nrbq tour 2022

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NRBQ w/ The Minus 5

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The Great Roll Call Roadtrip

Go cruising with Plainsense in his Boattail Riv. Along the way we will discuss what's on our mind while drinking a craft beer, smoking a fine cigar and only listening to good music. So hop in and let's go! I only ask that you throw in a little gas money.

Sunday, December 3, 2023

Nrbq returns to the twin cities.

In 1979 I moved back to Minnesota to attend the university, and in the fall of my sophomore year NRBQ was scheduled to play the Whole Coffee House. As the name implies, this was a non-alcohol venue in the basement of the Coffman student union building and that as much as I wanted to see the show, my roommate, on my advice,    was going to take a young woman to the show for their first date and I didn’t wanna be a third wheel.    Later that night my roommate returned to our dorm room raving about the band and how they had the audience eating out of the palms of their hands.    Perhaps the coolest thing about that show, was, to the best of my knowledge, the last time NRBQ used the magic box at a show in the Twin Cities, although I could be wrong on this point.    That would’ve been in the fall of 1980.  

The 1980s and 90’s    turned out to be a very busy time for NRBQ in the Twin Cities.    It seemed over the course of the next 20 years NRBQ played at least twice a year in the Twin Cities, including, it seemed, every free music festival from barbecue contests to the Taste of Minnesota, to Grand Old Days to the grand opening of the Saint Paul Mississippi Riverfront redevelopment, Bandanna Square on St. Patrick’s Day, as well as numerous club dates most often at First Avenue but also at the Cabooze bar and Famous Dave’s as well. Minneapolis music critic, Tom Surowicz famously named his music column after one of the band’s albums, “Grooves in Orbit”.     For a while it seemed as though the Twin Cities had adopted the Louisville band as its own.

While every NRBQ show is a unique and special event, a few of the shows in the twin cities during this time stand out.

To be an NRBQ fan is to come to know the band intimately, including the quirky personalities, mood swings, idiosyncrasies and strained relationships that you get anytime you throw four talented and artistic individuals together.    Ladle on heaps of praise and predictions that they are on the verge of being the next big thing in rock music, and you’re bound to have some volatile reactions by the band to all the stress. One show in particular that sticks in my mind was a show at First Avenue in the late 80s or early 90s where the band was in one of their particularly facetious moods.    From the opening song to the last encore, Big Al and to a lesser extent, Terry and the rest of the band would break into an acappella ode to their “home town”, Minneapolis.  

In this made up tune, “Minneapolis, my hometown” the band referred to Minneapolis as their hometown and how good it was to be back in there hometown and every chance they got between songs, and sometimes in the middle of songs, they would break out into an a cappella made up song “Minneapolis, my hometown delivered in the most insipid and annoying, facetious manner. It was the equivalent of their flipping off the entire town.    The only problem was this was long before the town had done anything (e.g. George Floyd murder) to deserve such treatment.    I have long wondered what specific act of passive aggressive “Minnesota Nice” set off the lads from Louisville / Woodstock, NY transplants. 

As Perhaps the most surreal NRBQ show I witnessed in the Twin Cities was the show in the parking lot of Dixies restaurant during the 1990 Grand Old Days street festival.    Less than a mile as the crow flies, Minnesota’s then Governor, Rudy Perpich, was hosting Mikail Gorbachov at the Governor’s mansion.    Gorbachov had    just announced glasnost and his loosening of control over the citizens of the Soviet Union who were experiencing their first, nascent tastes of freedom. 

As military and state patrol helicopters flew security overhead, NRBQ was tearing the heads off the crowd down below on Grand Avenue in St. Paul with an absolutely scintillating performance. I will never forget Big Al’s version of George Jones‘ “White Lightning’” early in the set, replete with hearty belches at the end of every verse in the chorus.

As I recall, other highlights from that show were rousing versions of the band’s classic “It Comes to Me Naturally” which it seems every bar band in America was covering at the time and the crowd favorites “It was an Accident” and “Riding in My Car”. Most memorable was the festive mood and good will everyone had for the leader of the Soviet Union and the prospect for world peace. Somewhere I have a “Gorbachov for President” button I purchased that day.

