Blog

Earth Rider and Ursa Minor brew Hazy ‘Bout You for All Pints North

Blog written by Allyson Rolph, Earth Rider Lead Brewer

Hazy ‘Bout You is a dry hopped hazy IPA with cranberry. Earth Rider and Ursa Minor teamed up on the base recipe before adding their own twist on the final brew by utilizing different hop blends. Earth Rider’s version used Bravo and new-varietal Cashmere Hops. Ursa Minor used Bravo and Nelson Sauvin Hops.

The collab was an opportunity for Earth Rider’s brewers to work with another Duluth Superior brewery, and challenge each other with new ingredients and brewing techniques.

Bravo is tried and true in the kettle, offering a polished and pleasant bitterness profile. Candied orange and sweet fruit notes emerge when used as a late hop or dry hop addition. Bravo is “the bittering hop of choice” for many brewers.

Cashmere is a versatile and dual-purpose hop variety that brings complex aromas of citrus and tropical fruit to the front.

Hazy ‘Bout You utilized Maltwerks Pale Malt. Maltwerks is a Midwest malt house focused on quality, locally produced, traceable malt to craft brewers in Minnesota, North Dakota, South Dakota, Iowa, and Wisconsin.

Hazy ‘Bout You

ABV 6.5% | IBU 25 | SRM 4.5

Earth Rider Brewery develops Earth Rider Fest Grounds


Breweries are culture engines for the communities that they exist in. Earth Rider Brewery takes that role seriously by hosting music and game nights in the Cedar Lounge taproom and through supporting events in the community. This summer, Earth Rider is scaling up that role by hosting its first outdoor events at the Earth Rider Fest Grounds.

“We see an opportunity to serve the Duluth Superior community with outdoor events that are too small for venues like the Bayfront Festival Park across the harbor from us,” said Earth Rider’s Director of Brands Brad Nelson.

The Earth Rider Fest Grounds lie between the brewery and taproom on a large grassy field overshadowed by grain elevators and docked Lake Superior freighters. The venue will be scalable, able to host events from a few-hundred to 2,000-plus people. So far, the grounds have been leveled and enclosed by a rout-iron fence. Phase two will include a bandshell, a gazebo for sound production, outdoor power outlets for food and art vendors, and backstage accommodations for artists.

The 2019 summer schedule at Earth Rider Fest Grounds includes Matisyahu and Tribal Seeds on July 18; Brother Ali with deM atlaS and Sean Anonymous on July 27 (post All Pints North); Colter Wall on August 7; and Earth Rider Fest on Sept. 7.

Tickets are available at the Earth Rider Cedar Lounge taproom or online at jadepresents.com. Tickets for Earth Rider Fest will be available in August at the Cedar Lounge taproom or through this site.

Colter Wall – Superior, WI

Earth Rider Brewery & Jade Presents Colter Wall

August 7 | Doors: 5pm | Show: 7pm | Ages 21+ | Rain or Shine

Tickets are available at the Cedar Lounge taproom, by calling (866) 300-8300, or jadepresents.com

Artist Bio

After two years of relentless touring, Colter Wall wanted to make an album about home. Drawing on the stories of Saskatchewan, Canada, the young songwriter’s corner of the world takes shape throughout his second full-length album, Songs of the Plains. Produced by Dave Cobb in Nashville’s Studio A, the project combines striking original folk songs, well-chosen outside cuts, and a couple of traditional songs that reflect his roots growing up in the small city of Swift Current.

“One thing I’ve noticed over the last few years, in the United States and playing in Europe, is that people all over the world really don’t know much about Canada at all,” he says. “When you talk about Saskatchewan, people really have no idea. Part of it is because there are so few people there. It’s an empty place—it makes sense that people don’t know much about it. But that’s my home, so naturally I’m passionate about it. With this record, I really wanted people to look at our Western heritage and our culture.”

Indeed, Wall captures the spaciousness of the Canadian plains by relying on minimal production and his resonant baritone, which he’s strengthened into a mighty instrument in its own right. It’s a deep and knowing voice you wouldn’t expect of a man who’s not yet 24 years old.

