eTown Taping with Ocie Elliott and Shawn Camp

Doors: 6 p.m.
Show: 7 p.m.

All Ages Welcome
No Refunds or Exchanges

With every eTown ticket purchase, you're supporting the Pine Ridge Reservation in South Dakota. eTown donates $1 per ticket to Conscious Alliance, aiding hunger relief, youth programs and sustainable solutions for the Oglala Lakota Nation.

More than just a regular concert, eTown Radio Tapings are a unique live experience! The show includes performances and interviews with both of our visiting artists, and an interview segment with changemakers from our local and national community who are doing their part to make the world a better place. As an attendee, you serve as a vital part of our eTown show, which will be broadcast across the country on our affiliate radio stations and all streaming platforms. Listen for your cheers on the radio, and to hear how it all comes together, in just a few weeks following the night!

Cell phone use, photos (from phones and professional cameras), and audio and video recording are all strictly prohibited during the radio taping. Thanks for your understanding, and for your help in allowing the artists and audience to be present for this special evening together!

About Ocie Elliott:

Ocie Elliott pen tunes that feel lived-in. You can hear their memories, moments, and emotions in the dusty acoustic guitars, the sparse production, and the graceful harmonies between Jon Middleton and Sierra Lundy. Their experiences as a couple pour into a living and breathing vision for 21st century folk amplified by alternative nuance and unassuming pop appeal. After gathering hundreds of millions of streams and earning widespread acclaim, the group take another leap forward together on their 2023 Know The Night EP.

“We each bring separate things to the table,” notes Jon. “From the first time we sang together, we instantly reacted like, ‘Wow, this feels so good’. Sierra forces me to be a much better songwriter. There was a connection and synergy when we started harmonizing, and it’s only become stronger.”

They’ve become quite the presence as a unit too….

You can hear, see, and feel their evolution across a series of projects, including EP [2018], We Fall In [2019], Tracks [2020], In That Room [2020], Slow Tide [2021], A Place [2021], and What Remains [2022]. Averaging over 3 million monthly listeners on Spotify, “Down by the Water” reeled in 41.5 million Spotify streams with “Tender Love” at 36.4 million Spotify streams, “I Got You, Honey” at 28.4 million Spotify streams, and “Be Around” at 21.1 million Spotify streams. Plus, they landed major syncs in Grey’s Anatomy, The Rookie, and DOC in addition to earning acclaim courtesy of American Songwriter, Atwood Magazine, Exclaim, and PopMatters, among others. Moreover, Ocie Elliott packed countless headline shows and shared stages with Joshua Radin, Sons of The East, Kim Churchill, and Hollow Coves. 

About Shawn Camp:

“This is as much Guy Clark’s album as it is mine. That’s part of my passion for putting it out: to try and keep him alive!”

Shawn Camp was seven years old when an Arkansas fiddle player named Sis Draper finally arrived at a pickin’ party in the hills of Perry County. “I remember her walking in the house, the first time I saw her, with a big beehive hairdo and a fiddle in a coffin case,” Shawn says. “She was a legend before I’d ever laid eyes on her, my grandpa and Uncle Cleve had talked her up so much.”

Shawn remembers another time, picking in a jam session outside under a neighbor’s carport. Sis was there, playing along with everybody. Shawn had his guitar. He was ready. “Sis asked me for my autograph. I’d never really considered having an autograph––I didn’t know what one was,” he says, laughing. “She had me write my name on a scrap of paper. Boy, it sure made me feel good. She respected me as a little kid, as a musician. She inspired me by doing that, to follow my dream.”

Twenty-five years later, Shawn sat with Guy Clark in Clark’s Nashville basement workshop, trying to figure out what to write. Shawn told his friend about Sis. “Guy said, ‘Well, there’s your song,’” Shawn remembers. “We wrote ‘Sis Draper’ that day. ‘Magnolia Wind’ came next. For years, we would work on other songs, then fall into ‘Sis.’ If we got stuck on something, we’d end up going to the Sis Draper project.” The Sis Draper project became a creative refuge that grew into a bottomless pool, with countless tributaries blurring the lines between personal history and folklore. The songs and people are real. The stories could be.

