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The Avett Brothers and Mike Patton Present AVTT/PTTN at Kings Theatre

AVTT/PTTN – Kings Theatre – June 12, 2026

AVTT/PTTN — the thrilling combo of the Avett Brothers and perennial rock-and-then-some trickster Mike Patton — are on record saying their unlikely collaboration works because of mutual admiration that they discovered, picked up and ran with. They hit it off, in other words, and that much is evident in their self-titled 2025 album, which at times sounds like a mutant version of the “classic” Avetts country-soul sound, and at times sounds like the musical polyglot Patton unleashed to help deliver twang, heavenly harmonies and more of an “ancient ox driver song” vibe than a “get spacey and skronky” vibe.

But what’s especially thrilling is how far their collaboration further transports in the live setting. At the gorgeous Kings Theater on Friday, the combined band — touring as an expanded unit that swells from as few as two to more than 10 players depending on serving the song — wasn’t merely content to safely and sturdily play the record, although that would have been fine, and perhaps been a sign they don’t want to push it too far, for fear of overdoing it or over-burdening it. But no, instead, they got after it, infusing that mutant sound into everything from Avetts staples — including “Pretty Girl from Chile,” “Satan Pulls the Strings” and “Laundry Room,” the latter’s reliably lively hoedown coda getting raucously blown out — to chestnuts from throughout Patton’s vast catalog spanning Faith No More (“Ashes to Ashes”!), Mr. Bungle (“Retrovertigo”!) and other associations, to cover songs both fitting because they made sense or because they were less likely but — don’t-ye-have-little-faith — they worked.

The country classic “King of the Road” got trussed up with Mr. Bungle’s “Vanity Fair.” The Dean Martin twang-crooner “My Rifle, My Pony and Me” got an earnest reading — their giddy grins plastered throughout showing how much they all just plain love the song. The ancient hymn “It Is Well with My Soul” was a beautiful benediction at the end of an extended encore segment that also included “Froggie Went a-Courtin’” (part-sung in Korean) and “Cigarettes, Whiskey and Wild, Wild Women.” Even the Avetts’ own “I and Love and You” — with its tender “Brooklyn, Brooklyn, take me in” chorus — got a touch of Patton scuffing without scraping its delicate heart.

They found the through line in all of it, allowing for a little mess to keep it interesting and for potential boundaries to stay flexible. The result was a sonic feast, spanning two hours and filling Kings’ every gilded nook and cranny, and could have easily been two hours more. Here’s hoping they’ve found enough fun to come back for another round of this. —Chad Berndtson | @cberndtson

(The Avett Brothers play Elmwood Park Amphitheater in Roanoke, Va., on 9/5.)

(The Avett Brothers play the Westville Music Bowl in New Haven, Conn., on 9/17.)

Photos courtesy of Edwina Hay | thisisnotaphotograph.com

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Vogue:

Inside Broadway’s Folk-Rock, Shipwreck-Survival Musical, Swept Away

Song Review: Seth Avett - “It’s Natural”

Seth Avett raps his way through the six minutes of “It’s Natural.” And it ain’t natural at all.

Despite some rapping in the Avett Brothers’ oeuvre, it’s not Avett’s strong suit. And it shows, as he mixes braggadocio (Brain so big, I need a 10-gallon hat) and uhs with lyrics that reference James Joyce, Stevie Ray Vaughan, “Gone with the Wind,” “Star Search,” Cher and Sonny … the list is long.

I ain’t duckin’ down/tryin’ to hide like Nixon from Watergate/I’m startin’ fires left and right/like Hendrix at Monterey, is one of the many unfortunate lines in this abomination.

The sad thing is, Avett’s bass-and-drum-machine beat is infectious. But brother Seth is not a good, or even a decent, rapper and “It’s Natural,” which announces the Sept. 5 release of Feathe, does a disservice to hip hop, not to mention Avetts’ fans.

Grade card: Seth Avett - “It’s Natural” - D-

8/28/25

#Youtube #seth avett #feathe #it’s natural #the avett brothers

#JessicaLeaMayfield didn’t just write a breakup record—she wrote her way out of abuse. Sorry Is Gone became the pep talk she needed, the survival manual she didn’t have, and the reason she’s alive to smile at birds and margaritas now.

I talked with Jessica about ghosts, therapy, Elliot Smith, and how writing “I’ve been through hell” was less a metaphor than a lifeline.