How the archive
knows what it knows.

Archive and firsthandThe five-night Paul Simon run, selected image captions, dates, and the explicit private-preview rights limitation. Limit: Firsthand project context; individual claims still require item-level sourcing and rights review.

Archive and firsthandDurham, Duluth, and Hollywood event dates and firsthand notes. Limit: Does not include complete venue data or all five nights.

Archive and firsthandInitial metadata for Joel's room, the Duluth van, and the Hollywood photograph. Limit: Covers only three of ten images.

Archive and firsthandWorking captions, identifications, alt text, chapter title, and firsthand narrative framing. Limit: Presentation copy is not itself independent corroboration.

Primary and technical recordsApple iPhone 3GS and timestamp 2011-11-09 01:31:48 embedded in the received file. Limit: Metadata supports file capture time, not the Nashville location or identity of the room.

Official and institutionalDates, cities, and venues for all five December 1–6, 2011 performances. Limit: Confirms Paul Simon's schedule; the starter's firsthand record supports The Wild Feathers' opening role.

Official and institutionalDecember 1, 2011, Durham Performing Arts Center. Limit: Does not name the opening artist.

Official and institutionalPaul Simon at DPAC on December 1, 2011. Limit: Does not name the opening artist.

Official and institutionalDecember 4, 2011 at 7:30 p.m., UCF Arena, Orlando. Limit: Does not name the opening artist.

Official and institutionalDecember 5, 2011, Ruth Eckerd Hall, Clearwater. Limit: Does not name the opening artist.

Official and institutionalDecember 6 closing concert at Hard Rock Live in Hollywood, Florida. Limit: Does not name the opening artist.

Archive and firsthandFirsthand accounts of the December 2011 Paul Simon opening run, the June 2012 Warner Bros. signing and Jay Joyce recording sessions, the disputed Ben Dumas joining date, the April 2013 Bob Dylan opening dates, the 2014 Barcelona period, the late-night television week, and the 2015 lineup transition. Limit: Unpublished memoir; authorial memory is not independent corroboration. Personal and third-party material is withheld from the public archive.

Archive and firsthandDate leads for 258 tour, studio, media, travel, and personal entries spanning December 2011 through December 2014, including the 2013 Bob Dylan, Willie Nelson, ZZ Ward, and Gary Clark Jr. runs and the 2014 United States and European itineraries. Limit: Personal working list, not an independently verified itinerary. It mixes performances with travel, cancellations, and personal notes; contains spelling errors; and lists Clearwater on December 4, 2011, while official sources place Orlando on December 4 and Clearwater on December 5. Use entries as research leads until corroborated.

Archive and firsthandFirsthand accounts of the band's formation and pedal-steel origin (pp. 16-18), the Paul Simon run (pp. 19-30), the first Jay Joyce sessions (pp. 31-38), the 2013 Ryan Bingham and Willie Nelson tours (pp. 39-41 and 66-69), the 2014 Sheryl Crow dates and Audley Freed soundcheck exchange (pp. 47-49), the 2015 second-record sessions and departure (pp. 77-80), and identifying captions for selected archive photographs (pp. 103-158). Limit: Earlier memoir draft that overlaps with the later memoir manuscript and is not independent corroboration. It contains sensitive personal and third-party material; embedded photographs require item-level metadata and rights review and are not distributed by this archive.

Official and institutionalAugust 13, 2013 debut date, Warner catalog context, Heatseekers No. 1 announcement, early television appearances, and official videos. Limit: Japanese-market label page; some dates and editions are territory-specific.

Official and institutionalMarch 11, 2016 release date, Warner label credit, and the eleven-track sequence. Limit: Streaming catalog metadata does not provide complete session or personnel credits.

Contemporary reportingMarch 11, 2016 release date, Jay Joyce production, writing and recording locations, and track listing. Limit: Contemporary trade report rather than label-owned catalog metadata.

Official and institutionalDecember 16, 2016 release, seventeen-track sequence, June 25 sold-out Ryman recording date, 2016 lineup, chart milestone, touring partners, and television appearances. Limit: Promotional sales document; descriptive claims reflect label copy.

Official and institutionalJune 29, 2018 release date, Jay Joyce production, ten-track sequence, 2018 lineup, 2010 formation year, and Bob Dylan and Willie Nelson support history. Limit: Promotional announcement; it does not provide full album credits.

Official and institutionalJune 29, 2018 date, Reprise Records label credit, ten-track count, and Jay Joyce production context. Limit: Streaming catalog metadata is not a complete physical-release credit sheet.

Reference and retrospectiveThe original November 20, 2020 independent release date for Medium Rarities. Limit: Brief release listing; the later New West edition carries a separate 2022 date.

