Folk rock has fused the elements of folk & rock music beautifully since the 60s, becoming the lifeblood of singer-songwriters like Bob Dylan, Simon & Garfunkel, & The Byrds. Although Austin-based folk rocker Samuel Beam (known by his stage name Iron & Wine) does not yet move into that hallowed category, his early recordings did exude that raw & vivacious feel. Since then the wily singer-songwriter has tweaked his compositions slightly, allowing room for fusion of instrumental overtones like southwestern rock, Jamaican influences, & jazz. Iron & Wine has been a livewire in his concerts often backed by a full band, mesmerizing fans clutching Iron & Wine tickets with his almost effortless craft of melodious storytelling. Four albums into a promising career, the folk rocker’s music has also been in heavy rotation in big movies & TV series, & the future definitely holds much more in store. Iron & Wine was born as Samuel Beam in Chapin, South Carolina in 1974 to a land manager & a schoolteacher.

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Beam earned a bachelor’s in art from Virginia, before graduating from the Florida State University Film School with a MFA degree. Initially geared towards painting & filming, he worked as professor of film and cinematography at universities in Miami.

Beam was leant a four-track recorder by a friend, & he explored & recorded demo songs. Showing them to his friend, they finally made their way to Yeti Magazine’s compilation CDs, earning Beam a call from an interested executive at Sub Pop Records. Beam wrote, composed, sang & produced his entire debut album at home. The Creek Drank the Cradle (2002) drew great response as Beam unleashed his mellow folk rock featuring acoustic guitars, banjo & slide guitar. After collaborations & another homemade EP, Iron & Wine moved to professional studios to record the acoustic-heavy Our Endless Numbered Days (2004), the first time that current producer Brian Deck was involved in his work.

The effect of additional band members made the sound more refined & definitive. Over the next two years, while endorsements & offers from Hollywood ventures kept flying in, Beam also experimented with biblical themes & electric guitars before collaborating with Arizona rockers Calexico on an EP. This was a significant paradigm shift, with Beam introducing jazz, Mexican music & roots rock to his work. He also worked with his sister Sarah on a number of recordings, with her providing backing vocals. Many television series recently picked up his work, & Warner Bros. Records released his fourth album this January.

Iron & Wine earlier found solace in a more elemental form of folk music. The lo-fi record The Creek Drank the Cradle showcased his musical orientation commendably. He followed with a hit cover of The Postal Service’s 'Such Great Heights', & the EP The Sea & the Rhythm whose title song featured in the hit series The O.C. The next album Our Endless Numbered Days was definitively hi-fi, with 'Naked As We Came' and 'Love and Some Verses' becoming huge hits.

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Following a spiritual, electronically charged Woman King EP & a diverse collaboration EP In the Reins (with Calexico), Beam released The Shepherd’s Dog, which debuted at #24. It was ranked #10 in the Top 2007 albums by Paste Magazine, & contained 'Boy with a Coin' & 'Flightless Bird, American Mouth' (used in Hollywood blockbuster Twilight).

Beam’s latest dynamic offering Kiss Each Other Clean (Billboard #2) is creating waves with the success of 'Tree by the River' & songs that also have synthesizer involvement. The L Word, Grey’s Anatomy & House are some of the huge TV series that have used his music. Folk rock enthusiasts have always found Iron & Wine tickets to their liking, for Beam has never let go off his quintessential humble folk roots despite evolving his music. Playing his banjo or acoustic guitar, Beam’s live music has been complemented perfectly by the backing band, & they will continue their travels with Portland, Boston & Philadelphia in April.

Beam’s folksy sound initially appealed to the target audience, but the years since has showcased his love for contemporary music. The radio-friendly pop feel of his latest offering is the next in a string of artistic novelties for him, & Iron & Wine tickets holders will want the magic in full flow for his live shows. Frequently Asked Question(s) Q:I am here to order iron and wine radio city music hall tickets but why cant i see seat number? A:Unfortunately our Iron And Wine Tickets brokers don't offer seat numbers but you can make your choice from the section and row mentioned. Q:Is there a way to pick iron and wine tickets from the venue? A:The will call delivery option for Iron And Wine Tickets will be active 48 hours before the show.

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When it first made a name for itself nine years ago, was just another way of saying 'Sam Beam' — as in, the majestically bearded bedroom folksinger whose stark, fatalistic musings were offset by soft-voiced, solo-acoustic arrangements. These days, Iron and Wine is a full band whose sound is elastic enough to feature guitar solos, backup singers and even a saxophone. Two weeks ago, Beam and a small army of supporting players performed their new album, Kiss Each Other Clean, in its entirety at WNYC's Greene Space, and the result was.

But for those who fell in love with Beam's spare solo work — mesmerizing ballads such as his hit cover of The Postal Service's 'Such Great Heights' — he's been making the rounds as a solo performer, too, showcasing the songs from Kiss Each Other Clean in stripped-down fashion. So, even though we'd already presented and archived Iron and Wine's performance at the aforementioned Greene Space, we couldn't resist the chance to have Beam show a fresh side of his new songs behind Bob Boilen's desk in the NPR Music offices. (What can we say? Most of us didn't take the trip up to New York, and we're greedy.) Naturally, the resulting four-song set is gorgeous, with three songs from Kiss Each Other Clean — 'Half Moon,' 'Big Burned Hand' and 'Tree by the River' — capped off by what's become Iron and Wine's signature set-closer, 'Naked As We Came.'

A timeless tear-jerker about devotion and fragility, permanence and death, that 2004 song hasn't lost a shred of its power to devastate. As Iron and Wine's sound gets bigger and harder to define, 'Naked As We Came' will always accomplish everything it needs with just a voice and fingers on strings. Set List.

'Half Moon'. 'Big Burned Hand'. 'Tree By The River'. 'Naked As We Came' Credits Michael Katzif (cameras); edited by Bob Boilen; photo by Abby Verbosky.