The Hanover Theatre - Worcester, MA
Multiple Grammy® Award winning, Golden Globe nominated and critically acclaimed singer songwriter Chris Cornell makes a stop at The Hanover Theatre on the second U.S. leg of his Higher Truth World Tour. Chris Cornell is a modern icon who transcends genre. He was the chief architect of the 90s grunge movement as the leader of Seattle trailblazers Soundgarden and remains one of the most iconic rock voices of all time. Achieving multi-platinum success with three legendary bands, selling over 30 million records worldwide, he has forged his own unique identity over three decades as a singer, songwriter, guitarist, composer and lyricist. His latest album, Higher Truth, showcases Cornell's constant evolution as a master songwriter, lyricist and musical craftsman, telling human stories which transcend musical genres. Inspired by the stark arrangements of musicians like Nick Drake, Daniel Johnston and White Album-era Beatles, Cornell creates a musical universe unlike anything he has ever done before.
The Haunt - Ithaca, NY
Having completed their European tour, Pere Ubu return to the USA and Canada for ‘Coed Jail! v.1.1,’ performing songs from the two recent box set releases, ‘Architecture Of Language 1979-1982’ and ‘Elitism For The People 1975-1978’ (Fire Records),
Tracks from the inaugural ‘Modern Dance,’ through to what was described as “the scariest album ever recorded,” ‘New Picnic Time,’ will be performed in a fast moving set lasting 1½ hours.
Pere Ubu are David Thomas, Steven Mehlman (Drums), Michele Temple (Bass), Robert Wheeler (Synth and Theremin), and they will be joined by Gary Siperko (Rocket From The Tombs, Whiskey Daredevils, Mofos) on lead guitar
This isn’t a reunion. It isn’t a greatest hits tour.
“We don’t promote chaos, we preserve it,” Thomas explained. “Now more than ever - just like Nixon said - you need the sort of utterly gratuitous mess that only men of conviction can provide.”
The Dock - Ithaca, NY
With a decades worth of headlining Roots and Celtic festivals to selling out nights at rock venues The Town Pants own brand of Celtic roots rock rebel spans five albums so far, backed up with a legendary live show that’s garnered them fans internationally from New York to Norway. And while The Pacific Northwest may not be the first place you would expect to hear rollicking Celtic roots music, but The Town Pants are determined to change that. The Vancouver, Canada based band combines aspects of Irish traditional, folk rock and roots Americana, fusing their signature dual lead vocals to create their own unique brand of high energy "West Coast Celtic." that remains in the heart and head long after the music stops. There are lots of Celtic folk rock bands out there, but rarely does a band has this combination of passion, energy, animation and spirit that makes for some of the most imaginative songwriting you’ll find in the genre. With performances in hundreds of cities and over a dozen countries, The Town Pants have become a consistent audience favorite at Celtic, Folk, World, Irish and even Rock festivals throughout the United States, Canada and in Europe. The bands latest release, titled "Connections", contains 15 songs and was recorded over a 2 day period in Vancouver in the spring of 2014. It is a collection of the bands favorite rowdy sing-a-long songs.