Official and institutionalOctober 21, 2022 New West edition date, eleven-track sequence, archive concept, songwriters, and production credits. Limit: Documents the New West edition, not the first 2020 release.

Official and institutionalOctober 8, 2021 release date, twelve-track sequence, current five-member lineup, self-production, and recording locations. Limit: Artist-controlled release copy; no independent chart or critical verification.

Official and institutionalNew West debut context, fourth-studio-album designation, cabin recording method, self-production, and twelve-track sequence. Limit: Retail page; it identifies the year through catalog organization rather than a full street-date field.

Official and institutionalAugust 4, 2023 release date, twelve-track sequence, and ten-year anniversary re-recording purpose. Limit: Does not provide complete production or personnel credits.

Official and institutionalOctober 4, 2024 release date, ten-track sequence, Shooter Jennings production, recording and mastering locations, and five-member playing credits. Limit: Artist- and label-controlled release copy; no independent chart verification.

Official and institutionalNew West label context, ten-track sequence, Shooter Jennings sessions at Dave’s Room, and relationship to Alvarado. Limit: Retail page; it does not display a complete street-date field.

Reference and retrospective2010 Nashville formation, multi-front-person origin, broad stylistic context, and early influences. Limit: Secondary reference; membership details are reconciled against first-person and release-credit sources.

Primary and technical recordsThe exact date, November 21, 2015, when the founding guitarist’s participation ended. Limit: A contemporaneous primary document. Personal circumstances and participant perspectives are intentionally omitted from the public summary.

Official and institutionalThe founding guitarist’s work on the first two studio albums and Live at the Ryman, late-2015 departure, chart milestones, touring history, and early-era role. Limit: First-person professional biography, not independent corroboration.

Archive and firsthandA 17-page formation, lineup, label, discography, touring, reception, current-status, influence, and source survey with 61 cited links. Limit: Research synthesis rather than an independent primary source. It relies heavily on secondary pages and contains at least two correctable issues: the GRAMMY Museum event is dated 2016, not 2024, and the Ben Dumas join date conflicts with the founding guitarist’s memoir. The PDF remains private and is not distributed by the archive.

Contemporary reportingThe Austin formation sequence, four-frontman concept, five-member 2013 lineup, Jay Joyce recording method, influences, and the use of ‘Backwoods Company’ on Nashville. Limit: Contemporary promotional biography; direct quotations and label-style narrative still require normal editorial context.

Contemporary reportingFormation, Interscope signing and release, Warner transition, Jay Joyce’s live approach, 2012–2014 touring, collaborative songwriting, and the making of Lonely Is a Lifetime. Limit: Retrospective 2016 feature based substantially on member interviews.

Official and institutionalAugust 25, 2016 Spotlight conversation and performance, touring partners, Ryman milestone, chart history, television appearances, and the 2016 lineup. Limit: Promotional event biography; it supports a 2016 museum program, not a GRAMMY nomination or award.

Official and institutionalThe band’s late-June 2026 description of its July run as the last before ‘hibernation or hiatus.’ Limit: Instagram throttled independent retrieval during this review. The URL and wording are preserved in the user-provided band-history PDF; no formal breakup statement was located.

Official and institutionalThe Wild Feathers’ July 5, 2026 Nashville performance with Nigel Dupree. Limit: Confirms the event, not the band’s characterization of the run or long-term status.

Contemporary reportingJuly 3, 2026 Eddie's Attic and July 5, 2026 3rd & Lindsley performances and reported set lists. Limit: Ticketing and crowd-sourced set-list metadata; does not establish the hiatus wording or a permanent breakup.

Archive and firsthandTen received images documenting early press attention, backstage signage, four- and five-member visual treatments, Warner Bros. promotion, and a dated August 24, 2012 Nightfall preview. Limit: The files contain no useful capture timestamps. Most pieces do not identify their year, photographer, designer, or original distribution channel. Physical or file possession does not establish publication rights; the archive preserves the received originals while rights review remains open.

Official and institutionalThe Warner Sound YouTube channel was active by July 2, 2012, supplying context for the received July 20 Summer Sessions poster. Limit: The announcement does not name The Wild Feathers or independently establish the poster's year; 2012 remains a labeled inference rather than a confirmed date.

Archive and firsthandTen received images documenting a 2013 Bob Dylan support date, 2013-2014 touring, the Lonely Is a Lifetime cover, fan culture, and 2018-2019 Texas festival appearances. Limit: The JPEGs contain no useful capture timestamps. Some posters omit the year and require external or personal-chronology corroboration. Photographer, designer, subject-consent, and reproduction-rights information remains incomplete for most files.