Now, the Sis Draper project is finally a cohesive, recorded work. Captured in one day at the studio formerly known as The Cowboy Arms Hotel and Recording Spa, now called Clement House, The Ghost of Sis Draper immerses listeners in a sharply drawn world. The devil’s box is temptation and salvation. Life is beautiful but death lingers nearby. The central figure is a wayfaring, fiddle-wielding woman called Sis. Shawn and Clark co-wrote every song except one, which Clark wrote alone. Clark released six of the songs on his own albums over the years, while the remaining tracks appear here for the first time. “It’s partially fairytale and partially truth,” Shawn says. “We intentionally wrote songs that fit together.”

Shawn began playing guitar as a child, growing up outside Perryville, Arkansas. Mandolin and fiddle followed, all before he could drive. He remembers dreaming melodies, waking up and playing them. “I just always loved music. It’s been my everything, really,” Shawn says. “My dad worked out of state, so we moved around a lot. Wherever we went, I carried a stack of records, a small record player and my guitar. Music was my constant, along with my mom and dad.”

A prodigy who never knew how to be anything else, Shawn moved to Nashville at 20 and found early work with the Osborne Brothers, Jerry Reed, Alan Jackson, Shelby Lynne and Trisha Yearwood. He later emerged as a songwriter, penning hits for Willie Nelson, Garth Brooks, Brooks & Dunn, Josh Turner, Blake Shelton and George Strait. He became a trusted collaborator of John Prine, Loretta Lynn and Clark. When Clark won a Grammy in 2014 for My Favorite Picture of You, Shawn earned one as a producer. In 2015, Shawn won another Grammy as lead vocalist for the Earls of Leicester.

Clark died in 2016, but his influence continues. He remains one of the most respected songwriters of his generation. His work combined poetic empathy with editorial precision. “He would hit you with a powerful line when you least expected it,” Shawn says. “That would cut you to the bone with the truth.”

The Ghost of Sis Draper is a concept album guided loosely by Shawn and Clark. The songs connect through characters, narratives and fragments of traditional fiddle tunes. Shawn traces his love of concept records back to childhood. “Red Headed Stranger is my favorite record of all time,” he says. “I wanted this one to feel immediate, like it all happened in the moment.”

For the album, Shawn assembled a group of players capable of that immediacy: Tim Crouch on fiddle, Mike Bub on bass, Chris Henry on mandolin, Jimmy Stewart on dobro, Cory Walker on banjo and Shawn on guitar and vocals. “It’s a jug band thing. All for one, one for all,” he says.

The album opens with “Sis Draper,” anchored by Shawn’s flatpicking. “Sis Draper is the devil’s daughter, plays the fiddle Daddy bought her,” he sings, setting the tone for the unfolding story. “Magnolia Wind” follows with tenderness. “Soldier’s Joy 1864” shifts into darker territory, reshaping a traditional melody into a minor key to reflect the gravity of war.

Many melodies draw from traditional tunes. “Big Foot Stomp” references “Lost Indian,” while “Sis Draper” draws from “Arkansas Traveler.” “There are patterns to those melodies,” Shawn explains. “We altered them so they feel familiar but not identical.”

“The Fiddlin’ Preacher” explores themes of faith and temptation. “Old Hillbilly Hand-Me-Down,” featuring Verlon Thompson, reflects on shared tradition and memory. A passage of crows signals a darker turn in the story. “They’re hinting at Sis’s fate,” Shawn says.

From there, “Checkered Shirt Band,” “Big Foot Stomp” and “Grandpa’s Rovin’ Ear” lean into humor and community. “Corn Meal Waltz” evokes a local dance hall. “New Cut Road,” written solely by Clark, serves as a bridge between past and present.

The final track closes the story with a medley recounting Sis Draper’s death. It is both elegy and myth, grounded in storytelling and musicianship.

Reflecting on the project, Shawn is clear about its purpose: “I want people to feel like they’ve been spoken to by Guy from the other side.”