-up TheWilderBlue(2022) garnered comparisons to early Eagles and 80’s-era Alabama by interweaving five-part harmonies with bluegrassy arrangements of folk-rock and country songs. For their newest release SuperNaturalin the fall of 2023, the band enlisted Grammy-nominated Brent Cobb to produce the album and perform on the title track, a song he and the band co-wrote in the studio. Brent’s groovy, vintage sensibilities proved a natural fit for a band with influences as diverse as Little Feat, Del McCoury, and Robert Earl Keen. A cover of the Eagle’s classic “Seven Bridges Road” also features band admirer Luke Combs, who has added The Wilder Blue to his 2025 stadium tour lineup. Twenty years before he was fronting a break-out band, Zane Williams was a solo coffee-house performer and aspiring songwriter in Nashville. After moving back to his native Texas in 2008 he eventually became a dancehall staple and respected songwriter with cuts by the likes of Pat Green, Kevin Fowler, and Cody Johnson. To the surprise of his fans (and the bemusement of his booking agent), Zane announced the formation of the new group in 2019 by soliciting band names from his fans and promising lifetime free tickets to anyone whose suggestion was picked. (The winning name “Hill Country” had to be changed just after the release of their first album due to a trademark conflict, but the winner is still on the guest list for life!)Multi-instrumentalist, singer and songwriter Andy Rogers was the only member of Zane’s former band to join the new group. Born and raised in Lebanon, TN, Rogers learned bluegrass chops from an early age and excelled on bass, banjo, dobro, guitar, and just about anything with strings. Rogers moved to Denton, TX in 2004 to study jazz bass at the University of North Texas and made a long-term home in the eclectic arts community he found there. Playing in a series of rock and country gigs eventually led him to join the Zane Williams band on bass and vocals in 2016. Looking over the Texas music scene for likely bandmates, Williams sent a text to a singer-songwriter and lead guitar player whose voice had caught his ear a few years before on local radio. Paul Eason was ensconced at the time in a comfortable guitar gig with Texas staple Kevin Fowler but was immediately intrigued by the notion of joining forces. Originally from Houston, TX but living at the time in San Antonio, Eason fronted various bands beginning in his teens and released two solo albums in the early 2000’s before joining the Fowler band full time. A third solo album followed in 2016, which showcased his distinctive lead vocals, southwestern aesthetics, and impeccable guitar playing. Eason, in turn, vividly recalled meeting a singing drummer named Lyndon Hughes who had been with the Roger Creager band. Eason and Williams paid a visit to the studio in the Woodlands, TX where Hughes was working as an engineer, producer, drummer, and vocalist. Singing together that day on a new song Williams had written called “Dixie Darlin’,” the three realized they were onto something special. Hughes, a Houston native, brought a wide range of skills to the new band. His effortless harmony vocals, his versatile drumming, and his ears as an engineer and producer would end up having an major affect on the shaping the sound of the band. 
    After an experimental jam session and some casual demo recordings in 2019, the four existing members agreed that Rogers would be best utilized playing primarily banjo and dobro which meant the search was on for a permanent bass player to round out the band. After several months of searching and two dead ends, the band reluctantly decided to begin recording its first album without a dedicated bass player. With the first gig only a few months away, the pressure was building to find someone—-anyone?—-who could fill the role. Which is when the perfect person happened to come along. Only in his mid-20s, Sean Rodriguez was already both a road dog and a fixture in the live music scene of Austin, TX. Originally from Corpus Christi, TX Rodriguez grew up playing everything from funk to rock to conjunto to country. It’s a diversity reflected in his flamboyant dress and vintage playing style, delivered on stage with a boot-scootin’ joie-de-vivre that quickly earned him the nickname “The Boogie Man”. The four existing band members asked Rodriguez to join them in the studio and play on the final two songs as a trial run. Shortly after he arrived, the five members of the Wilder Blue first gathered around to sing something together in the lobby of the studio. “Let’s try “Seven Bridges Road”, someone suggested. The blend was magic, and the chill bumps on their arms are the same ones fans are now feeling at venues all across the nation.
