EVENTS

Academy of Music - Northampton, MA

with Mount Moriah

May 27

May 27

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

The Indigo Girls (Emily Saliers and Amy Ray) release their sixteenth studio album, One Lost Day, on June 2nd. Vast in its reach, but unified by the traveler’s sense of wonder, gratitude, and empathy, One Lost Day moves like a centrifuge, pulling the listener close to linger in the small moment, then casting out onto sonic currents. This is music of the past, present, and future — a boundlessness earned and not bestowed. One Lost Day has a feeling of music composed across time, not just in time. These songs are rooted in tradition and inventive, too: nourished in dark soils, leafing and luminous. Memories here are more than specters; they are evolutions. The album maps the dim corridors of the heart and mind, lifting and landing the listener across state lines and continents. Place is a character rich in the universal specific: “Boots on a board in a barn” in “Texas Was Clean,” boys “under the bridge on the river shoals off GA 9″ in “Fishtails,” the New Orleans’ 1788 fire and the fence around the St. Louis cemetery in “Elizabeth,” the “sunny twist of Venice Chez Jay” in “Southern California is Your Girlfriend,” and the devil-spawned Angola prison in Louisiana where three black men sat wrongly convicted for decades, confined in solitary. The dirge-like ballad “Findlay, Ohio 1968″ opens with a searing string and piano arrangement that feels like slipping through a tear in the space-time continuum. After we reach the violin’s held high-C and the heartbeat drums, and before Saliers kicks in with her chilling vocals, we hover, suspended in time, before landing gently on the hot asphalt of Grammy’s driveway in 1968, “poking hot tar bubbles with a stick…the smell of the trash and leaves burning in the can.” What unfolds is pure narrative intuition, wherein the stuff of life, life’s inventory — the pall of the impending Kent State massacre, Sexton’s poetry, Cathy’s grief-stricken, beer-drinking mom, the dad who never returned from Vietnam, the fence-scaling girl ripping jeans, the boy with wandering heart and hands, the smell of Trenton’s refineries and the slapping of the station wagon’s wheels — are the metaphoric legs that carry the story and this song across time and distance. “Fishtails” tackles similar themes — loss of innocence, coming of age — but through a much different lens. Here, the narrator is the observer reflecting on the tender recklessness of neighborhood kids, killing time in an abandoned copper mine, waiting to flee the confines of their small world, raging and hoping and “fishtailing in the dark from the time that they are born.” But the song is infused with new meaning in the juxtaposition of the boys’ lives with Ray’s father’s long-ago Florida boyhood — so similar in its restlessness, its sweet violence. Circularity rings like a keening bell, dazzling and devastating. A multi-layered instrumentalism allows the long notes of the past to cradle the mid-tempo of the present, a lush but understated orchestration. Regarding the aching ballad, “If I Don’t Leave Here Now,” Saliers says, “The song explores the terrible affliction of addiction and was partly inspired right after Philip Seymour Hoffman died. I was deeply affected by his death, but also know that addiction seldom spares the user. It is a song about the desperate attempt to leave a bad situation where no amount of anything is ever enough.” The elegiac, stripped-down sound pairs beautifully with tender lyrics that recognize addiction not as a denial of life, but as a dangerous insatiability for life (“Killing yourself to keep from running out of life”) — turning the conventional addiction narrative on its head. “I’d rather have the strength to see through the lens of reality than rose-colored glasses,” Ray says in reference to the raucous, rollicking “Happy in the Sorrow Key.” “Musically, I was inspired by the feel of Paul Weller and The Jam, but then I also wanted this big orchestral bridge to mirror the feeling of lying in my bunk at night on the tour bus and drifting off to sleep — scared but in awe of the process of life.” The dissonance between the plaintive lyrics and the quick-tempoed, lush instrumentalism nails the ambiguity of the emotion, while also managing to create a rock song that is both fun and dirty. A majority of the songs in this collection explore a time and place endemic to the narrator’s sense of self. “Texas Was Clean” is a plucky, whispery elegy to lands loved and left behind. “It became about how a place gets reinvented and defined by your experiences over time,” says Ray. “When I was young, Texas seemed so far away and remote, but now it feels like it is part of me — for the lives it’s claimed and for the life it’s given to me.” “Elizabeth,” the album’s joyful opener, takes place in New Orleans, “with its ghosts and underbelly,” explains Saliers. “It’s the story of kinship and music and whiskey, L’il Queenie and the Big Easy whose bloody print is indelible. It’s denying Facebook and simply allowing someone from your past to remain in all her splendid glory.” In fact, much of this album seems to argue against our culture’s obsession with immediate gratification, both a musical and lyrical affinity for the journey and not the journey’s memento. Venturing further north, “Alberta” is