Official and institutionalThe April 28, 2013 Louisville Palace performance and The Wild Feathers' support billing. Limit: Documents Bob Dylan's performance and set list; it does not identify the supplied poster's photographer, designer, ownership, or reproduction rights.

Contemporary reportingThe April 13, 2019 Luckenbach date and festival lineup including The Wild Feathers. Limit: Event-listing copy; it does not establish artwork authorship, the band's set time, or reproduction rights.

Contemporary reportingThe July 4, 2018 Circuit of the Americas event and The Wild Feathers' listed 5:35 p.m. performance time. Limit: Contemporary secondary coverage rather than the promoter's retained event archive; it does not establish poster authorship or reproduction rights.

Archive and firsthandTen received images documenting gear movement, an alternate rehearsal-room view, touring hospitality, offstage time, informal guitar playing, a signing scene, a recording console, and a handmade performance-space banner. Limit: No file contains a useful capture timestamp. Dates, places, people, and photographers are largely unidentified. One agreement-signing image exposes contract pages and signatures and is cataloged as metadata-only pending confidentiality and rights review.

Archive and firsthandFive received images documenting handwritten performance repertoire, backstage humor, a June 4, 2013 Jackson set list, a second undated group set-list photograph, and a signed Wild Feathers drumhead. Limit: No file contains a useful embedded capture timestamp. Only the Jackson image supplies a date and city within the frame; people, photographers, ownership, and publication rights remain largely unidentified.

Contemporary reportingThe Wild Feathers' June 4, 2013 performance at Pink Garter Theatre in Jackson, Wyoming, on the Ryan Bingham tour. Limit: Contemporary secondary announcement rather than a retained venue or settlement record; it does not establish the supplied photograph's people, photographer, set order, or publication rights.

Archive and firsthandTen received images documenting a May 12, 2013 Raleigh set list, the Ryan Bingham tour itinerary, backstage repertoire, live performance, tour transit, an outdoor-stage meeting, an official band portrait, a shared stage with Willie Nelson, an after-show group, and mountain-road travel. Limit: No file contains a useful embedded capture timestamp. Two images carry internal or published date evidence; most people, places, photographers, ownership terms, privacy status, and publication rights remain incomplete.

Official and institutionalNovember 22, 2013 publication of the chevron-wall portrait with a Frank Maddocks and Warner Bros. credit, the August Willie Nelson tour, and Nelson sharing the stage with The Wild Feathers. Limit: Contemporary interview and promotional publication rather than a photo license, assignment sheet, tour settlement, or exact identification of the received shared-stage photograph.

Archive and firsthandTen received images documenting member portraits, a full-band rehearsal, backstage camaraderie, live performance, audience scale, and a visibly identified Irving Plaza stage. Limit: The JPEGs contain no useful capture timestamps. Nine records remain undated, no faces are assigned from appearance alone, and photographer, consent, ownership, and publication permission remain incomplete. One live frame contains a partially cropped mark requiring credit research.

Official and institutionalThe Wild Feathers' September 30, 2013 Irving Plaza date in New York with ZZ Ward, plus the surrounding 2013 support-tour route. Limit: A label-contributed announcement hosted by a third-party publication; it does not identify the supplied photograph's creator, the people onstage, the exact stage moment, or reproduction rights.

Archive and firsthandTen received files documenting live performance, tour-bus life, a tattoo session, gear preparation, a stage gathering, and a five-member portrait. Eight unique images create new records; Photo 5 and Photo 6 exactly repeat TWF-PHO-2014-0028 and TWF-PHO-2014-0029. Limit: The JPEGs contain no useful capture timestamps. Dates, venues, routes, people, photographers, ownership, consent, and publication permission remain unresolved unless visible evidence says otherwise. Exact repeated files are accession evidence but do not create duplicate photo records.

Archive and firsthandTen unique received images documenting a tour bus, a formal five-member portrait, two views of a live performance, a restaurant gathering, airplane and airport travel, informal slide guitar, an audience selfie, and backstage downtime. Limit: The JPEGs contain no useful capture timestamps. Dates, locations, routes, people, photographers, ownership, consent, and publication permission remain unresolved. One stage image carries a visible Photo France watermark, but the individual photographer and licensing status are not established.

Archive and firsthandTen received files documenting Barcelona landmarks and tour downtime, informal writing, rehearsal, and a backstage group. Nine unique images create new records; Photo 1 exactly repeats TWF-PHO-UNK-0082. Limit: The JPEGs contain no useful capture timestamps. The personal chronology documents a Barcelona show on October 2, 2014, but does not prove the capture day of any image. Barcelona is visually confirmed only where landmarks are present; sequence-based locations remain labeled probable. People, photographers, ownership, consent, guest privacy, and publication permission remain unresolved.