Jason Scott & The High Heat
Caught halfway between amplified Americana and heartland roots-rock, Jason Scott & the High Heat create a sweeping, dynamic sound that reaches far beyond the traditions of their Oklahoma City home. Too loud for folk music and too textured for Red Dirt, this is the sound of a genuine band rooted in groove, grit, and its own singular spirit, led by a songwriter whose unique past — a Pentecostal upbringing, years logged as a preacher-in-training, and an eventual crisis of faith — has instilled both a storyteller's delivery and an unique perspective about life, love, and listlessness in the modern world. While his bandmates — Gabriel Mor (guitar), Taylor Johnson (guitar, keys), Alberto Roubert (drums), Ryan Magnani (bass), and Garrison Brown (keys) — grew up listening to popular music, Jason's childhood was shaped by the sounds of Sunday morning church service. He sang in the choir and eventually learned to lead his own congregations, often turning to music to get his messages across. Whenever the opportunity arose, he'd sneak off to his uncle's 1979 Ford Bronco, where he'd listen to the Conway Twitty tapes that offered a glimpse into a world so dissimilar from his own. Although Jason would eventually leave the church altogether for a career as a songwriter, his time as a pastor — forging connections with others, using songs and stories to strengthen the bond — helped prepare him for life on a different kind of life onstage. Their first full length album Castle Rock, independently released in Feb 2022, spent two months in the top 50 reaching all the way to #36 with the help of Angela Backstrom and Rek Room Media. With articles in the following publications NPR, The Boot, Holler, BBC Radio Scotland, BMI, Bluegrass Situation, Out Of The Woods, Wide Open Country, Sound and Soul, Farce The Music, Ditty TV, Outsider, Oklahoma Free Press, Americana Music Show, Gimme Country, KOSU. Scott earned critical acclaim as a songwriter in 2018 when the second track of his DIY EP LIVING ROOMS (2017) -- a breezy tribute to his wife called "She Good To Me" -- landed on NPR World Cafe’s Heavy Rotation: 10 Songs Public Radio Can’t Stop Playing alongside songs by MGMT, Moby, and Jade Bird. JS+THH recently played Stagecoach, Born and Raised Fest, Mile 0 Fest, Norman Music Festival, Woody Fest, and supported a variety of bands at venues in TX, KS, CO, OK including Band of Heathens, Eli Young Band, Gin Blossoms, Josh Abbott, Vandoliers, The Damn Quails, MIPSO, Parker Millsap, Jimmie Dale Gilmore, and Kaitlin Butts A multi-instrumentalist, producer, engineer, and session musician, Scott launched his solo career with 2017's Living Rooms. The 5-song debut EP introduced him as a folksinger with a knack for "fun little earworms" (NPR), and he spent the following year balancing his time between the road and the studio, where he produced albums for Americana artists like Carter Sampson, Ken Pomeroy, and Nellie Clay. Things began to expand as he assembled the High Heat, a band of multi-faceted musicians and roots-rock Renaissance men who, like their frontman, juggled multiple artistic pursuits. Together, Jason Scott & the High Heat have since become a self-contained creative collective whose talents include songwriting, music production, photography, video direction, and more. Castle Rock marks Jason Scott & the High Heat's full-length debut. Like the band itself, the album represents a melting pot of influences: the heartland sweep of Tom Petty, the story-driven Americana of Jason Isbell, the nostalgic hooks of '90s country music, the sharp songwriting of James Taylor, and John Prine's lyrical mix of cutting insight and laugh-out-loud humor. Co-produced by Jason Scott and Taylor Johnson, the album mixes classic song structures with left-field arrangements, creating a sound that soothes one minute and subverts the next. "Quttin Time" makes room for a dual-guitar attack, a barroom piano solo, and a storyline about a hardworking man's fruitless attempts to escape his limited horizons, while "Cleveland County Line" flips the script, delivering a narrative about a prodigal son bound for home after a dark spiral of Kerouac-worthy travels. "The Stone" highlights the swaggering grooves that run beneath much of the High Heat's work, while lyrically the song tackles a soldier’s PTSD after returning from war. Lead single "Suffering Eyes" — with its twinkling keyboards, chugging power chords, and cascading guitar arpeggios — is heartland rock at its modern-day peak, as panoramic as the Oklahoma plains themselves. "We love our community in Oklahoma City, but we didn't want to make a Red Dirt record," Jason explains. "Instead, we included grooves and textures that move beyond that. We added little vignettes to songs like 'Sleeping Easy,' which begins with old reel-to-reel footage of a tent revival. We took country songs like 'A Little Good Music' and included guitar solos that Nels Cline might have played on a Wilco album. We let ourselves get heavy on 'In the Offing,' which sounds far louder than anything I was originally making. For us, it was all about creating a mood, and serving the song with interesting sounds." From gigs at Mile 0 Fest and the Woody Guthrie Folk Festival to recognition from the Jimmy LaFave Songwriting Contest, Jason Scott is beginning to leave his mark on the roots-music world. Castle Rock — named after the town in which the frontman temporarily resided after leaving the church — reaches past those accolades, celebrating the seismic shifts that arrive with new experiences, new bandmates, and new songs. It's an album about change, delivered by a band of musicians who are willing to chase down their own horizons.