about the indelible impressions of a place and its history, those that we keep close and those that we leave behind. “Olympia Inn” pays homage to a bus driver named Johnny who called everyone “darling” and shared his lost loves, triumphs, and failures late at night as the band toured the UK and Ireland. It’s a wild, rocking ride of a song. “It’s meant to be romp with some swagger and self-deprecation thrown in for good measure,” says Ray. “Emily experimented with different guitar sounds and vocal approaches to bring her parts to life, and then Jordan [producer and contributing musician] put the organ down at the end and used The Jon Spencer Blues Explosion as an inspiration.” Like a good book, One Lost Day builds to the climactic “The Rise of The Black Messiah” about two-thirds of the way through the album, imbuing the whole with a structural integrity inherent to the best storytelling. This hard-hitting rock song is chilling, a battle-cry for victims of institutional racism. “My friend I heard you tell of slavery’s end but have you heard of mass incarceration/That ol’ Jim Crow he just keeps getting born with a new hanging rope for the black man’s scourge,” bellows Ray. The song was inspired by a letter Ray received about seven years ago from Herman Wallace, one of the so-called “Angola 3″: a trio of young black men framed for the murder of a prison guard as punishment for speaking out about the horrifying conditions in the Angola prison in Louisiana. Wallace spent decades in solitary confinement before finally receiving “compassionate release” just days before his death from cancer. In his letter, he asked Ray to share his story, and “The Rise of The Black Messiah” is Ray’s anthemic response; a slowbuilding, thunderous rock song anchored by Brady Blade’s spirited, soulful drums. On One Lost Day, the Girl’s signature harmonies are in full display: rolling, recursive, hot and capacious as prayer. Through dynamic soundscapes created in tandem with producer Jordan Brooke Hamlin, the album reveals structural innovations that enhance meaning. A classicallytrained horn player, Hamlin contributed “layered ethereal horn parts and a strong vision and ear,” says Saliers. With Hamlin, the Girls took new risks that paid huge dividends. The collaborative spirit is loud here, utilizing a host of musicians both familiar and new to the duo. One Lost Day was recorded in studios in Nashville, TN and mixed by Brian Joseph at Justin Vernon’s (of Bon Iver) April Base Studios in Fall Creek, WI and at the Parhelion Recording Studios in Atlanta, GA. Amy and Emily brought in Lex Price (k.d. lang, Mindy Smith), Butterfly Boucher (Ingrid Michaelson, Katie Herzig, Mat Kearney), Fred Eltringham (Sheryl Crow, The Wallflowers, Gigolo Aunts) and Chris Donohue (Dave Matthews, Patty Griffin, Lucinda Williams, Robert Plant) to bring a good dose of infectious energy and creativity to the scene. Additionally, musicians Brady Blade and Carol Isaacs — longstanding studio collaborators and live-show band members with the Girls — returned, along with the current Indigo Girls’ touring band. Isaacs contributes haunting piano parts on songs such as “Come a Long Way,” “If I Don’t Leave Here Now,” and “Fishtails,” and sonorous accordion parts to “Spread the Pain Around” and “Findlay, Ohio 1968.” Blade offers his free-wheelin’, Louisiana drumming style to “Fishtails,” “Elizabeth,” “Texas Was Clean,” and the “The Rise of The Black Messiah.” The inputs of many of the contributing musicians are captured in a series of videos by the talented Kathlyn Horan, who filmed the crew during the recording of the album. The videos are available on the Indigo Girls’ website and in them we glimpse the ferocity and attention to detail that has helped the Indigo Girls thrive through the various capitulations of a changing music industry. Starting with 2009’s Poseidon and the Bitter Bug, their eleventh studio album, the Girls formed their own label, IG Recordings, which is now distributed by Vanguard/Concord Music Group. The move aligns with their long held commitment to creative freedom, energy they’ve also devoted to various social and environmental causes. The Indigo Girls have spent thirty-five years performing together, produced fifteen albums (seven gold, four platinum, and one double platinum), earned a Grammy and seven Grammy nominations, and have toured arenas, festivals, and clubs the world over. It is rare to find musicians together so long, rarer still with such profound successes. Their music lives in the hearts of generations of dedicated fans and continues to inspire young musicians. This loyalty is not accidental. Perhaps their relevance over three decades can be credited to the mighty collisions of distinct aesthetics forging new paths over time. The Girls’ refinement — not only of style and skill, but of their own creative processes — allows access to ever new and liminal spaces. A long creative marriage fosters its own scrappy beauty, though, and theirs grows more nuanced, weatherworn, and lovely in each successive album. Saliers and Ray live separate lives, take on independent projects, but share “the same set of values,” says Saliers. “We both embrace the struggle, share the same energy. We are sisters in our embrace of life. Observers.” That sort of artistic kinship is rare and cosmic. Here, then, are the stars of that labor, the next chapter.