Archive and firsthandTen unique received images documenting airport equipment movement, live performance, restaurant and backstage downtime, four touring guitars, a Storm Runner ride photograph marked 2014, an Austin venue mark, and a handwritten set list. Limit: The JPEGs contain no useful capture timestamps. The Storm Runner image proves the year and ride identity, while the personal chronology makes August 31, 2014 probable rather than certain. Other dates, venues, people, photographers, ownership, consent, audience privacy, and publication permission remain unresolved.

Official and institutionalStorm Runner is a roller coaster at Hersheypark in Hershey, Pennsylvania. Limit: Current official attraction page; it does not date, identify, license, or establish the circumstances of the supplied 2014 ride photograph.

Official and institutionalThe official music video for "Hard Wind," from the self-titled 2013 debut. Limit: Uploader account and original publish date are not yet independently confirmed.

Official and institutionalThe official music video for "Got It Wrong," from the self-titled 2013 debut. Limit: Uploader account and original publish date are not yet independently confirmed.

Archive and firsthandFootage of the band performing "Backwoods Company" for Guitar Center Sessions, broadcast live from SXSW on DIRECTV; the working tour chronology places the band at SXSW March 12-14, 2013. Limit: The video title does not itself carry a date; the exact taping/broadcast date is not independently confirmed.

Official and institutionalThe official music video for "The Ceiling," the signature single from the self-titled 2013 debut. Limit: Uploader account and original publish date are not yet independently confirmed as the official channel of record.

Archive and firsthandFootage of the band performing "If You Don't Love Me," track nine on the self-titled 2013 debut, as a session for Relix, a publication already cited elsewhere in this archive. Limit: Exact session date is not established by the video title alone and remains unconfirmed.

Archive and firsthandFootage of the band performing "Wine & Vinegar" for the Jam in the Van series in Austin, TX, with Mickey Raphael (Willie Nelson's longtime harmonica player) sitting in; the video title dates the session to 2014. Limit: Third-party upload. The exact date, uploader, and licensing are not independently established, and link availability may change.

Archive and firsthandFootage of the band’s televised performance; the video title identifies Craig Ferguson and September 6, 2013. Limit: Third-party upload. The upload channel, rights, and licensing are not independently established, and link availability may change.

Contemporary reportingThe band was scheduled to perform “The Ceiling” on September 6, 2013, at 12:35/11:35 CT on CBS, with contemporary context for the debut album. Limit: Promotional announcement published before the broadcast; it does not establish video rights.

Reference and retrospectiveThe CBS episode originally aired September 6, 2013, and lists The Wild Feathers as the musical guest. Limit: Secondary episode metadata; it does not identify the song or establish video rights.

Archive and firsthandThe founding guitarist identified himself as the photographer of TWF-PHO-2011-0002 and TWF-PHO-UNK-0009. He also supplied a broader working lead that photographs in which he is absent were probably taken by him. Limit: The broader lead is not applied as a blanket credit. Each additional photograph requires image-by-image confirmation. Photographer attribution alone does not establish copyright ownership or publication permission.

Archive and firsthandThe received image file, its dimensions and checksum, and the founding guitarist’s explicit selection of the photograph as the homepage hero. Limit: No capture date, location, photographer, individual identifications, copyright holder, or underlying publication license was supplied. Placement direction does not independently establish copyright ownership.

Archive and firsthandThe received PNG, its dimensions and checksum, and the founding guitarist’s explicit direction to replace the animated homepage hero with this still image. Limit: The attachment itself does not contain independently verified capture, photographer, rights, or individual-identification documentation; those claims remain supported separately.

Archive and firsthandReceipt of a 10.04-second, 1664-by-1248 H.264 video with stereo AAC audio; and the founding guitarist’s direction to add the clip to the homepage. Limit: The supplied file and placement direction do not establish an exact date, route, camera operator, edit history, audio attribution, transcript, or underlying publication rights. The clip is therefore presented as an undated road fragment rather than evidence of a specific tour run.

Archive and firsthandThe received JPEG, its dimensions, checksum, embedded Apple iPhone 3GS creation timestamp, and the founding guitarist’s direction to replace one repeated American-flag room photograph on the Story page. Limit: The supplied file and placement direction do not independently establish the exact room, location, photographer, individual identities, event context, copyright ownership, or privacy clearance.