NRBQ returns to Minneapolis this Sunday, December 3rd at an intriguing venue, the Parkway Theater. When I learned that the band would be augmented by their horn section, the Whole Wheat Horns I immediately thought of my old friend and trombonist Carl Querfurth who is a frequent member of said horn section.  I did get a hold of Carl but alas he only plays the band’s Northeast shows.

The day before the concert I was hospialized with an abcessed tooth that made my face swell up so bad I had to call an Uber at 4 a.m. to take me to the Emergency Room.  I shot the above video of NRBQ performing "Get a Grip"  the next day but wasn't up for doing a review of the show due to my health.

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Americana Highways

on the road collecting the stories of Americana music

Interview: NRBQ’s Terry Adams Defines Music’s Spiritual Beauty

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The band NRBQ just reissued their 1969 self-titled debut album last month, 49 years after its original release; and they also released an EP Happy Talk , with songs like Roy Orbison’s “Only the Lonely” and Rogers & Hammerstein’s “Happy Talk,” last fall. When the Americana Highways road trip brought us to talk to the only original surviving member still touring with the band, Terry Adams, it was during this occasion of new creations mingling with some reflections from the past.

“ Happy Talk came out,” Adams said, “because I was reminded that there can be these great oldies songs that deserve to be played and heard, and I wanted to share that reminder.   I have such a love for that song from the musical South Pacific. I have a weakness for certain songs that may have seemed corny in the musicals or their original settings, but suddenly years later they make sense. And this one is kind of a theme song for me right now.”

We spoke right in the midst of the “Happy Talk” tour, which just ended this past Sunday. [ To read our take on their show at the Ottobar in Baltimore, click on of these bolded words right here. ]  “We are doing that song live on tour right now. That’s the newest thing, but the earliest thing, the NRBQ reissue, is significant for a similar reason. It was so good for me too to hear that album again. It serves as a reminder for me to check back in with the original spirit, and the original spirits of the band. It helps make sense out of today, going back and forth between the old and the new.” NRBQ is notorious for a couple of things; one of them is for the changing membership of the band, while the other is the way they stayed true to its basic foundation of light and merriment. The latter was in abundant evidence during the tour – you could see it in the energy of the band, the enthusiasm of the loyal fans, and the angelic aura around Adams himself.

On the occasion of a reissue of an album that was recorded 50 years ago (released 49 years ago) one immediately considers the physical changes that have taken place in the recording process since then—in the equipment and the approach. Adams recalled, “That studio we recorded at in 1969 had a 12-track recorder.   I have never seen one before or since; usually there is an 8 or 4, but they had it there at the record plant back in the late ‘60s. We recorded that one live and with first take.   And now, 50 years later, we still play live together in the studio. Nowadays people can record some and then plug back in later on, but it’s not the same. I can feel it when the musicians aren’t reacting to each other. It’s so much better when it’s the direct recording of an event. It’s not difficult to recreate that live environment for spontaneity in the studio, you just set up, and play. We still do it this way. Everyone’s there at the same time, and we play like we always do it.”

I emphasized that the band is known for being spontaneous, and Adams said, ”That’s just it: we want something to happen that we didn’t know was going to happen. Not everyone can do that, but that’s the way we do it. It’s good for us to surprise ourselves, to keep happy and keep inspired.”

At the time we talked it was a day or two before they played at Bearsville Theater in Woodstock, NY. “We are playing at Woodstock soon, we used to live very close to there, so we have a history there. We lived in Saugerties, we recorded many albums there at Bearsville Studio. We did several of our albums there in the ‘70s and ‘80s: All Hopped Up, Tiddlywinks, Grooves in Orbit, NRBQ at Yankee Stadium . That studio was founded by Albert Grossman in 1969; it’s closed now. It’ll be real nice to be in the area to play again, though. It’s fun to go back and see old friends now.”  Thinking of old friends, he added, “John Sebastian has a long history there too; the band goes way back with him and we’ve done a lot of things with him, some Lovin’ Spoonful special shows.”

The conversation turned to the clavinet.   Clavinet is not a particularly common instrument, so the fact that Adams plays one is immediately intriguing. “Clavinet is a unique instrument to play. They stopped making them in 1978. They are fragile — they have to be tuned every night — but there’s nothing like them. I’ve been playing them since they were first invented. It’s a stringed instrument, things are vibrating in there, you can feel the string vibrating underneath the keys. For me it was the perfect solution to have come along in the ‘60s because I didn’t want to play portable organ, and pianos weren’t loud enough.”