Brewery Ommegang - Cooperstown, NY

with very special guest Sharon Jones and the Dap-Kings

May 28

May 28

Doors open at 5:00 pm Starts at 7:00 pm All ages

Price: $15-$40

Event Information

Side Pony, recorded in the winter of 2015, has an exhilarating feel from start to finish. For listeners familiar with Lake Street Dive, it’s a natural evolution of the band’s sound. The arrangements offer a knowing nod to the past while the lyrics tackle the pitfalls of modern romance in a manner that’s often more playful than rueful. And lead singer Rachael Price’s vocals have a teasing swagger to them. Neither her heart nor her hairstyle will be messed with.

A side pony, for Lake Street Dive, is really a metaphor for their philosophy and personality as a band, one that seamlessly incorporates R&B, pop, ’60s era rock, and soul into a unique, dance party ready mix. As bassist Bridget Kearney puts it, “When we were settling on the album title, that one just stuck out to us as embodying the band’s spirit. We’ve always been this somewhat uncategorizable, weird, outlying genre less band. That’s the statement we wanted to make with this record: be yourself.”

The members of Lake Street Dive—named after an avenue of seedy bars in guitarist and trumpeter Michael “McDuck” Olson’s native Minneapolis—met in 2004 as students at Boston’s New England Conservatory of Music. Powerhouse singer Price fronts the quartet while Kearney and drummer Michael Calabrese comprise the rhythm section.

Lake Street Dive’s major label debut, Side Pony, will be released by Nonesuch Records on February 19th, 2016

The Dock - Ithaca, NY

with Anthony D’Amato

Jun 2

Jun 2

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $15-$20

Event Information

"It's been a long night if that's what happened," Valerie June laughs when asked about her seemingly overnight breakout in the UK. By the time she released her debut album, Pushin' Against A Stone, the Tennessee native had already performed on Later... with Jools Holland, sung a stunning duet with Eric Church at the ACM Awards, toured with Jake Bugg, graced spreads in top music and fashion magazines, and earned some of the year's most glowing reviews. But June traveled a long road to the remarkable moment at which she now finds herself. "I feel like my whole life I've always had a stone I've been pushing," she says, explaining the record's title. "Some days it's a good thing to have, like a best friend, and sometimes it's your worst enemy. In the case of this record, I had so many friends helping me move the stone." Those friends include the album's producers, Kevin Augunas (Edward Sharpe, Florence + The Machine), Dan Auerbach, and Peter Sabak, along with an all-star cast of fellow musicians ranging from Booker T. Jones and Jimbo Mathus to some of Hungary's top session players. Recorded at Easy Eye in Nashville, Fairfax Recording in Van Nuys, CA, and Studio H in Budapest, Pushin' Against A Stone is a showcase for June's astonishing and singular sound, a blend of rural roots and country that bridges Alan Lomax's acoustic field recordings with biting, electric indie-blues.