Contemporary reportingThe Wild Feathers' March 15 SXSW showcase time and bill context at Central Presbyterian Church. Limit: The schedule conflicts with the working chronology's St. David's Church venue; the discrepancy remains visible in the stop record.

Contemporary reportingThe Stomping Ground Tour name, listed venues, and The Wild Feathers' support dates. Limit: Does not list the Little Rock or Dothan entries in the working chronology.

Contemporary reportingThe sold-out October 23 Calvin College show, The Wild Feathers' opening role, and unreleased NEEDTOBREATHE songs. Limit: A review of one date, not the complete tour.

Official and institutionalThe Wild Feathers' Boston, New York, Toronto, and Minneapolis support dates with Gary Clark Jr. Limit: Its November 16 Terminal 5 date conflicts with the working chronology's November 15 entry.

Official and institutionalThe November 20 First Avenue date and three-artist bill. Limit: Applies only to the Minneapolis show.

Contemporary reportingThe November 12 Bowery Ballroom benefit and its multi-artist bill. Limit: Announced lineup; performance details remain separate evidence.

Contemporary reportingWinter headline-tour dates, venues, and announced support from Saints of Valory and Jamestown Revival. Limit: The Boise listing is February 23, while the working chronology says February 22.

Official and institutionalThe March 18 London show at The Old Blue Last with City Reign. Limit: Applies only to the London date.

Official and institutionalThe March 19 Amsterdam show at Paradiso. Limit: Applies only to the Amsterdam date.

Contemporary reportingFall dates and venues, named festivals, the hometown Live on the Green headline, and announced support from The Apache Relay and Desert Noises. Limit: The Voodoo date was still to be confirmed when published; a later festival report identifies November 1.

Contemporary reportingFall 2014 dates, venues, festival names, and the Live on the Green headline context. Limit: The Voodoo performance date was not final in this announcement.

Contemporary reportingThe October 31–November 2 festival window at New Orleans City Park and the larger lineup. Limit: Does not give The Wild Feathers' exact stage time.

Contemporary reportingThe Wild Feathers' Saturday, November 1 performance on the Flambeau Stage. Limit: A festival report, not a complete official schedule.

Contemporary reportingThe October 2 Barcelona and October 3 Madrid venues and the earlier Caracol visit. Limit: Promotional ticketing copy; does not document the complete European run.

Official and institutionalSheryl Crow's June 1 date and start time at American Music Theatre. Limit: The archived page does not name The Wild Feathers as opener; that role remains supported by the working chronology.

Contemporary reportingHeavy rain, the umbrella-covered crowd, and Sheryl Crow's set context at the August 13 Littleton show. Limit: The review focuses on Sheryl Crow and does not discuss The Wild Feathers' set.

Archive and firsthandAll 379 supplied performance-listing rows from 2008 through 2026, including dates, venues, locations, festivals, bills, notes, unresolved database stubs, and explicit source conflicts. Limit: A generated secondary compilation, not a primary itinerary or proof that every scheduled listing became a completed performance. It relies heavily on setlist.fm and other secondary listings, includes 45 unresolved venue or location rows, and conflicts with stronger contemporary or official sources on several stops. Its headline count includes a self-flagged 2008 anomaly that predates the band and is not treated as authentic.

Archive and firsthandThe ten received image files, their supplied sequence beginning in January 2013, and the founding guitarist’s identification of the two Brandon Wu professional photographs as the 9:30 Club in Washington, D.C. Limit: The attachment pipeline removed original filenames, capture timestamps, camera fields, and GPS metadata. Except where separately corroborated, exact dates and locations remain unresolved; possession and placement direction do not establish publication rights.

Reference and retrospectiveJanuary 5, 2013 at the 9:30 Club in Washington, D.C., with Delta Rae, Jillette Johnson, and The Wild Feathers. Limit: A fan-maintained retrospective database rather than a venue-owned event archive.

Official and institutionalJillette Johnson's direct recollection of playing the 9:30 Club with Delta Rae and The Wild Feathers. Limit: The interview corroborates the venue and three-artist bill but does not print the exact date.

Reference and retrospectiveIdentification of the illuminated American-flag glass-panel facade as the U.S. Armed Forces Recruiting Station at Broadway and Seventh Avenue in Times Square. Limit: Identifies the landmark visible in the received photograph; it does not establish the photograph's capture date.

Contemporary reportingThe September 28, 2013 sold-out 9:30 Club show and its three-artist bill of ZZ Ward, The Wild Feathers, and James Bay. Limit: A contemporary independent review, not the venue's official archive.