“I don’t play it like everybody else, I think of it more as a guitar. I think like a guitar player. I feel certain that being a guitar player would have been nice too. Scott Ligon, our guitarist, he is one of those guys who can play both instruments, Casey [McDonough] too, our bassist. I think like a guitarist too.” Anyone who has seen NRBQ live knows that it’s indeed true that Adams does not play the clavinet in standard piano player’s form, his hands curl on approach to pluck the keys, almost like he is grasping the extensions of the strings below.  And although Adams modestly claims he’s not the multi-instrumentalist in the band, the band is known to switch instruments, and he’ll hop on drums for songs like “Red River Rock,” while drummer John Perrin hops on the keys.

When I wondered how he learned to play that way, Adams said, “I played some trumpet in the 4 th grade, and I wound up playing piano and being in a band. I studied composition. I wanted to know what the structure of music was. Listening to records too. I’ll listen to all music, I’d listen to anything. That was my school, the school of listening.”

In response to my question as to whether he had any advice to aspiring young musicians today, Adams said: “My advice is about the inspiration that would make you want to be making music. What is your reason for it? Don’t let go of it if you want to play music. But if you are doing it because you’ve seen something on tv or you want to be like someone, for example if you are watching some of these dancing shows, that might not be a strong enough reason. The only reason to make music, and keep making music, is the sound. What is the sound communicating to you? The sound is communicating something to you, and if you are compelled to share the message of the sound with others that’s the reason to keep doing it. If you are asking yourself: “How can I best put that back out to inspire someone else?” then you should keep doing it.”

Adams shows his sense of music as spiritual, by adding: “Making music should be like food; the more real something is, the better it is for our spirits.”

“Music has a particular effect. Music has powers that no one really understands what it can do. The music business tries to figure it out and take it apart and analyze it in the most profitable way. They dissect music and take it apart to try to create songs by formula, and they lose its essence.”

“Before electricity, you had to be in front of the performer and the person playing it, it must have been amazing, those barn dances and things. But now its around us all the time, and because of these technological inventions — which are great because we would never have heard so much different music — but it also has a down side, of people trying to control it to make a profit, and leave the spirit behind, at which point it starts to become “paint by numbers.””

As a comment on the distinction between the business and what inspires Adams and NRBQ, he offers: “Sun Ra once said “There are three planes of music: the academic plane, the commercial plane, and the spiritual plane; and I make music on the spiritual plane.” And that’s my feelings exactly. That’s why we’re here and that’s what keeps up inspired, and keeps us going.”

“For any form of art the purpose is ultimately to create beauty. If you think of times where environmental catastrophes have occurred, where the land is barren. But there you see it, suddenly a small plant is growing in a crack between concrete, once again you see it, beauty: a flower comes out of nowhere. That’s what makes you feel good, that’s what life is. We as artists have that opportunity to create beauty in spite of what may be going on around us in the world. And sometimes you have to have blinders to be able to keep smiling. Producing that beauty, that’s what’s important to us.“

What’s on the horizon for Terry Adams and NRBQ? “We’re going to take some time off after this tour and get ready to record toward the end of summer.   We have a new full length album coming up.” Another one.  Keep track of their plans, and get their albums, here.   http://www.nrbq.com/

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3 thoughts on “ interview: nrbq’s terry adams defines music’s spiritual beauty ”.

• Pingback: Readers Favorite Top Ten Releases For September 2019, with Playlist • Americana Highways

It was so good to read about NRBQ. I saw them in Stanfordville, NY. many many years ago….