The Haunt - Ithaca, NY
"We were toying with the idea of calling the album Our Strongest Material To Date" laughs Jeremy Schmidt. The Vancouver outfit's keyboardist can afford to joke about what they describe as "the dog-eared ace of spades of all rock band platitudes." It was during a solo show under his Sinoia Caves alias that he performed a revelatory electronic prototype for Mothers Of The Sun. This quintessentially Black Mountain tour de force kicks off the renamed but still accurately titled IV. "It's actually an older song which we couldn't get quite right before," explains Schmidt. "It has all the elements that we gravitate towards, built into one miniature epic." Chief among these elements is the distinctive voice and breathtaking range of Amber Webber, whether shes powering through interstellar boogie on Florian Saucer Attack, setting the celestial tone for her beautifully orchestrated ballad Line Them All Up, or constructing the choral midsection for Space To Bakersfield, a psychedelic soul finale inspired by Funkadelic's deathless Maggot Brain. We'd meant to have an actual choir, but I ended up singing all the parts. It's a choir of me! I'd never written an arrangement like that before." The groups sense of rediscovery as a creative whole is tangible throughout. They were joined in the studio by spiritually attuned bassist and veteran purveyor of the riff, Arjan Miranda (formerly of S.T.R.E.E.T.S, Children, and The Family Band) whose roots, heart and soul are connected to the same soil and cement that Black Mountain were borne from. Recording was primarily done in close collaboration with Sunn O))), Wolves In The Throne Room and Marissa Nadler producer Randall Dunn, at his trusted Avast! facility in Seattle. "It's got some grit," enthuses guitarist and co-vocalist Stephen McBean. "And there's a history there: Northwest punk, grunge and general weirdo outsider stuff, plus it houses the same Trident mixing board used for Alice Coopers Billion Dollar Babies." A heightened mystique and dramatic yearning can be heard on such perfectly formed earworms as Cemetery Breeding, described by drummer, engineer and occasional pianist Joshua Wells as "a dark pop song with an emotive urgency to it that taps into my teenaged eyeliner-and-trenchcoat wearing sensibilities." Wells' eclectic tastes and multitasking flair - his supple percussion also provides the backbone for Dan Bejars world-conquering Destroyer ensemble - inform Black Mountains wider palette as well as their rhythmic choices. "It's like painting. All sound colour. And space is really important. People think of us as this heavy rock band and we are sometimes - but it has to be tempered with space. There has to be these emotional cues. It's not just about rocking out." Check out the way Amber and Stephen's harmonies telepathically entwine on cosmic standout Defector, or Constellations' unforced confluence of synthesizer pulse and double denim riff. In addition to being blessed with a melodic facility that eludes most rock groups, Black Mountain effortlessly echo the limitless possibilities of the internet age. Sonic tributaries that never met in the real world - AC/DC and Amon Dl, Heart and Hawkwind, King Crimson and Kraftwerk - flow together on IV as they do online. It fits with McBean's unifying theory of the modern YouTube stoner, wherein kids discover their own alternate universes online, from Cologne to Melbourne Detroit to Laurel Canyon.. the ice age to annihilation. Theres a new scene with a different set of headphones creating a postmodern futuristic Fantasy Island. All those fledgling heads in waiting escaping within their computer screens! This impulse to connect is reflected by the band members' activities and journeys outside the mothership. Josh and Amber have their self-run Balloon Factory studio and pop-noir Lightning Dust project. Stephen relocated to Los Angeles six years ago. Traveling and creating via his Southern Lord released hardcore unit Obliterations and ongoing post-punk rock 'n' roll combo Pink Mountaintops (whose heady sometimes electronic throb led to the majestic, mantra-like You Can Dream). "There's something very West Coast about us all." he says. "That rambling restlessness of keepin' on guides us and keeps the music alive. Whether it's the gravitational pull of the Pacific Ocean that draws us back together or simply a good taco The turning up, turning on and getting down is Black Mountain. It's home, and it always feels good to come back to." Back in Canada, meanwhile, Jeremy, channeled his analogue synth mastery and youthful John Carpenter worship into the hugely acclaimed cult science fiction film score Beyond The Black Rainbow. He's been busy of late conceptualizing Black Mountain's "mystic Concorde" art direction. Referencing the hallowed aircrafts future/past iconography, his designs are emblematic of IV's spatial diversity and maximalist astral-rock vision. You know, it really is their strongest material to date.
