WXPN Welcomes Patterson Hood (of Drive-By Truckers) + John Moreland at Ardmore Music HallMonday, March 16, 2026 Seated Doors: 6:45 PM | GA Doors: 7:15 PM | Show: 8:00 PM 21+ Unless with a Parent or Legal Guardian About The Venue - Food, Concessions & Drink Menus | Venue FAQ | Contact Info About Patterson Hood Website | Facebook | Instagram | YouTube | Spotify Patterson Hood is an acclaimed singer-songwriter, guitarist, and co-founder of the Southern rock band Drive-By Truckers. Born in Muscle Shoals, Alabama, Hood grew up immersed in the region's rich musical heritage, with his father, David Hood, being a renowned session bassist for the Muscle Shoals Rhythm Section. Drawing inspiration from timeless storytelling traditions, Hood's music often explores themes of Southern identity, social justice, and personal introspection. While best known as frontman, singer, songwriter, and guitar player for Drive-By Truckers, he is also an accomplished writer, solo performer and producer. Since forming Drive-By Truckers in 1996 with Mike Cooley, Hood has been a driving force behind the band’s narrative-driven sound, blending gritty, guitar-heavy arrangements with evocative lyrics that solidified their reputation as one of the most influential Southern rock bands of their generation. Hood's prior solo albums Killers and Stars (2004) and Heat Lightning Rumbles in the Distance (2012), showcased his versatility as a songwriter and his newest solo album, Exploding Trees & Airplane Screams, produced by Chris Funk (The Decemberists) further illustrates his diverse talents. Whether fronting the Truckers or performing solo, Patterson Hood remains a vital force in modern music, celebrated for his ability to turn life's raw realities into compelling, soul-stirring art, and continues to be a powerful voice in contemporary Americana and Southern rock. About John Moreland Website | Facebook | Instagram | YouTube | Spotify After an impressive 2010s run of albums that earned him a devoted fanbase, accolades from outlets like The New York Times, Fresh Air, and Pitchfork, and a place in the upper echelon of modern Americana singer-songwriters, John Moreland has already taken two unexpected turns this decade, both of which highlight his fierce artistic independence. First, he released a brilliant and sonically layered folk-electronica meditation on modern alienation, 2022’s Birds In The Ceiling, that took some of his fans by surprise. Then, after wrapping up a difficult tour behind that record in November 2022, he stopped working entirely. He took an entire year off from playing shows and didn’t use a smartphone for 6 months. “At the end of that year, I was just like ‘Nobody call me’. I needed to not do anything for a while and just process,” Moreland says. After nearly a decade in the limelight, constantly jostled by the expectations of his audience, the music industry, and anonymous strangers online, he carved out some time to rest, heal, and reflect for the first time. The result of that unplugged year at home is 2024’s Visitor, a folk-rock record that is intimate, immediate, deeply thoughtful, and catchy as hell. Moreland recorded the album at his home in Bixby, Oklahoma, in only ten days, playing nearly every instrument himself (his wife Pearl Rachinsky sang on one song, and his longtime collaborator John Calvin Abney contributed a guitar solo), as well as engineering and mixing the album. “Simplicity and immediacy felt very important to the process,” he says. This is a return to the approach Moreland took on his breakthrough albums, 2013’s In The Throes and 2015’s High On Tulsa Heat, both of which were largely self-recorded at home with a small cadre of additional musicians. Echoes of these early albums can be heard on Visitor (Moreland makes a passing reference to In The Throes’ opening track “I Need You To Tell Me Who I Am” in two different songs on Visitor), which finds Moreland shutting out the noisy world outside, and the even noisier digital world in his pocket, to reconnect with a muse that’s had to increasingly compete for his attention in the intervening years. Visitor charts his journey back to this muse. If Birds In The Ceiling’s theme was alienation, Visitor’s theme is un-alienation. Join Ardmore Music Club | Private Events | AMH Merch