Archive and firsthandThirty-six original image files, raw EXIF capture times, camera fields, and GPS coordinates preserved for twenty-two files. Limit: GPS establishes where the camera was, not necessarily a performance venue. Container timestamps are retained as lower-confidence evidence when embedded EXIF is absent; possession does not establish publication rights.

Contemporary reportingThe complete January 28-March 11 Southern Residency itinerary, including dates, cities, and venues. Limit: A contemporary announcement rather than the band's primary itinerary; individual bills beyond The Wild Feathers require separate evidence.

Contemporary reportingThe February 6 launch of the month-long Feathers and Friends High Watt residency with rotating guests and an 8 p.m. start. Limit: The archived page describes the Nashville residency but does not enumerate every guest.

Contemporary reportingThe February 21-23 Triple A Sunset Sessions at the Grand Hyatt Union Square and the announced multi-artist program. Limit: The announcement establishes the festival and announced artists but does not provide The Wild Feathers' exact set time.

Official and institutionalThe band's recollection that Sunset Sessions was its San Francisco debut and an important industry appearance alongside artists including Dido and Fitz and the Tantrums. Limit: Published a year later and does not establish the exact performance date within the three-day event.

Archive and firsthandTwelve publication-shaped first-person accounts, their intended site placements, archive notes, evidence pairings, editorial boundaries, and the approved one-sentence homepage pull quote. Limit: An editorial draft adapted from the founding guitarist’s memoirs, not independent corroboration. Recalled dialogue and personal material remain held for participant and privacy review.

Contemporary reportingMark Stewart's documented role as guitarist in Paul Simon's 2011 touring band. Limit: Confirms the touring role, not the founding guitarist’s recalled conversation with Stewart.

Contemporary reportingThe December 2013 Jimmy Kimmel appearance and the December 7 Warfield support date with Dwight Yoakam. Limit: Does not document the founding guitarist’s interior experience or the complete six-day sequence.

Contemporary reportingThe October 3, 2014 Madrid performance at Joy Eslava and a packed audience. Limit: Does not supply the three photographs or their metadata times described in the firsthand account.

Archive and firsthandThe founding guitarist confirmed that he owns or controls the rights and publication permissions for all photographic images he supplied to this archive. Limit: This confirmation applies to the photographic images themselves. It does not resolve missing photographer credits, caption facts, privacy review, visible confidential documents, or separate third-party rights in album artwork, posters, press clippings, and other reproduced graphic material.

Archive and firsthandA 330-image personal archive spanning 2011-2026, including 192 photographs dated to 2013-2014, 150 embedded tour-era capture dates, and 136 tour-era GPS records. Fifty-five photographs align to a mapped tour date and city; forty-one are new archive images and fourteen restore metadata to existing records. Limit: GPS establishes the camera location, not a performance venue. A matching date and city supports association with a tour stop but does not prove that every frame depicts the performance itself. ZIP entry timestamps are lower-confidence evidence when embedded EXIF dates are absent; individual identifications, privacy review, photographer credits, and separate rights in visible posters or broadcasts remain open.

Archive and firsthandForty-eight supplied media files, including twelve dated to late 2014. Sixteen files duplicate existing archive images. The the received file and the received file sequence corrects two Irving Plaza records from a provisional 2013 attribution to the November 21, 2014 show. Limit: the received file was processed by Instagram and records a November 22 file time and Brooklyn GPS position, not an original camera-capture timestamp. the received file has an iPhone file DateTime but no DateTimeOriginal or GPS. Their shared sequence, visible venue, and proximity to the confirmed November 21 Irving Plaza show make the 2014 association strong but not equivalent to untouched camera evidence.

Archive and firsthandForty-eight 2014 media files: thirty-one duplicate existing photographic records, seventeen previously unrepresented files, thirty-two embedded EXIF file DateTime values, and thirty-seven GPS records. The accession restores dates or locations to existing tour-life records and supplies fifteen new documentary photographs; a tour-poster image and Rolling Stone screenshot remain held from public display. Limit: No file contains EXIF DateTimeOriginal. Embedded file DateTime values may reflect file handling rather than original camera capture, and ZIP item timestamps are lower-confidence still. GPS places the camera, not automatically a venue. Two reproduced graphics remain held because photographic permission does not independently clear poster artwork or a publication screenshot; individual identifications, privacy review, and photographer credits remain open.

Contemporary reportingA September 19, 2014 report describes Warner Music's Reeperbahn Festival night at Docks with The Wild Feathers, Beatsteaks, Robin Schulz, and Kill It Kid. Limit: This is a contemporary secondary report, not a surviving promoter contract or stage schedule; it does not establish The Wild Feathers' exact set time.