The Dock - Ithaca, NY

Jun 3

Jun 3

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $12-$15

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Grace Stumberg is a creator of friendly original music that grabs the ears of any listener. Born in Buffalo, NY, Stumberg is inspired by raw simple songwriting that really rocks out, and her music is a genre that can be explained as pop/rock/funky and sometimes folk; never fully understood until experienced. She has learned the ways of the “touring world” by serving as folk legend Joan Baez’s personal assistant since November 2011, and back-up singer since 2012. This experience has led to other opportunities in the music industry, such as singing with the Indigo Girls, and opening up for Josh Ritter. Stumberg has also opened for Baez in Lowell, MA, and performed her own show in Dublin, Ireland during a Baez tour. Stumberg’s voice and songwriting style shows that she has a maturity well beyond her years, which has resulted from her many career and life experiences. Throughout her days touring with Baez, she has gained an insatiable hunger to share her music with others. Stumberg has toured with musicians such as Left On Red and Pete Mroz, singing songs to bring awareness to fair-trade purchases and raising money for local food banks. She has accomplished a lot in her hometown, such as singing Buffalo’s “Good Feet” jingle and opening for bands such as Rusted Root, Hawksley Workman, and Haiku.

The Haunt - Ithaca, NY

Jun 3

Jun 3

Doors open at 9:00 pm Starts at 10:00 pm Ages 18+ Only

Price: $8-$10

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Since the band’s beginnings The Mutron Warriors have been dedicated to heavy, raw, adrenaline fuelled funk and sweat dripping soul. Formed in 2006 as a trio the band has steadily expanded its roster and evolving its sound deeply rooted in funk, soul, and afrobeat. Over the past several years The Mutron Warriors has become a staple in regional festivals and clubs, and has built a reputation of being the go to band for those seeking music delivered with the punch and fiery that this band delivers night in and night out. The Mutron Warriors cut its teeth playing it’s own takes on cuts from the likes of The Meters, P-Funk, James Brown, and many more. Originally built around the vocal styles of Ithaca dj Brian Mlodzinski, aka djGourd, the group explored genres and drew inspiration from the road already paved by the rich history of the 60’s and 70’s funk and soul movement. Now, with the soulful and powerful vocals of Stephanie Agurkis, the band has tirelessly crafted its sound to be the live juggernaut that can do it all. Weaving seamlessly between old soul, funk, and afrobeat, creating a dynamic sound and experience that has continuously left audiences wanting more, and coming back time and time again to share in the experience of a Mutron show.

