Parker McCollum

with Special Guest: Bailey Zimmerman
Oct 29 Saturday
7:00 PM
Buy Tickets

Due to REDUCED levels (Medium or Low) of COVID-19 community transmission in Penobscot County, face coverings are welcome, but NO LONGER REQUIRED while inside the Cross Insurance Center. At this time, we are not requiring proof of vaccination or proof of a negative COVID test. We reserve the right to do Temperature Checks and/or not grant access to any guest(s) that are demonstrating COVID-like symptoms.

For updates on this, please continue to check our website, our social media channels, or call 207-561-8300. Thank you for your understanding & cooperation. Please get vaccinated and let’s keep Mainers safe!


On October 29th, up-and-coming Texas country star Parker McCollum heads to the Cross Insurance Center with special guests Bailey Zimmerman and Joseph Gallant for a night of country fun!


Door Time:General doors will open at 5:30 PM
*Door times subject to change without notice
Lot A:
Lot B:
$20.00 – can be purchased in advance or day of as available (cash only day of)
$10.00 – can be purchased in advance or day of as available (cash only day of)

Tickets for this and other shows at the Cross Insurance Center can be purchased online at ticketmaster.com or at the Maine Credit Unions Box Office inside the Cross Insurance Center.

Parking Lot Map

PRICING:

GA Pit: $64.50**
Price Level 1: $64.50
Price Level 2: $49.50
Price Level 3: $34.50
Price Level 4: $24.50

*Additional fees applicable depending on point of ticket purchase.
** GA Floor is standing room ONLY

HOW TO PURCHASE TICKETS:

*Online at Ticketmaster.com/cicbangor
*Maine Credit Unions Box Office during Venue Hours

*Additional fees applicable depending on point of ticket purchase.


SEATING CHART:

ABOUT THE ARTIST

Parker McCollum wants it both ways. Restless soul who can slam dunk a major venue. Texas spirit who can exist on mainstream country radio. Songwriter with a sense of turpentine and truth singing for people whose life isn’t quite the truckbed/field party revel much of country music would have you believe.

Coming up in Texas, selling out Stubbs, Billy Bobs and Nutty Browns, the brash young man with a taste for Rodney Crowell, Todd Snider and James McMurtry had just enough Houston gangster rap in the water to develop a swagger that’s miles from the good ole boy patina so many of his peers embody. But don’t let that bravado fool you, his passion for songwriting runs deep.

“I want to have Luke Bryan success, singing Chris Knight-caliber songs,” he declares. “To have longevity, you can’t sacrifice integrity to get on the radio. People know the difference, look at Willie, look at Strait. I knew I could do Texas and never leave, or come to Nashville and do the pop-country thing. My goal is to ride the middle.”

He exhales as he says this, takes in the landscape. He’s already notched a platinum-certified #1 with the banged-up declaration of love and betrayal “Pretty Heart.” He’s gone against the grain enlisting songwriter/musician/vocalist/producer Jon Randall; he’s known for his work as part of Emmylou Harris’ Grammy-winning Nash Ramblers, producer of Dierks Bentley’s Up To The Ridge and co-writer of the 2005 CMA Song of the Year “Whiskey Lullabye” and 2018 ACM Song of the Year “The Tin Man.”

“I was super burned out from co-writes,” he says of their initial meeting. “He saw it, took one look, and said, ‘Hey, let’s hang out.’ He’s not just done it all, he’s won awards for it… When the label didn’t want him to be my producer, I thought he was a perfect fit. They let us go in and cut some demos; ‘Pretty Heart’ was one of those.”

I been drinking like a drunkard in these Austin neon lights
Burning smokes and wondering if there’s anything I’ve done right… Gold Chain Cowboy expands on that outcast drifter ethos with a collection of songs that are riddled with fuck-ups, disappointments, lost nights, real life snarls and the hunger that drives people on. Reckless, willing to reckon with the wreckage and shattered pieces of what was, McCollum’s major label debut isn’t a dead-end road, but more a cul-de-sac that too many people go ‘round and ‘round on.