• Pingback: Bentley's Bandstand: December 2021 • Americana Highways

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Often called "the world's greatest bar band," NRBQ are that rare group that's eclectic, stylistically innovative, and creatively ambitious while also sounding thoroughly unpretentious and accessible. At its best, NRBQ's music casually mixes up barrelhouse R&B, British Invasion pop, fourth-gear rockabilly, exploratory free jazz, and dozens of other flavors while giving it all a stomp-down rhythm that makes fans want to dance and expressing a sense of joy and easy good humor that comes straight from the heart. Over the course of a career that's lasted more than 40 years, the band has barely flirted with mainstream success but has still earned a sizable, passionate cult of fans that includes Elvis Costello, Paul McCartney, Keith Richards, Bonnie Raitt, Ira Kaplan, John Sebastian, and Dave Edmunds. The 2016 box set High Noon: A 50-Year Retrospective is a definitive look at the band's first half-century, while especially memorable albums along the way include 1972's Scraps, 1978's At Yankee Stadium, 1983's Grooves in Orbit, 1994's Message for the Mess Age, 2004's Dummy, and 2021's Dragnet. NRBQ were formed in 1967 by pianist Terry Adams and guitarist Steve Ferguson, a pair of musicians from Louisville, Kentucky, and Joey Spampinato, a bassist who originally hailed from the Bronx. Adams and Ferguson were members of a group called the Mersey-Beats USA, who as the name suggests specialized in British Invasion covers, and they had relocated to Miami, Florida in search of steady gigs. In Miami, they met Spampinato (then using the stage name Jody St. Nicholas) and vocalist Frank Gadler, who were members of an R&B show band called the Seven of Us. Adams and Ferguson soon joined the Seven of Us, and after the addition of drummer Tom Staley, the revamped lineup changed its name to NRBQ (short for the New Rhythm and Blues Quintet), though the band was still a seven-piece when sax player Keith Spring and Donn Adams on trombone (Terry's brother), soon to be known as the Whole Wheat Horns, sat in. NRBQ left Florida and made their way to New Jersey, where they began playing New York City on a regular basis. The band landed a recording contract with Columbia Records, and in 1969 NRBQ released their self-titled debut; displaying a stylistic range that would become the band's hallmark, the first two tunes found them covering Eddie Cochran and Sun Ra, with numbers by Carla Bley, Sonny Terry & Brownie McGhee, and Bruce Channel popping up elsewhere alongside a handful of group originals. The album was well reviewed but sales were spotty, and for their second LP Columbia hoped to trade on a revival of interest in first-era rock & roll by pairing the band in the studio with rockabilly pioneer Carl Perkins. Boppin' the Blues was an interesting experiment that didn't fare much better than NRBQ's debut, and they parted ways with Columbia. In 1971, NRBQ landed a new record deal with Kama Sutra Records, and were breaking in a new guitarist; Steve Ferguson left the band, and Al Anderson, a former member of Connecticut white soul heroes the Wildweeds, took over on lead guitar for 1972's Scraps. Later the same year, Frank Gadler left the lineup, and from that point on Adams, Anderson, and Spampinato traded off on lead vocals. Released in 1973, Workshop featured a minor hit single in the topical novelty rocker "Get That Gasoline Blues," but it was also the band's last album for Kama Sutra due to disappointing sales. By the time they released another album, 1977's All Hopped Up, NRBQ had relocated to the Northeast, they were recording for their own Red Rooster label, and new drummer Tom Ardolino (a fan who impulsively hopped up on stage and sat in on the traps during an encore at a gig) had signed on, solidifying a lineup that would remain stable until 1994. One number from All Hopped Up, "Riding in My Car," attracted enough regional notice that Mercury signed the band and tacked the tune onto its next album, the marvelous NRBQ at Yankee Stadium (they didn't play there; they just sat in the stands). The Mercury signing proved to be a one-off, and Red Rooster struck up a distribution deal with the respected roots music label Rounder Records; outside of Grooves in Orbit, released by Bearsville Records in 1983 (shortly before they went out of business), Red Rooster/Rounder would be their home for the better part of 20 years as they released a steady stream of independent albums and played seemingly every club in the United States at one time or another, building a well-deserved reputation as a stellar and wildly unpredictable live act. In 1989, NRBQ took one last chance with the major labels, signing with Virgin for the album Wild Weekend. The album fared better commercially than most of their LPs, but it was still well short of a hit, and their next disc was an archival live release for Rykodisc, 1992's Honest Dollar. In 1994, Rhino Records (who had previously compiled an excellent NRBQ anthology, Peek-A-Boo) released Message for the Mess Age, which proved to be Al Anderson's last album with NRBQ. Anderson was tired of NRBQ's busy touring schedule and left the group to work as a contract songwriter in Nashville, penning hits for Carlene Carter, Trisha Yearwood, the Mavericks, and LeAnn Rimes, among many others. (Anderson told a reporter he left NRBQ on good terms, adding "It was a great band before, and will be a great band after.") Johnny Spampinato, Joey's brother and a longtime member of the Incredible Casuals, took over as NRBQ's guitarist, and the band continued to record and tour at a steady pace. They also began popping up regularly on the popular television series The Simpsons; one of the show's top writers, Mike Scully, was a major fan, and he recruited them to record several numbers for the show, as well as appearing on the show in both animated and live-action form (they even wrote a tune specifically for The Simpsons, "Mayonnaise and Marmalade"). The band formed a new label, Edisun Records, to release 2002's Atsa My Band and 2004's Dummy, and in 2004, NRBQ staged a pair of 35th anniversary concerts in Northampton, Massachusetts, which featured appearances by every current and former member of the group. Not long after the anniversary concerts, NRBQ quietly broke up, with Adams forming a new group, the Terry Adams Rock & Roll Quartet, and releasing a number of albums through his own label, Clang Records; he also recorded and toured with Steve Ferguson, and played Scandinavia with Tom Staley's band the Hot Shots. Founding member Ferguson died of cancer at his home in Louisville on October 7, 2009 at the age of 60. Adams also struggled with health problems; he was diagnosed with throat cancer in 2004, though in 2011 he announced he was free from the illness. Joey and Johnny, meanwhile, hit the road as the Spampinato Brothers and released a fine album, 2010's Pie in the Sky. In the spring of 2011, Adams announced that the Terry Adams Rock & Roll Quartet had been renamed NRBQ, and they released an album under their new moniker, Keep This Love Goin', in May of that year. Longtime drummer Tom Ardolino appeared on two tracks and drew the album's cover art, but health problems prevented him from touring; he died on January 6, 2012 in Springfield, Massachusetts at the age of 56. Ardolino's final recordings with the new edition of NRBQ appeared on 2012's We Travel the Spaceways, with the bandmembers once again indulging their fondness for Sun Ra on the title cut. Adams' NRBQ returned to action in 2014 with the album Brass Tacks. In 2016, NRBQ hit the road for a well-received tour in tandem with masked instrumental rockers Los Straitjackets. Later that same year, Omnivore commemorated NRBQ's golden anniversary with a five-disc, career-spanning box set, High Noon: A 50-Year Retrospective. Adams and NRBQ teamed with Omnivore again in 2017 to release a five-song EP, Happy Talk. A pair of live sessions recorded for radio broadcast were collected on 2019's Turn On, Tune In, and in 2020, NRBQ treated their fans to a set of rare and unreleased live and studio material, In-Frequencies, recorded between 1968 and 2018. In November 2021, Omnivore issued Dragnet, NRBQ's first album of new studio recordings in seven years. A moody and atmospheric set, Dragnet found Terry Adams sharing the songwriting responsibilities with bandmates Scott Ligon, John Perrin, and Casey McDonough. © Mark Deming /TiVo