The Dock - Ithaca, NY

Jun 4

Jun 4

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $30-$35

Event Information

Haven’t Got the Blues (Yet)--or HGTB(Y), for short—is the 26th album in the long and illustrious career of Loudon Wainwright III. It follows his acclaimed Older Than My Old Man Now album from 2012—“my death n’ decay opus,” as Wainwright calls it. In HGTB(Y) he broadens his scope with a 14-song, genre-bounding set (“eclectricity,” he calls it) dealing with varied subject matter including depression, drinking, senior citizenship, gun control, heartbreak, pet ownership and New York City’s arcane practice of alternate side-of-the-street parking. Uproariously rocking lead track “Brand New Dance,” which evokes The Big Bopper’s classic “Chantilly Lace,” is “me moaning and groaning about the horror and embarrassment of personal physical diminishment in the wider context of the world in which we live today,” Wainwright states. Continuing this theme, “The Morgue,” which Judd Apatow originally commissioned for Wainwright’s dysfunctional dad character to sing to Adam Sandler in an episode of Undeclared, finds “death and decay meeting shit love,” he says. Likewise, “Harlan County” was written as a theme song for the TV show Justified, and also like “The Morgue,” was rejected. Wainwright’s version on HGTB(Y), however, features the beautiful vocal harmonies of singer-songwriter Aoife O’Donovan. The backup vocals of Wainwright’s daughter Martha, meanwhile, appropriately grace “I Knew Your Mother.” Other cuts of special Wainwright interest include “Man & Dog,” which was motivated by his dog Harry (the inspiration of other Wainwright ditties, including, he says, his yet-to-be-recorded “Puppy Hate”), and “Spaced,” a klezmer/Balkan gypsy-styled look at that alternate street parking theme. He takes a typically topical turn on “God & Nature” (“A bit of Episcopalian gospel composed after watching the 2012 Vice Presidential Debates”) and his new seasonal favorite, “I’ll Be Killing You This Christmas.” Wainwright notes that he toyed with the idea of calling the album Town & Country, then saw the cover photo of the famous forlorn clown Emmet Kelly, after which “Haven’t Got the Blues (Yet)” became the title track. Another standout track, “Depression Blues,” invokes such great blues men as Blind Lemon Jefferson and Sleepy John Estes, not to mention Shakespeare and “old Sigmund.” Producing HGTB(Y) was Wainwright’s long time musical collaborator David Mansfield, who has backed him on numerous previous recordings as instrumentalist/arranger, including the 2010 Grammy Award winning High Wide & Handsome-The Charlie Poole Project. “I got to know L’il Davey about 23 years ago, on a flight back from Vancouver—I think—to New York,” Wainwright recalls. “I’ve worked on and off with him ever since, on TV, in the recording studio, and on the road. He’s been featured as a player and arranger on some of my best records including History, Grown Man, Last Man on Earth, and High Wide & Handsome.” Other top players grace HGTB(Y), and include ace banjoist Tony Trischka, saxophonist Steve Elson, drummer Sammy Merendino, bassist Tim Luntzel, and another longtime musical cohort, Chaim Tannenbaum, on background vocals. Born in Chapel Hill, N.C. in 1946, Loudon Wainwright III came to fame when “Dead Skunk” became a Top 20 hit in 1972. He had studied acting at Carnegie-Mellon University, but dropped out to partake in the “Summer of Love” in San Francisco, and wrote his first song in 1968 (“Edgar,” about a lobsterman in Rhode Island). He was soon signed to Atlantic Records by Nesuhi Ertegun, and was lured by Clive Davis to Columbia Records, which released “Dead Skunk.” His songs have since been recorded by Bonnie Raitt, Johnny Cash, Earl Scruggs, Kate & Anna McGarrigle, his son Rufus Wainwright, and Mose Allison, among others. In 2011, they were commemorated by the comprehensive five-disc retrospective 40 Odd Years. Additionally, Wainwright has co-written with songwriter/producer Joe Henry on the music for Judd Apatow’s hit movie Knocked Up, written music for the British theatrical adaptation of the Carl Hiaasen novel Lucky You, and composed topical songs for NPR’s Morning Edition and All Things Considered and ABC’s Nightline. An accomplished actor, he has appeared in films directed by Martin Scorsese, Hal Ashby, Christopher Guest, Tim Burton, Cameron Crowe and Judd Apatow. Wainwright has also starred on TV in M.A.S.H. and Undeclared, and on Broadway in Pump Boys and Dinettes. Most recently, he appeared in the film Pleased To Meet You (with fellow music legends John Doe, Aimee Mann and Joe Henry), and created a one-man theatrical show, Surviving Twin, which combines his songs and the writings of his late father: Initially developed as part of University of North Carolina's Playmakers series, it focuses on fatherhood—both being a father and having one—and also explores the issues of birth, self-identity, loss, mortality, fashion, and of course, pet ownership. Surviving Twin is currently being performed in limited theatrical engagements.

The Haunt - Ithaca, NY

Jun 4

Jun 4

Doors open at 9:00 pm Starts at 10:00 pm Ages 18+ Only

Price: $10-$12

Event Information

Big Mean Sound Machine Presents:


The Big Mean I-Town Revue Pt. 2


Big Mean Sound Machine teams up with some of the region’s best vocalists to bring you a night of new and uncharted musical territory. Expect a mix of originals, covers, and debauchery from Ithaca’s biggest and baddest band.


Performances By (In no particular order):




  • Tenzin Chopak of Rockwood Ferry




  • Maddy Walsh of The Blind Spots




  • Elliot Martin of John Brown’s Body and Blackcastle




  • Matt O’Brien of Thunder Body




  • Rochelle Mathews of the Crucial Reggae Social Club




  • Jay Spaker of J-San, John Brown’s Body, Club Rub a Dub




  • Stephanie Agurkis of Mutron Warriors




  • Mike Brindisi of The New York Rock




  • Dan Keller of Giant Panda Guerilla Dub Sqaud




  • Evan Friedell of JImkata




  • The Ghost of Electricity




  • And MORE!!!!







