There are 18 tables, 8 bar seats and 8 church pew seats available for reservation. The remaining pew seats for this show are not reserved in advance. These seats are available on a first come/first served basis when doors open.
Ticket reservations at The Bluebird Cafe are an agreement to pay the cover charge and applicable taxes/fees and to meet the $15.00 per seat food and/or drink minimum.
Ticket holders may cancel their reservation for a full refund of the ticket price and applicable tax (excluding ticketing fees) if the cancellation is made at least 48 hours before the scheduled showtime. Cancellations made within 48 hours of the show are non-refundable. To cancel, please email [email protected] or call 615-383-1461. Phone line hours are Monday-Friday, 12-4 pm.
Note: When making reservations, choose the table you would like and then add the number of seats you need to your cart by using the + button. You are NOT reserving an entire table if you choose 1 (by choosing 1, you are reserving 1 seat). We reserve ALL seats at each table. If you are a smaller party at a larger table, you will be seated with guests outside your party.
Artists
Steve Seskin
Steve Seskin is a successful songwriter who has written seven number one songs, including Grammy-nominated “Grown Men Don’t Cry,” as recorded by Tim McGraw, and “Don’t Laugh at Me,” winner of NSAI Song of the Year and Music Row Magazine Song of the Year as recorded by Mark Wills. His other #1 hits are “No Doubt About It” and “For a Change,” both recorded by Neal McCoy, “No Man’s Land” and “If You’ve Got Love,” both recorded by John Michael Montgomery and “Daddy’s Money,” recorded by Ricochet.
Other chart toppers include “I Think About You” recorded by Colin Raye and “All I Need To Know” by Kenny Chesney.
Born and raised in NYC, his first exposure to music was sitting beside his mom while she played piano and sang Broadway show tunes. When he was 12, the Beatles came to America and the music bug bit him for good. He moved to California when he was 20 and has lived in the SF Bay Area for almost 50 years, performing at clubs, festivals and house concerts along the way. He thinks of himself as a songwriter/teacher/singer in that order and loves all aspects of his musical life equally.
Mike Reid
An NCAA All-American and All-Pro NFL defensive lineman, Mike Reid was as dominant a force in commercial country music of the 1980s and early '90s as he was on the gridiron in the 1960s and '70s. Reid penned 12 #1 country hits, including one as a solo artist (1990's "Walk on Faith"), and he provided hit vehicles for Ronnie Milsap, Conway Twitty, Don Williams, Wynonna, Tim McGraw and others. Yet his best-known composition may be the pop hit "I Can't Make You Love Me," a stirring ballad of resignation that Bonnie Raitt took into the pop Top 20 in 1991 and that has since been re-recorded dozens of times.A serious-minded piano player even during his time playing football at Penn State University and with the Cincinnati Bengals, Reid devoted himself completely to music upon his 1975 retirement from sports. He moved to Nashville in 1980 and signed with Milsap's publishing firm in 1982. Milsap quickly began recording Reid's songs. "Inside" hit #1 on the country chart in early 1983, and "Stranger in My House" (which won Reid a Grammy for Best Country Song) went to #5 later that year. In 1985, Milsap's recording of Reid's "Lost in the Fifties Tonight" was a #1 country hit and a #8 adult contemporary record, and it was the most-played country song of the year. "Lost in the Fifties Tonight" was named ASCAP's Country Song of the Year in 1986.
By the mid-1980s, Reid songs were radio staples, and he notched hits with Milsap ("She Keeps the Home Fires Burning," "In Love," "How Do I Turn You On," Conway Twitty ("Fallin' for You for Years"), Don Williams ("I Wouldn't Be a Man") and more. A soulful vocalist, Reid was featured as Milsap's duet partner for 1988's "Old Folks," and Reid's recording-artist deal with Columbia Records resulted in the chart-topper "Walk on Faith."
Three other Top 20 solo hits followed for Reid, but his prime mark on popular music would be as a songwriter. More than two decades after its creation, "I Can't Make You Love Me" remains in Raitt's set list at every concert, and it has been recorded by George Michael, Kenny Rogers, Nancy Wilson, Kelly Clarkson, Adele and others. Continuing his renaissance ways, Reid went on to compose theatrical and operatic works, winning a Richard Rodgers Development Award from the Academy of Arts and Letters for 1997's The Ballad of Little Jo.
Kat Higgins
Growing up with seven kids in the house and a father who loved listening to Irish music, Kat Higgins remembers pushing play on the family’s tape deck, learning songs like “Fields of Athenry” and “Danny Boy.” It wasn’t long before she and her brothers and sisters were performing them together for her parent’s friends. What started out as a song or two at parties quickly grew into full on concerts.“We looked like a scene from The Sound of Music,” Kat remembers. “We wore matching outfits, and stood in order of height.” By the time she was ten years old, she was earning money at it, and by age 13, she had bought her first guitar.
She learned to play that guitar and eventually began honing her skills as a songwriter. As the group became more popular, it wasn’t just family and friends who took notice. Open Road/Universal Music Canada soon came calling. By this time, some of the siblings had lost interest in being in a band, so along with one sister and brother, The Higgins were formed.
The transition into a country music trio was effortless with the sound of their tight-knit family harmonies. Kat loved that storytelling was at the heart of country music. She co-wrote almost every song they recorded and at 19, she was well on her way to realizing what she had been born to do.
The group’s unique sound and catchy melodies propelled the trio to the top of the Canadian radio charts. They were nominated for multiple awards including CCMA Group/Duo of the year. However, the group disbanded when older sister Eileen decided to become a stay at home mom. All was not lost. Kat knew where she belonged. During the making of the band’s albums, she travelled back and forth to Nashville, where she spent her time co-writing.
Kat finally made the one-way trip to Nashville for good. “Music is the true constant in my life,” says Kat with a smile. “The only relationship I’ve known how to maintain is with mr. guitar.” Like some of her influences, The Dixie Chicks, Joni Mitchell, Fleetwood Mac and Emmylou Harris, she knew the importance of crafting a song. Kat thrived on producing the music, not just singing it.
Having caught the attention of Nashville music industry veteran Pat Higdon, she was offered her first publishing deal with Patrick Joseph Music. A young uninhibited spirit blended with old soul wisdom, Kat knows how to tell an emotional story. Her vulnerable lyrics compliment her smoky and unique voice.
While many things have changed for Kat in the last few years, the motivation of her craft has stayed the same. “It’s a simple goal, whether through a lyric, a melody or a performance, I just want to make people feel.”