Songs of the Plains begins with “Plain to See Plainsman,” a sincere portrait of a man whose rural heritage follows him into the greater world. As Wall lists the kinds of people he meets on the road – beautiful women, bikers, junkies, hippies—it’s easy to imagine the autobiographical component. The darkly comical “Saskatchewan in 1881” recalls a stubborn encounter between a Toronto businessman and a steadfast farmer who cultivates the province’s land. And although Wall racked up a body count on his prior album, this time he stops just short of killing the title character in “John Beyers (Camaro Song),” which he says is inspired by true events.

Evoking the most remote reaches of the plains, “Wild Dogs” sounds like a cinematic Colter Wall composition, but he actually first heard the song in Little Rock, Arkansas. Wall had just finished soundcheck in the fried chicken restaurant where he had a gig, when his buddy Ron Helm (nephew of Levon Helm) dropped in with Billy Don Burns, an esteemed songwriter who’s had cuts with many of the country legends of the 1970s. Burns wanted to pitch a few songs, and since the restaurant didn’t have a green room, Wall crawled into Burns’ backseat to listen. He found himself captivated by “Wild Dogs,” which has a minor-chord progression, no rhyme scheme, and the unique perspective of being told from the dog’s point of view.

As a folk singer, Wall places equal importance on crafting songs as well as carrying older songs into the present day. “To me, a folk singer is somebody who sings folk songs—and it’s also someone who is writing their own music, while taking something from traditional folk songs. It’s somebody who sings those songs and is aware of passing down the traditions, whether it’s from their own version of the song or taking those old tunes and reinventing them.”

That sense of tradition is part of the reason he recorded Canadian folk hero Wilf Carter’s “Calgary Round-Up,” a snapshot of the iconic Calgary Stampede. Wall considers that annual event a cornerstone of Western Canadian culture because it pulls in families from the whole region. Besides that, he says, “I wanted to have a rodeo song and that one seemed to be perfect.”

To make it his own, he put a Western Swing feel to it and brought in steel guitarist Lloyd Green and harmonica player Mickey Raphael. The Songs of the Plains sessions also featured Chris Powell on drums and Jason Simpson on bass, with Colter and Cobb sharing acoustic guitar duty.

Through his favorite folk singer, Ramblin’ Jack Elliott, Wall discovered “Night Herding Song.” Because the song was a cappella, and because Wall doesn’t wear headphones when he records, he couldn’t nail down the campfire vibe inside the sprawling Studio A. So, for this track only, he went to Dave Cobb’s house, started a fire in the outdoor fireplace, and recorded it on the spot. The immediacy of his voice is unmistakable.

Wall says he spent the last three or four years trying to get better as a singer. By putting in the work, his range is now far more dynamic and expressive. He describes the vocal development as “less gravel, without losing the baritone that I’ve developed over the years.”

Meanwhile, Wall’s ability as a songwriter is especially clear in the second half of Songs of the Plains. “Wild Bill Hickok” distills that legendary gunfighter’s epic life and death into less than three minutes. Asked about inspiration for the song, Wall cites the HBO series Deadwood, as well as Tex Ritter’s “Sam Bass” from the cowboy singer’s 1960 album, Blood on the Saddle.

While “The Trains Are Gone” laments the loss of an era, “Thinkin’ on a Woman” hints at a heartbreak as a truck driver concocts a lethal combination of whiskey, wine, and a mountain road. Wall turns far more introspective on “Manitoba Man,” a devastating song he wrote about a dark period in his life. The desperation in that track quickly gives way to the outrageous traditional song, “Tying Knots in the Devil’s Tail,” featuring verses from Blake Berglund and Corb Lund, spoons by Chris Powell, and a weird bottle of tequila by Dave Cobb.

“I went into the studio and knew exactly the story I wanted to tell,” Colter says of Songs of the Plains. “That made it easier on a sonic level and a musical level, to be able to tell Dave that it’s a record about my home. That changes it at the roots level because it’s like having a mission statement, saying, ‘All right, let’s make a Western album.’”