Doors at 9pm


Showtime at 10pm


$10 advance, $12 day of show

The Haunt - Ithaca, NY

with Los Colognes

Jun 7

Jun 7

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $25

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In the last four years, Houndmouth have learned what it means to be a band. On their second album, Little Neon Limelight, they wear that wisdom like a badge of honor. Less than a half-decade ago in the small Indiana city of New Albany, four pals were crafting tunes on their own, with few ambitions of turning those songs into a spectacle. That all changed when these friends crossed paths, and joined forces. Matt Myers, Shane Cody, Katie Toupin, and Zak Appleby became the drums and keys, guitars and harmonies of Houndmouth, and those personal numbers became the irrepressible core of an outfit turned magnetic. Recorded by Dave Cobb in Nashville, Little Neon Limelight pairs the energy and nerves of raw first takes with the accents and moods of a more contemplative, thoughtful unit. Hearts are broken and friends are exiled, love grows cold and drugs do damage, leaders make mistakes and money turns tricks. On the acoustic “Gasoline,” one of the most poignant moments of Houndmouth’s catalog, Toupin barbs the confessions of a perennial party girl with the specter of mortality. “Maybe I’ll meet my maker on a bedroom floor,” she sings, her voice fighting against its own existential fade as bowed cello traces her words. Haunted by samples of the buoyant opener and single “Sedona” and the noisy filigree of a Moog, the beautifully downcast “For No One” stalks through personal blues with conviction. Its world-weariness has been incubated by the world it surveys.

The Dock - Ithaca, NY

Jun 10

Jun 10

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $35-$40

Event Information

Joan Osborne has rightfully earned a reputation as one of the great voices of her generation — both a commanding, passionate performer and a frank, emotionally evocative songwriter. Osborne is widely known for her beloved hit song,“(What If God Was)One of Us,” as well as her live performances of “What Becomes Of The Brokenhearted” and “Heat Wave” in the GRAMMY Award-winning documentary Standing in the Shadows of Motown. A multi-platinum selling recording artist and seven-time GRAMMY Award nominee, the soulful vocalist and noted song interpreter is a highly sought-after collaborator and guest performer who has performed alongside many notable artists, including Stevie Wonder, Bob Dylan, Luciano Pavarotti, Emmylou Harris, Taj Mahal, and Patti Smith to name a few.

The Haunt - Ithaca, NY

Jun 10

Jun 10

Doors open at 6:00 pm Starts at 7:00 pm All ages

Price: $12-$15

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The World/Inferno Friendship Society, a gang of dangerous loonies who like to break things, is coming to your town. Bringing their newest album, “This Packed Funeral” released on California based Alternative Tentacles Records in the band's unique punk rock cabaret style, the ten tracks on the LP feature their signature critically acclaimed romantic tangoing/violent break up inducing mayhem while expanding previously unexplored territory combining contrapuntal fugue, the rhythmic percussion of a New Orleans Funeral March and classic the hardcore punk sounds of Code Of Honor, TSOL and The Damned.

Jun 11

Doors open at 7:00 pm Starts at 7:30 pm All ages

Price: $12-$15

Event Information

thaca Underground presents
WIKI (of Ratking : Manhattan)
Eyukaliptus (Smacked Records/73 Records : Chicago)
Mr. McBean (Smacked Records: Ithaca)
Infamous (Smacked Records: Ithaca)

Sat June 11 | The Haunt | 7PM | All Ages
**Tickets on sale 4/28 | $12 adv | $15 day of show.

The Dock - Ithaca, NY

Jun 11

Jun 11

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $10

Event Information

Johnny Dowd (born March 29, 1948 in Fort Worth, Texas) is an American alternative country musician. Typical of his style are experimental, noisy breaks in his songs and strong gothic (in the sense of dark and gloomy) elements in the lyrics as well as in the music. There is also a strong undercurrent of black humor and the absurd in his work. He currently resides in Ithaca, NY. Although his early albums were most celebrated in the alternative country community, he has never quite fit into any particular genre.

The Haunt - Ithaca, NY

Jun 18

Jun 18

Doors open at 8:00 pm Starts at 9:00 pm Ages 18+ Only

Price: $10-$12

Event Information

Cats Under The Stars brings you the tunes of the Jerry Garcia Band with authenticity. Our intentions, pure and simple, are to create good times, dancing, great music, and an experience you will not soon forget.