The Dock - Ithaca, NY
with Fall Creek Brass Band
The finest funk in all the universe is crafted on Planet Funk. After leading the revolution to overcome the evil lord Sauron, who banned brunch and syncopation, Porky sent his Groove Machine to Earth piloted by Interstellar Funk Missionary Robeert Beerchild. We carry on the tradition of this funk according to Robeert's teachings and our funk focuses on those most crucial themes of brunch, (im)maturity, and anatomy. Get the whole story here. You can listen to our debut LP, "Magic Brunch," in May 2014 to follow up our EP, "This Would Be A Great Present For My Grandma." Enjoy the video of the recording session along with elucidating interludes and half-baked jokes. The Groove Machine toured the country for the first time last summer (2015) starting in the Midwest and ending in New York. We had an absolute blast playing more than a dozen shows in two weeks and getting to play with old friends and make new friends along the way. Get a dose of funk to lift your spirits, set the mood on a steamy night, or accompany that most holy of Sunday meals with our live release, Pulled Pork Vol. 2: Summer of Brunch, composed of the tastiest morsels from the tour. We had the incredible opportunity to open for Guster, play at the wonderful Mile of Music festival, and are now in the process of planning our second tour next summer (2016). Stay tuned to see when Porky's Groove Machine will be getting funky near you!
The Haunt - Ithaca, NY
Remember the first day you heard The Suitcase Junket…his songwriting is extraordinary… this is one of the most exciting records I've heard in years.” Vin Scelsa of Idiot's Delight on WFUV and Sirius/XM “Armed with vintage 1950s amps and a guitar he salvaged from a dumpster, an old, oversized suitcase he plays with his heel as a bass drum, a baby shoe hitting a gas can, a cook pot, a circular saw blade and a box of bones and silverware for added percussion, he let it rip! In my favorite session of the year, The Suitcase Junket performs 'Earth Apple' from his latest album, Make Time.” Linda Fahey, NPR’s Favorite Sessions of 2015 The Suitcase Junket will release his Signature Sounds debut, Dying Star, on March 4th. The 7 song E.P. features five songs recorded during the making of Lorenz’s acclaimed 2015 album, Make Time, and two live tracks recorded at Northampton MA’s The Parlor Room. With Dying Star, The Suitcase Junket is poised to make the jump from one of New England's best kept roots star secrets, to a household name. Artist, tinkerer, tunesmith, swamp Yankee, Matt Lorenz is a one man salvage specialist singing into the hollow of a Dumpster guitar, slipping a broken bottleneck onto the slide finger, railing on a box of twisted forks and bones, rocking till every sound is ragged at its edges, till the house is singing back. Then, unplugging all the amps and letting one mountain ballad soar over the raw strings on that guitar. Every night is a hard driving, blues grinding, throat singing search and rescue junket. Sooner or later everything rusts, busts, and gets tossed into the junk heap: iron, bones, leather, hot rods, muskrats, the night, the heart. The goal is to recover it. To waste nothing. To create new ways from old. This is The Suitcase Junket. Matt Lorenz was raised in Cavendish, Vermont, the son of teachers. He learned to sing by copying his sister Kate. (The siblings are two thirds of the touring trio Rusty Belle.) Lorenz graduated from Hampshire College in Amherst, Massachusetts, in 2004, having taught himself to throat sing thanks to a South Indian cooking class. On moving day, he pulled his guitar, filled with mold and worse for wear, from a dorm Dumpster. He fixed it up and started pulling songs out of it. That was the beginning. The Suitcase Junket is filling rooms and drawing festival crowds all over his native New England and beyond, from Signal Kitchen near the Canadian border to Wisconsin's Mile of Music Festival, from Ireland's pubs to Mountain Jam in the Catskills, from opening nights for Lake Street Dive and Charlie Musselwhite to Mountain Stage in West Virginia. He caught the attention of National Public Radio who chose his video session for Earth Apple from his 2015 album Make Time as one of the year's favorite sessions.