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Discography.

38 album(s) • Sorted by Bestseller

Jan 1, 1972

Rock - Released by Red Rooster on Jan 1, 1972

Jan 1, 1978

At Yankee Stadium

Pop - Released by Mercury Records on Jan 1, 1978

Oct 26, 2018

All Hopped Up (Deluxe)

Rock - Released by Omnivore Recordings on Oct 26, 2018

Jan 1, 1980

Tiddlywinks

Country - Released by Omnivore Recordings on Jan 1, 1980

Nov 11, 2016

High Noon: Highlights & Rarities From 50 Years

Rock - Released by Omnivore Recordings on Nov 11, 2016

Apr 8, 2022

The Tour and Other Things: 2022 Tour Sampler

Rock - Released by Omnivore Recordings on Apr 8, 2022

Jan 1, 1989

Wild Weekend

Pop - Released by Virgin Records on Jan 1, 1989

Feb 18, 1994

Message for the Mess Age

Pop - Released by Rhino on Feb 18, 1994

Jan 1, 1979

Kick Me Hard

Rock - Released by Red Rooster on Jan 1, 1979

NRBQ At Yankee Stadium

Rock - Released by Island Mercury on Jan 1, 1978

May 13, 2012

We Travel The Spaceways

Rock - Released by Clang! Records on May 13, 2012

Mar 16, 2018

Rock - Released by Omnivore Recordings on Mar 16, 2018

Aug 22, 1987

God Bless Us All (Live)

