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Leigh Glass and the Hazards

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Hometown	Asheville, NC
Genres	Rock, Alternative Country
Band Members	Leigh Glass; Corey Bullman; Bryan White; Patrick Wells
Achievements	» more
Upcoming Shows	None

Contact Information:
# Years Experience Performing Live:	6
# Live Perfomances Past Six-months:	40
Market Draw:	Southeast: 351-400

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About the Artist

The best compliment songwriter and front woman, Leigh Glass, has ever received was when a fan approached her after a show and said,”Your music makes me wanna go home and make love to my husband.” The bluesy songstress and her band, the Hazards, play...

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Achievements

Reached 16th in Best of Country chart in 2014. In the top 20 for 4 weeks.

Reached 92nd in Best of Country chart in 2015. In the top 100 for 3 weeks.

Reached 38th in Best of Country chart in 2013. In the top 100 for 8 weeks.

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Press Coverage

Even Southern Gothics get the Blues by by Bill Kopp
The Leigh Glass Band - Even Southern Gothics Get the Blues Asheville-based blues troubadour Leigh Glass put the first lineup of her band together in 2003, but her own musical history goes back much farther. "I took piano lessons when I was little...but it didn't stick," she laughs. With deep roots in Western North Carolina -- her family is from Bethel (Cold Mountain) in Haywood County -- she proudly notes her musical pedigree. "My great aunts and uncles and my grandfather were big-time bluegrassers; in the 1940s they played in the Carpenter Family Band, and they performed in Asheville at the venue that was here before the Civic Center was built. For herself, Leigh didn't pick up the guitar until about ten years ago ("I decided I needed an instrument I could take around with me," she quips). Leigh's original songs are built upon an electric blues musical foundation, with healthy ladles of country (and country-blues) influences added. A list of her musical heroes covers a wide spectrum of American artists and genres: Ann Wilson (rock), Gillian Welch (Americana), Tina Turner (blues and soul), Emmylou Harris (country) and Leontyne Price (opera). Leigh's style distills all of these and more into the blues idiom, but her lyrics are always prominent in the mix. Leigh offers, "My songs are all stories that run the gamut of emotions and characters." Audiences follow her lyrics closely, and onstage Leigh delivers them with gusto: "I tell people, if you sit in the front row, you're gonna get (accidentally) spit on! In June the band plays the prestigious Orange Peel, made famous by Smashing Pumpkins and Beastie Boys. July live dates in WNC for the Leigh Glass Band include Jack of the Wood (July 10) and the WNC Ribfest (July 12). And when the album comes out, a CD release party will be scheduled locally. Audio selections from the group's energetic live show are available at www.leighglassband.com -atricle by Bill Kopp

Pat Benetar confidence with Joan Jett sensibility by by Stacy Claude
On a Thursday night at the end of February, Leigh Glass and The Hazards took the stage at MoDaddy’s. It was comforting to watch a band put such genuine energy into their performance to a smaller crowd, a true sign of professionals. Leigh Glass is a powerhouse of a singer who exudes Pat Benatar confidence with Joan Jett sensibilities. Her band, The Hazards, usually consists of Bryan White on bass, Patrick Wells on drums and relatively new addition Corey Bullman on lead guitar and vocals. Before launching into her set, Glass gave a lengthy disclaimer about being sick and on shaky ground vocally. She warned the audience of the potential for some wild-pitch singing, and let everyone know her regular drummer was home with the flu, and that the stand-in — Jacob Baumann, of the Trainwreks — had never heard a note of her music. None of this proved necessary, though. As they launched into the first song with Glass belting the line, “Started the day with my usual skepticism,” Baumann jumped right in, spot-on with the snare, and had no trouble keeping up a steady rock groove. The rest of the band turned around and beamed at him at the close of the song, and confirmed that they felt the same way. Glass’ set was a mix of original songs and some well-chosen covers pulling from rock, folk and blues. She tended to introduce her original tunes and tell a bit about the plot line or inspiration behind them. One such story stood out as she talked about being “discovered” by a big-time, unnamed producer. She explained that he had won several Grammys, and listed some recognizable bands with which he had worked. When she went to Nashville to meet with him he said, “Your music is great, but if we’re going to work together, you’re going to have to lose 20 pounds.” Glass’s response was a mountain girl’s defiant, “Well you can kiss my fat ass.” And she launched into an original song, “Hometown Superstar,” which told the story in a cheeky, sassy way. The intro story, and the “thanks-but-no-thanks” chorus brought the audience right into Glass’ corner, despising the big-shot producer. A little later into the set Glass stepped up to the mic and said, “If you don’t know what a nickel bag is, you need to ask somebody. They don’t exist anymore, but they used to… like my marriage. That’s why this song is called ‘A Nickel Bag of Love.’” Her devil-may-care attitude combined with the passion she and her band brought to the stage made for an exceptionally engaging show. The band swelled and ebbed at the perfect times behind her vocals, which oscillated between soaring and growly blues. As the show revved up and the night wore down, Glass jumped off the stage and danced with some women in the audience, leaving the band to tear up a funk jam instrumental interlude.

2010 album "The Drone" is anything but Drone by by Alli Marshall
The Drone, the new album by Asheville’s The Leigh Glass Band, is anything but drone. Glass cuts an apt figure as a front woman, approaching her material with all the energy and vocal strength of local funk songstress Laura Reed . Glass’ sound is reminiscent of Alannah Myles (she of “Black Velvet” fame) but updated for 2010; approachable as Carrie Underwood — only without the cutesy trappings. Lead track “Resurrection” opens with an achingly lovely guitar riff. The richness of the music begs to be listened to through headphones for maximum effect — everything from tasteful percussion to nimble, steady bass is perfectly balanced. Glass makes the most of her dusky voice on “Radio,” a slow and sweetly nostalgic number that would be at home in an Ashley Judd film. “Mr. Thunderjeans” demands attention, first for the clicking, jazzy percussion, then for the “doo-wop-wop” backup vocal and Glass’s sassy lyrics: “Straw hat, clam diggers, bare feet in the sand. After fishing in Bermuda he made moonlight at night.” While The Drone gives a first impression of a polished country album, in truth there are myriad complexities, from some fierce harmonica on “Ivy Curtain” to some deliciously spooky production on “Indigo Night.” Backed by a trio of sought-after musicians (Bryan White on bass, Patrick Wells on drums and Rich Hendrix on guitar), Glass also enlisted other area artists for the recording. Listen for the contributions of Joshua Singleton, Laura Blackley, Peggy Ratusz, Andrea Ward, Dwayne Dodson, Robert DiMaio and Jeff Zentner.

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