Contemporary reportingThe October 17, 2014 preview identifies The Wild Feathers as headliners at the October 19 Finish Line Festival in Civic Center Park from 10:45 a.m. to noon, with Bonnie and the Beard and the Patrick Dune Band also scheduled. Limit: The preview documents the announced schedule, not an after-the-fact performance report or set list.

Archive and firsthandThe founding guitarist identified himself as the photographer of TWF-PHO-UNK-0001 and stated he took it around 2:00 a.m. on February 26, 2012, at Joel King's house on Wesley Avenue in East Nashville, where the band rehearsed in its early days. Limit: The statement is unverified against independent metadata or documentation; the exact street address beyond Wesley Avenue is not established.

Archive and firsthandThe founding guitarist stated that TWF-PHO-UNK-0103, the homepage hero photograph, was taken by Gus Black on January 29, 2014, in Silver Lake, California, during the "Got It Wrong" music video shoot. Limit: The statement is unverified against independent metadata or documentation; it has not been directly confirmed with Gus Black. It also indicates the video shoot occurred later than the archive's prior working assumption that the video accompanied the August 2013 album release.

Official and institutionalResolution 2026-82 authorizes a contract with Signal Fire Agency for The Wild Feathers to perform at the Phenix City Amphitheater on July 4, 2026. Limit: Official booking evidence, not an after-the-fact performance report or set list.

Contemporary reportingThe updated July 4 guide lists the America 250 celebration at Phenix City Amphitheater with The Wild Feathers and special guest Adam Hood. Limit: A same-day event listing rather than a review, attendance record, or set list; it corroborates the schedule without proving completion.

Archive and firsthandSeventeen dated 2020 band listings from March 1 through November 20, plus six individual-member livestream listings from April 25 through May 6. Limit: The composite listing and later contributor-maintained document are secondary sources rather than a primary itinerary or complete after-the-fact record. Several venue or bill lines are absent or visibly truncated, and a listing does not prove that a scheduled performance or livestream occurred. The individual-member livestreams are retained as pandemic-era context rather than represented as six full-band concerts.

Reference and retrospectiveVenue and location details for eighteen existing 2021 rows; an additional June 5 charity-jam listing; a promotional poster for the April 4, 11, and 18 3rd & Lindsley dates; and an after-the-fact August 10 tour summary showing The Wild Feathers performed at Daily's Place before the evening was halted. Limit: The ledger is a contributor-maintained secondary source. The April 11 Nashville listing conflicts with the archive's Irving inference, the May 16 Pittsburgh listing conflicts with the archive's Chattanooga inference, the May 28 listing conflicts with the retained May 29 source row, and the August 22 Charlotte listing conflicts with the archive's prior tour-gap research. Promotional schedules support bookings without proving completion. The supplied August 12 cancellation context is retained without presenting that date as a completed performance.

Reference and retrospectiveThe August 11 post says the August 15 Charlotte show was rescheduled to August 22 at Charlotte Metro Credit Union Amphitheatre. The August 18 tour schedule again lists August 22 at that venue with The Wild Feathers on the Spirit of the South bill. Limit: The screenshots corroborate the revised booking and venue but are promotional schedule evidence, not an after-the-fact attendance record or proof that the performance occurred. They remain internal source evidence because the underlying social-media posts, graphics, interface, and photographs are third-party material.

Reference and retrospectiveJim Toombs identifies the October 7 Chattanooga listing as rescheduled, and the attached annotated tour schedule links it to the retained December 4 Chattanooga listing. Limit: This is a contributor-supplied correction on an annotated promotional schedule rather than an independent cancellation notice or after-the-fact performance record. The email subject says the replacement date was in 2022, while the attached 2021 tour chronology and the existing concert-history compilation place the December 4 listing in 2021; the archive retains that conflict explicitly. The screenshot remains internal source evidence because the underlying graphic and photograph are third-party material.

Reference and retrospectiveSeptember 10 Grant's Lounge, September 16 Jam in the Van at Drifters, and September 17 City Winery AMERICANAFEST listings omitted from the earlier concert-history compilation. Limit: The attachments reproduce venue, promoter, and social-media promotional posts. They establish public listings but do not independently prove that all three scheduled performances occurred. The screenshots remain internal source evidence because Jim Toombs's photographic authorization does not clear the underlying posts, graphics, interfaces, or embedded band photograph.

Archive and firsthandJim Toombs identified his March 25 photographs from Natalie's Grandview, described The Wild Feathers as opening before Ricky Young and Joel King joined Will Hoge's band for "Midway Motel," supplied his December 9 Riverside Revival photograph, and identified The Corn Crib and Denny Sanford Premier Center for two unresolved 2023 rows. Limit: Venue and tour notes are contributor-supplied secondary evidence. The photographs support that performances occurred but do not independently identify every person or prove every detail of the alternating co-headline format. Embedded camera-capture dates are absent.