Brother Ali – Superior, WI

Earth Rider Brewery & Jade Presents Brother Ali

July 27 | Doors: 5pm | Show: 7pm | Ages 21+ | Rain or Shine

Tickets are available at the Cedar Lounge taproom, by calling (866) 300-8300, or jadepresents.com

Artist Bio

Over the past 17 years, Brother Ali has earned wide critical acclaim for his deeply personal, socially conscious, and inspiring brand of hip-hop. Under Rhymesayers Entertainment, he’s unleashed a series of lauded projects, establishing himself as one of the most respected independent voices in music. The latest chapter in that celebrated journey is All the Beauty in This Whole Life, a 15-track collection produced entirely by Atmosphere’s Anthony “Ant” Davis.

“This entire album is based on the reality that beauty is the splendor of truth” says the Minneapolis MC. “Beauty in all of its forms is the outward manifestation of love and virtue. It soothes the soul and pulls it gently toward the truth it communicates. Every word and note of this album is intended to either reflect beauty, or expose the ugliness that blocks us from living lives of meaning.”

All the Beauty in This Whole Life is Ali’s first official release in five years and represents the newest and most refined chapter of his life’s journey. “Each of my albums are the result of the pain, growth and eventual healing that I experience. Articulating the pain and navigating the healing allows the people who really feel my music to travel with me. It’s not only that we hurt together, we heal together as well.”

This year, Brother Ali’s debut album on Rhymesayers Entertainment, Shadows on the Sun, celebrates its 15th anniversary. To commemorate this occasion, Brother Ali will embark on a special 13-date headlining tour where he will perform the full album in its entirety each night. The Shadows on the Sun 15-Year Anniversary Tour kicks off November 1st in Washington D.C., with stops in New York, Minneapolis, Austin, Los Angeles, and more.

Matisyahu & Tribal Seeds – Superior, WI

Earth Rider Brewery & Jade Presents Matisyahu & Tribal Seed at Earth Rider Brewery Outdoors

July 18 | Doors: 5pm | Show: 7pm | Ages 21+ | Rain or Shine

Tickets are available at the Cedar Lounge taproom, by calling (866) 300-8300, or jadepresents.com

Artist Bio

Singer-songwriter Matisyahu has been on journey inward for more than a decade. The journey has been private and public. The journey has at times been explicitly external, even while being driven by internal change. Now nearly thirteen years after the release of his first studio record, Matisyahu and his band have done something unmatched in his past repertoire; they have crafted that journey into a musically thematic eight song movement.

The band features longtime guitarist Aaron Dugan, Dub Trio bassist and drummer Stu Brooks and Joe Tomino, and keyboard virtuoso BigYuki — and the journey starts with them. The band improvised for hours in the studio with Matisyahu watching on as an admirer without singing a single lyric. Out of the improvisations grew melodic themes, rhythmic peaks and valleys, blissful and proto-song guitar passages, deep dub meditations and ultimately an inspired instrumental record until itself. Only once the band had crafted this musical narrative, did Matisyahu begin to work on a lyrical narrative of his own — a lyrical narrative that is simultaneously informed and integrated with the music yet driven by Matisyahu’s own personal journey. The result is Undercurrent, Matisyahu’s sixth studio album.

The record is musically Matisyahu’s most courageous release to date and lyrically his most vulnerable.

The courage in the music comes from trust. Trust in the band. And only in the band. There are no post-production bells and whistles or litany of special guests on Undercurrent. On the opening track, “Step Out into the Light” the band lays out a repetitive minimalist verse section that anchors the listener in a near meditative loop only to open up into a gorgeous set of chord changes that makes the chorus feel revelatory, as if the listener has earned this release, and can achieve the song-title’s call to action.

By the record’s third track, “Coming Up Empty” the band has established melodic themes that will be called upon or re-harmonized later in the record, and just two songs in, it is clear that these musicians are road-tested, brave-song-crafters, with tens-of-thousands of hours of playing together embedded in their muscles and fortified in their bones.