Brewery Ommegang - Cooperstown, NY
with special guest Twiddle
Over the past decade, The String Cheese Incident has emerged as one of America’s most significant independent bands. Born in 1993 in Colorado’s Rocky Mountains, SCI has since released 10 albums, 6DVDs and countless live recordings from their relentless tour schedule. Their 20 year history is packed full of surreal experiences, epic moments, groundbreaking involvement and huge accomplishments. They have been recognized for their commitment to musical creativity and integrity, for their community spirit, philanthropic endeavors, and for their innovative approach to the business of music.When The String Cheese Incident’s growth first started gaining momentum over a decade ago, when the internet was just beginning to take hold and the major-label business model was failing, the band decided to make music on their own terms.Since then, The String Cheese Incident has gone on to carve out a completelydifferent approach to the business of music; they are truly pioneers of a new way of “making a band.” With the World Wide Web as their tool, SCI was among the first artists to disseminate information via the internet, such as tour dates, release information, and other news, to their growing fan base. Rather than doing business on such terms as “the bottom line,” The String Cheese Incident put their music and their fans first, opening companies of their own, including a ticketing company, a merchandise company and a fan travel agency, to best serve their community. The band’s record label, SCI Fidelity Records, has always operated under the same ideals. Even early on, SCI Fidelity embraced downloadable music and file sharing, delivering SCI’s “On the Road” series, where every show the band plays is made available for download on the internet. Whether they realized it at the time or not, The String Cheese Incident was inventing grassroots band development. Today, literally hundreds of bands are using some version of this same approach to building a band. The String Cheese Incident’s commitment goes well beyond their immediate community, and even beyond the music community as a whole. Early on, the band took a serious interest in giving back to the communities that they visited, and they were among the first performers to encourage “Green” shows and tours. SCI’s support has helped give rise to such not-for-profit organizations as Conscious Alliance, Rock the Earth, and Head Count. All the while, The String Cheese Incident has stayed committed to music as a creative endeavor, not just in their recordings but also in their live performances. The list of SCI’s special guests and collaborators is long and diverse. Their annual events such as Horning’s Hideout, and holiday shows such as New Year’s and Halloween, have helped redefine the concert experience and has garnered the band a reputation as live music vibe innovators.
Brewery Ommegang - Cooperstown, NY
with Trombone Shorty & Orleans Avenue
It had been seven years since Ben Harper last played a show with the Innocent Criminals, so when the time came to reunite for a live tour in 2015, the band—percussionist Leon Mobley, bassist Juan Nelson, drummer Oliver Charles, keyboardist Jason Yates, and guitarist Michael Ward— quickly discovered that Harper had more in mind than simply revisiting the group's prodigious collection of hits. In fact, Harper had been quietly amassing material for a new record, Call It What It Is, and the first recording sessions were scheduled to begin even before the rehearsals for their triumphant four-night sold-out reunion run at the Fillmore in San Francisco. The result is perhaps the proudest accomplishment of Harper's prodigious career. "The time we took with this record has let me look it straight in the eyes and say that I gave everything I could to it and that it's exactly the way we intended it to be. To be able to say that we've left no stone unturned just feels great." For the legions of Ben Harper fans that have been waiting eight years for a new album with the Innocent Criminals, it feels even better.
Asbury Hall at Babeville - Buffalo, NY
with Margo Price
“Everyone needs to be risking something,” says Seattle-based singer-songwriter Brandi Carlile. She’s discussing the M.O. behind The Firewatcher’s Daughter, her stunning new release – her first for artist-friendly indie label ATO. The 12-song collection marks a triumphant return after a three-year recording hiatus, and her strongest, most rock & roll album to date. “Rock & roll music as a genre always has a sense of erratic recklessness to it,” she says. “It can’t really be rehearsed – in fact, rehearsal can kill it. On this album, each song has its honest rock & roll moment, even the ballads; it’s between the point where you’ve learned the song enough to get through it, but you don’t have any control over it yet.” Since her heralded, genre-defying 2005 Columbia debut, Carlile and her indispensable collaborators, Tim