Reference and retrospectiveTwo venue assignments for existing 2024 rows and twelve additional 2024 performance, radio-session, festival, television, and livestream listings from March 1 through November 6. Limit: This is a contributor-maintained secondary ledger, not a primary itinerary or a complete set of after-the-fact performance reports. It supports source-listed claims and research leads without independently confirming that every scheduled appearance occurred. Later August 21 correspondence supplies the July 22 venue and separates the September 14 CBS taping from the September 28 broadcast.

Primary and technical recordsToombs identified the July 22 venue as the 91.9 WFPK studio at 619 S. Fourth Street; stated that the CBS Saturday Morning performance was taped September 14 in Studio 57 at the CBS Broadcast Center and broadcast September 28; named the HI-FI Indy encore cover as the Allman Brothers' "One Way Out"; and supplied fourteen additional HI-FI Indy attachments plus four CBS social screenshots. Limit: The correspondence and Friends Who Like The Wild Feathers screenshots are contributor-supplied secondary evidence, not a primary itinerary or CBS production record. The WFPK message gives ZIP code 40402, conflicting with Louisville Public Media's official 40202 address; the archive uses the official ZIP only in source review and does not display a street address in the show ledger. The CBS attachment filenames say September 29 while the message identifies September 28 as the broadcast date. Set-list, signed-CD, social-interface, and other third-party material remains withheld from public display.

Official and institutionalLouisville Public Media identifies its performance studio at 619 S. Fourth Street and connects the studio broadcasts to 91.9 WFPK Radio Louisville. Limit: This official venue page corroborates the studio and address, not The Wild Feathers' July 22, 2024 appearance or its completion.

Reference and retrospectiveVenue and location details for three unresolved 2025 rows, a second January 27 Park City appearance, an April 26 private performance in the Washington metropolitan area, and the surrounding 2025 chronology. Limit: This is a contributor-maintained secondary ledger rather than a primary itinerary or after-the-fact report for every row. The April 26 private venue is not identified. A February 1 venue line reads 2TEN, conflicting with the archive's 3TEN record; the archive record is not changed by this source.

Reference and retrospectiveJuly 2–5, 2026 listings for Camp ASCCA, Eddie's Attic, Phenix City Amphitheater, and 3rd & Lindsley, including contributor-reported bills and a substitute-drummer note. Limit: The ledger is secondary evidence. Its July 4 listing does not independently prove that the scheduled Phenix City performance occurred. A personal medical explanation supplied in the document is withheld from visitor-facing records.

Reference and retrospectiveAn August 3 Camp ASCCA recap names The Wild Feathers among the 2026 concert-series artists and describes the series as completed performances for campers. Limit: The screenshot is retained as internal source evidence rather than reproduced publicly. It does not print the July 2 date beside The Wild Feathers, and the original article URL has not been attached. Camper privacy and separate article and image rights remain active.

Archive and firsthandNineteen HI-FI Indy attachments from November 17, 2024; twelve Rock the Ruins photographs from June 14, 2025; two Camp ASCCA screenshots; three Eddie's Attic photographs from July 3, 2026; ten 3rd & Lindsley photographs from July 5, 2026; and four CBS Saturday Morning social screenshots. Toombs described the HI-FI encore, Eddie's Attic room, set length, and substitute drummer and stated that he attended the 3rd & Lindsley show. Limit: The published edit contains thirteen performance photographs, including two HI-FI images selected from the August 21 follow-up. The remaining HI-FI stage images remain unselected rather than expanding the page without a stronger editorial need. Set-list, signed-CD, CBS social, and Camp ASCCA screenshot images remain withheld because photographic permission does not independently clear underlying documents, album artwork, third-party interfaces or articles, or camper privacy. File modification dates reflect later processing and do not establish capture time.

Reference and retrospectiveJim Toombs authorized website publication of the photographic materials he supplied to the archive. His messages identify the selected performance images as his photographs, and the files carry a J.P. Toombs credit mark. Limit: Authorization applies to Toombs's photographic contribution. It does not independently clear privacy, medical information, venue or sponsor marks, handwritten set lists, third-party screenshots, article reproduction, or other embedded material.

Archive and firsthandThe founding guitarist selected this supplied black-and-white version to replace the color rendering of the Los Angeles album-release photograph on the homepage. Limit: This source governs the homepage presentation only. The canonical color archive record, its event context, open individual identifications, photographer credit, and privacy questions remain unchanged.