The vulnerability in the lyrics comes from acceptance. Acceptance in uncertainly. Acceptance in the actions of one’s younger self and acceptance that while the future may be uncertain, having the courage to trust gives us all the best chance at meaningful relationships. It’s a lyrical reframing of the Jewish philosophical differences between emunah (faith) and bitachon (trust). Faith, the constant, and trust the immediate. Matisyahu sets the stage for this conceptually on the record’s opening track, but he digs in internally on the authoritative plea in the chorus of “Back to the Old,” [I’m giving up, I’m giving in / All I got is what’s right in front of me / Is the people that I see…]. He projects it outwardly through questioning in “Forest of Faith,” [What’s a man got to do, Oh! / To get through to you?] And finally works towards acceptance on the guitar-driven gem “Headright, [And I know feelings come and go / How should hold on, should I let go].

These forces direct the journey of Undercurrent, and as the record progresses the music begins to open up into full band improvisations like a relationship becoming more trusting, willing to take chances, knowing there’s acceptance in the process. A stunning example of this is on the record’s fifth track “Tell Me.” If you stop the song at the three-and-a-half-minute mark, you have a great reggae-tinged pop tune that promises to make a hit radio single. The track however continues for another six-and-half-minutes, beginning with a beautifully re-harmonized keyboard reference to the song’s opening wordless vocal melody. From there the entire band begins to improvise. Each player speaking briefly but with purpose, adding slowly and deliberately to the conversation. Drums and bass falling in and out. Guitar and keyboards calling back and forth to each other. The listener can almost intuit the personalities of each musician. The musical conversation continues to build, each band member adding to the improvisation without playing on top of one another. Trust and respect. This is truly Matisyahu the band. Matisyahu the singer is patiently waiting for the band to direct the journey, and he joins back in with a near whisper as the rhythm section finds that incomparable dub groove Brooks and Tomino are famous for.

The level of interplay between Matisyahu and his band mates on Undercurrent is unquestionable and requires multiple listens. Each repetition of a song reveals a guitar line from Dugan that elevates a vocal melody that only 15 years of experience together can achieve. Keyboard patterns from Yuki unrealized in a previous listen connect one song to another and the full band improvisations that climax with an impressive exploratory section on the record’s final track “Driftin’” achieve the rare feat of capturing a band’s live potential on a studio album.

Ultimately, Undercurrent, is a fully realized concept album crafted by a band-of-brothers who have learned to hold a conversation that is both comforting and challenging at the same time. It plays like a revelatory session with a great psychotherapist.

Like someone watching an ocean wave move chaotically towards the shore unaware of the undercurrent pulling mightily back in the opposite direction, Matisyahu and his band have achieved a musical retelling of the Matisyahu story that explores the forces within that inspire us all, challenge us all, break us down, lift us up, and yet are rarely obvious to the outside observer.


Based in San Diego, rock-reggae band Tribal Seeds come at their music from a different angle, more influenced by bands like Steel Pulse and Aswad than the common touchstone of Sublime. Formed in 2005 by the Jacobo brothers, singer Steven and producer Tony-Ray, the group issued its debut album, Youth Rebellion, that same year. The album was the first of many to be released on the group’s own label, including a self-titled album in 2008 plus The Harvest from 2009. The Soundwaves EP followed in 2011, while 2014’s Representing cracked the Billboard 200 albums chart. The album featured guest appearances from Don Carlos, Mykal Rose, and Midnite’s Vaughn Benjamin.

In March 2017, Tribal Seeds won the San Diego Music Award for Artist of the Year. A new single followed, entitled “Rude Girl” which debuted among iTunes Hot Singles in the Reggae genre. The band is currently recording their fifth full length album, schedule for release in early 2018.