Rock - Released by Rounder on Aug 22, 1987

Jun 17, 2014

Brass Tacks

Rock - Released by Clang! Records on Jun 17, 2014

Jan 17, 2012

Live at the Wax Museum

Rock - Released by Red Rooster on Jan 17, 2012

Jul 8, 1997

You're Nice People You Are

Children - Released by Rounder on Jul 8, 1997

Jan 1, 1999

Rock - Released by Rounder Records on Jan 1, 1999

Jan 1, 1984

Tapdancin' Bats

Rock - Released by Red Rooster on Jan 1, 1984

Nov 12, 2021

Rock - Released by Omnivore Recordings on Nov 12, 2021

Lou and the Q

Aug 3, 2010

Rock - Released by Clang! Records on Aug 3, 2010

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#NRB2022: Know Before You Go

NRB | February 23, 2022 | NRB News

With just days left until NRB 2022, we want to bring you up-to-date on the most important convention information to know before you go, including lodging, transportation, meals, attire, and more. (And if you’re still deciding whether to attend NRB 2022, we answer your questions below!)

  Where is NRB 2022? The Gaylord Opryland Resort and Convention Center (2800 Opryland Drive, Nashville, TN 37214) is the home of all NRB 2022 events! Gaylord Opryland is located just outside of “Music City,” and just 10 minutes from Nashville International Airport (BNA).

Do I need a full registration to come to NRB 2022? No! Choose the registration tier that provides exactly what you’re looking for  HERE .

While full registration offers you premiere access to Forums and plenary sessions with top names in the industry, you can also register for the exposition floor only, full convention for a single day, or Expo Plus, which includes all NRB Talks and Workshops, Pitch-a-Thon, and more. ALL of these options are packed with opportunities to network with like-minded media pros, meet your next clients, and strategize for the future.

If you are attending NRB as an exhibitor, your Exhibitor registration is the equivalent of a full registration and allows you access to all non-ticketed events.

Who will I meet if I just come to the Expo? Broadcasters, publishers, ministries, advocates, and so many more. Browse the full exhibitor list  here  and Featured Exhibitor Stage schedule  here !

Where will I stay? While hotel rooms at the Gaylord Opryland Resort have been booked for most nights, there are still places to stay across the street and nearby!

·       Holiday Inn Express Opryland  

·        Hampton Inn and Suites Opryland

·       Residence Inn Nashville at Opryland

·       The Inn at Opryland  (Complimentary shuttle service runs between Opryland and the Inn at Opryland from 9:50 a.m. – 7 p.m. on a continuous loop departing near the hour and half hour.)

Where will I park?  The Gaylord Opryland offers both self-parking and valet parking options! Onsite self- parking for overnight guests is available for $32.00 daily. Hotel guests will have in/out privileges, while daily visitors must pay each time they enter the lot. Just pull up to the Cascades Lobby for valet parking at a rate of $40.00 daily. Guests with a handicapped placard or license plate may use valet parking for the self-parking price.

What are my options for traveling between the airport to the resort? Gaylord Opryland  operates  a shuttle between Nashville International Airport (BNA) and the hotel during the following times:

Monday to Saturday 8 a.m.—6 p.m. Sunday 6 a.m.—3 p.m.

The shuttle runs every hour from the Cascades Canopy at Gaylord Opryland to the airport (top of the hour) and from the airport to the resort (bottom of the hour). From the baggage claim, follow the signs to ground transportation.  The Opryland motorcoaches are located in Row #3 in the hotel shuttle area.  To book your shuttle ticket, please click  here . If you have any trouble, call 615.889.1000 ext. 9.

For taxis, Uber, Lyft, etc., simply follow the signs in the airport.

How can I attend NRB meal events?

Update (2/28/2022): All NRB 2022 meal events are now sold out! Please continue below to learn about making dinner reservations and hosting private restaurant events at NRB 2022. 