and Phil Hanseroth, aka The Twins, have always offered listeners both control and abandon, often within a single song. The most well-known Brandi Carlile tunes, 2007’s “The Story” and 2012’s “That Wasn’t Me,” are dynamic journeys in themselves, encompassing myriad emotions and varied stylistic touches; “The Story” morphs from understated balladry to epic stadium rock, while “That Wasn’t Me” effortlessly straddles country soul and pop gospel. Infused with Carlile’s clarion voice, The Twins’ tight sibling harmonies, and stellar musicianship from everyone, it all simply sounds like Brandi Carlile. Yet, over four acclaimed Columbia albums, countless sold-out tours, and fruitful relationships with top producers Rick Rubin and T Bone Burnett, something was missing: Carlile and The Twins hadn’t yet captured the distinctive spark of old friends working up new tunes, a slippery magic born of years touring together, and often caught only on raw demos made at the behest of the label. The Firewatcher’s Daughter, by contrast, is a full-on Carlile/Twins co-production, cut live in Seattle’s Bear Creek Studio, with complete artistic control granted by ATO. With this new freedom, Carlile and The Twins, intent on capturing the elusive essence of a song’s spirit, tracked the album live, with little or no rehearsal. Ironically, during this time of liberation, Carlile and The Twins all transitioned to married life; the Hanseroths became dads, and Carlile’s wife, Catherine Shepherd, was pregnant during the making of The Firewatcher’s Daughter. So when the engineer hit RECORD, the stakes were higher than usual: Carlile and the Twins producing, kids underfoot or on the way, and three years since an album. But true to form, they wrangled it all into song, catching many, many lightning-in-a-bottle moments; the crackling Lucinda Williams-meets-Fleetwood Mac of “Wherever Is Your Heart,” the CSN-meets-Bonnie Raitt of “The Eye,” to the dark folk-punk of “The Stranger at My Door,” the Elton John-meets-McCartney of “Beginning to Feel the Years,” and more – all executed without a net. “Everything is completely live,” Carlile says. “That’s the only way to make the moment happen. It’s way too easy to say, ‘Hey guys, you get your part down and I’ll spend the rest of the evening by myself in a fucking booth not taking any risks, and trying to nail down my contribution while I drink a bottle of Jameson.’ A lot of the songs are in about the highest key I can sing them in. The vocals were very emotional for me. I was right on the edge – I’d been off the road for a long time, I was on the precipice of becoming a mother, and there was a lot that needed to come out before that could happen.” The title, The Firewatcher’s Daughter, comes from a line in “The Stranger at My Door,” written after Carlile stared into a bonfire for a long, long time. “I wrote it standing next to one of my frequent bonfires up in the horse pasture on our land. I have a bonfire compulsion. I tend to stand there and stare into them close to every day, and I’m able to tap into something beyond my day-to-day consciousness. I often write lyrics, solve problems, run for President – the usual stuff. Catherine was pregnant and I was contemplating the juxtaposition between religious rigidity and beauty, and its effects on families and society.” Carlile says she and The Twins always insert a through-line in her albums: “An instrument keeps appearing, a theme keeps getting touched on, or we try to use the same microphone. But of all my albums, I felt the least amount of control over this one. Catherine was nine months pregnant, The Twins’ kids were there, the tension was there, but the love was also there, so the continuity is felt.” Part of that continuity is the concept of “chains,” which recurs over the course of The Firewatcher’s Daughter, from the lullaby “Wilder (We’re Chained)” to the chorus of the gorgeous “The Eye”: “I wrapped your love around me like a chain / But I never was afraid that it would die / You can dance in a hurricane / But only if you’re standing in the eye.” Carlile lays this chain fascination at the feet of Fleetwood Mac, a band she and The Twins listened to a lot in the run-up to The Firewatcher’s Daughter, and whose classic love song “The Chain” is bittersweet reality. “The twins and I were inspired by that band’s connection and their turbulence,” she says. “I find it fascinating how culturally some things can get cast in a negative light, like a chain. But a chain can bind and connect, like a fire can refine and renew. We would definitely describe ourselves as chained in the best possible way.” After stepping back from this fine new work and assessing it, Carlile knows exactly what she wants from The Firewatcher’s Daughter: “My goal,” she says, “is to connect on a soul level with our longtime fans and friends, and to reach new people with the honesty of this music. Also, I would like my daughter, Evangeline, to grow up and think I’m cool.”