Tribal Seeds have toured throughout the United States, and have also performed in Mexico, Aruba, Tahiti & Peru. They have shared the stage with artists such as Dave Matthews Band, Jack White, Red Hot Chili Peppers, Jane’s Addiction, Skrillex, MGMT, Cee Lo Green, Jason Mraz, Matisyahu, Sublime with Rome, Taking Back Sunday, O.A.R., Pretty Lights, Steel Pulse, The Wailers, Julian Marley, Stephen Marley, Gregory Isaacs, SOJA, Rebelution, Pepper, and many more.

Earth Rider to release Roller Derby IPA

Earth Rider Brewery in Superior hosted a unique educational experience on March 9 to commemorate International Women’s Day. Womxn beer professionals and beer enthusiasts were invited to participate in a special brew day.

Earth Rider Lead Brewer Allyson Rolph led the brew. Rolph said the intention was to provide an environment that is inclusive and inviting, where it is safe for those not well represented in the brewing industry to ask questions.

“I am hoping by creating a welcoming environment we can bring more diversity into craft beer,” said Rolph. “I don’t expect everyone attending to become brewers, but I am hoping to foster interests, passions, hobbies and curiosities.”

The brew day was a collaborative effort that includes members of the Barley’s Angels Duluth-Superior women’s beer education group as well as members of the Harbor City Roller Derby team.

The Roller Derby IPA will eventually benefit the Twin Ports’ and Northern Minnesota’s original women’s flat track roller derby league. “I’m happy we are able to sponsor and support a diverse and empowering group like the Harbor City Roller Derby team with a portion of the sales of this beer,” said Rolph.

The beer features a special Yakima Chief Hops “Pink Boots Blend” (Loral, Glacier, Mosaic, Simcoe, Sabro). The purchase of these hops supports the Pink Boots Society Scholarship Fund, which provides female beer-industry professionals with educational opportunities to advance their careers.

Savoring SAVOR

Blog written by Allyson Rolph, Earth Rider Lead Brewer

I really wish I had a picture of Frank’s response upon walking into the National Building Museum.  The 70-foot tall, eight-foot diameter Corinthian columns draw your eyes up to the clerestory windows. Earth Rider’s Director of Brewing, Frank Kaszuba, put his hand on his head, leaned back as he looked up, and sighed “WOW.”  It was mind blowing. The building is amazing inside and out.  The art-major part of me loved the architectural details including the Doric, Ionic and Corinthian Columns in the Great Hall and the 1200-foot long terra cotta frieze around the entire outside of the building.

Our beers were well received with many positive comments about bringing a lager. In a hall full of sours, wood aged, IPAs, and experimental beers, our Helles stood out as clean, well made, and refreshing.

I was pleasantly surprised by the food paired with our beers. Precious Material (Munich Helles) was paired with chile relleno, asadero, and pine nuts. I followed the directions, “let the bite sit for a second, then use the beer to push the heat of the pepper to the roof of the mouth and the crisp carbonation to the bottom.” What an incredible palate pleaser! The light malt sweetness of Precious Material worked perfectly with the spice in the Chile Relleno.

Superior Pale Ale (American Pale Ale) was paired with chicken roulade, fennel, and tarragon. The soft notes from the fennel and tarragon played off the Citra and Denali hops, bringing the bite to a clean finish. Incredible.

As a brewer I have poured at a lot of festivals and events but this was something special. The Brewers Association has put together the total package with every detail covered impeccably. The Chefs made amazing pairings, the support staff were excellent and organized, and the attendees were truly interested in the beer and the pairings. Several people I talked to said this was their big annual beer event that they look forward to every year and many even travel to Washington DC just to attend. And why not? This is an opportunity to taste offerings from breweries from all over the country that you may not find otherwise. Even independent breweries that distribute nationally brought rare and specialty beers.

My favorite pairing? Crooked Stave’s Origins (Wood-Aged Sour) paired with compressed melon and cucumber panzanella. The description was spot on: “Intense melon flavors combine with sour notes from the beer to refresh and awaken the palate.” The salad was bright and refreshing and worked super well with the beer’s tartness and oak.

If you are a fan of beer and palate-pleasing fare, SAVOR is well worth the trip to Washington, DC.