Purchase your meal tickets now for the Media Awards Lunch and the Closing Gala! Due to high demand, the Honoring Israel breakfast has sold out.

Tickets for these meal events can be purchased with your  registration , or you can update an existing registration here . Don’t wait until convention—quantities are limited and may not be available onsite. More information on NRB convention meals below.

Media Awards Luncheon (Tuesday, March 8 from 11 a.m.-12:45 p.m. in Delta CD Ballroom) We hope you’ll join us for this special lunch event as we recognize the recipients of this year’s Church Media, Digital Media, International, Radio, and TV Industry Awards.

Closing Gala (Friday, March 11 from 6-9 p.m. in the Delta CD Ballroom) Don’t miss NRB’s spectacular closing event, including the presentation of the NRB Special Service Awards! Join special guest Sen. Marsha Blackburn (R-TN) and hear from speakersKen Ham, founder and CEO of Answers in Genesis, and E.W. Jackson, prolific Christian writer, lecturer, and social critic . 

Can I dine at the hotel? In addition to the various  dining options  available at the Gaylord Opryland,  NRB will have Fresh Brew open on Wednesday, Thursday, and Friday   in the Exhibit Hall with quick, affordable lunch options such as salads and sandwiches. 

If you are planning to dine at Old Hickory Steakhouse, please be sure to make your reservations now.

For parties of 6 or less in Old Hickory, click  here .

For parties of 7-15 in Old Hickory, please contact Morgan Jipp at  [email protected] .

To book parties of 16 or more, including private restaurant space, please contact Ashton Burger at  [email protected] .

To order items for delivery to your room while you are onsite for less than 6 people, click  here . Select “A La Carte” to see the menu. Items can be ordered from this menu for your guest room only (no meeting space) once you are onsite.

For events larger than 6 people in lodging suites or to order items in advance of your arrival, please contact  [email protected] .

What is the dress code? Attire for NRB 2022 will be business casual. The two exceptions to this will be the Media Leadership Dinner and the Closing Gala, which will be business professional dress.

How can I connect with other attendees and keep track of everything going on? The  official app  of NRB 2022 is live NOW! Log in to the app today to update your personal profile, subscribe to event feeds and channels, find other attendees in your industry, and chat about convention.

All registered convention attendees have received their specific login information to access the app. If you need any help using the app or locating your credentials, please email  [email protected] .

NRB 2022 will be here before you know it!  Don’t delay— register  now so that we can get ready to welcome you and your team. We can’t wait to see you in Nashville, March 8-11!

NRBQ with The Minus 5 at Wild Buffalo

Sun Aug 07 2022 at 08:00 pm

Wild Buffalo | Bellingham, WA

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National Reining Breeders Classic

Move-in begins for 2022 nrbc.

At noon, Tuesday, April 12, move-in officially began for the 25 th  Anniversary National Reining Breeders Classic. The Great Southwest Equestrian Center in Katy, Texas, is a hive of activity. The show crew readies the arena for paid warm-ups that begin on Wednesday, while the Show Office staff is preparing to open on Thursday. Competition officially begins Easter Sunday in the Tellepsen Arena with a limited-entry warm-up class, and then the action truly gets going Monday, April 18, with the first section of the Non Pro Classic preliminary round in the Coliseum Arena. On Tuesday, the NRBC will be in full swing, with competition being held in all three rings simultaneously. The Open preliminaries will kick off on Thursday, April 20. The Non Pro Finals will be held Friday, and the Open Finals on Saturday. This year’s 25 th  Anniversary Show will be a historic event. Not only are entries for the Open and Non Pro Classic up nearly 14 percent, the added money for the Classic alone has increased from the previous year by more than $65,000! In addition to being one of the most prestigious reining events in the world, the NRBC is also a gathering place where friends old and new can socialize, conduct business, have fun, and more. Numerous parties are spaced throughout the week, including the Hygain Welcome Party, the Markel Insurance Non Pro Draw Party, and the Matt Mills Open Draw Party. There are also Church services planned for both Sundays of the event, as well as an Easter Egg hunt for the youngest attendees, and a booth set up for photos with the Easter Bunny. To keep up with the NRBC, check out the website at  www.NRBC.com . You can also follow the event at  Facebook.com/NationalReiningBreedersClassic.

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