State Theatre - Ithaca, NY

Jun 19

Jun 19

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Academy Award and GRAMMY winning artist, Melissa Etheridge, will take the stage to perform songs from her new album, This is M.E., as well as some of her greatest hits like “Come to My Window”, “I’m The Only One” and “I Want To Come Over”. Known for her iconic voice, profound lyrics and riveting stage presence; Melissa will share personal stories about her remarkable journey through life and the inspiration behind some of her most beloved songs.

Asbury Hall at Babeville - Buffalo, NY

with Bitchin' Bajas

Jun 20

Jun 20

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Bonnie "Prince" Billy + Bitchin' Bajas (together AND apart) with special guest Bill Mackay YES! An unlikelier of collabs on the face of it comes to pass, and makes SO much sense upon consideration that you wonder why you hadn’t rioted for your right to experience this sooner. Chill, man! Life gave you a surprise — a missing peace — now GO with it. Yessir, Bitchin Bajas and Bonnie ‘Prince’ Billy be in righteous and TRUE collaboration on this one, flowing ideas through the air between them, which seems a rare thing in this age where records course forth without wires, pieced together out of the zeros and ones that divide and don’t define us. The air’s meant to be shared, and that’s how Epic Jammers and Fortunate Little Ditties came to pass — a morning, afternoon and evening of frisson in blissed acceptance of the eternal recurrence. And it always came. These guys GET each other. They share a passion for arresting the moment in the process of now, and both of ’em get music from this action in their way. Bajas have a fan in Bonny; their ability to stretch time and get in between the grains scratches his itch to LIVE in those instances. And this makes him a worthy co-jammer, a fourth plane to the BB triangle that quantifies and dimensionalizes the sound. Inevitable, then, that they’d do something. Their first blend was for the Shirley Collins tribute comp, a rendition of “Pretty Saro” that built from the starkness and tonal monophony of the auld ballads and opened the hatch to timeless stasis. But if more was desired (which it was), more would be needed — the full trio of Bajas in the room together, in audience with the ‘Prince.’ Following one of their many mini-jaunts around the country, Bitchin Bajas stopped by Bonnie’s aerie one day after tour to make it so. It was an epic and fortunate day. Epic Jammers and Fortunate Little Ditties contains moments of tranquility and trance, with the players integrating their separate ways, vibing off each other, making songs together. Bonny is at his spirit-melting celestial best wandering through a lifetime of fortunes that amount, when incanted, to a prayer to the god of many names. The Bajas’ access to the universal aural paintbox is unparalleled; their reach is deep. And it all went down onto a 2-track reel-to-reel in primitive left-right seps that helped to define their ability to finish it in mixing. These WERE jams, with whatever preparation, gear, thought and cords — vocal and electric — backgrounded, in support of intuition and what existed AT THE MOMENT. Epic Jammers and Fortunate Little Ditties is simple and stark and empyrean and inspirational...and pretty modal, too — probably never more than three chords! — as Bonny and the Bajas pursue the life of the spirit down ever-fading vapor trails, in a bottomless (and topless — let ’em loose!) space. --- Through his extensive work in in creative folk, experimental rock, and the avant-garde Bill MacKay has emerged as a highly inventive composer-songwriter and versatile, unpredictable guitarist. Bonnie "Prince" Billy (Indie Rock) Bitchin' Bajas (Alternative Rock) Bill Mackay (Indie Rock)

The Haunt - Ithaca, NY

Jun 23

Jun 23

Doors open at 8:00 pm Starts at 9:00 pm Ages 18+ Only

Price: $10-$12

Event Information

Floodwood is a progressive string band from Central NY featuring the combined talents of Vinnie Amico (moe.), Tony Markellis (Trey Anastasio Band), Jason Barady, Nick Piccininni and Chris Eves. With "bluegrass instruments" (plus drums) these 5 musicians from varied backgrounds show that music knows no bounds. At a Floodwood show you can expect to hear everything from traditional sounding bluegrass to Jessie J, jazz to the Grateful Dead...really just anything and everything.


As for what you will see at a Floodwood show; the band wishes they knew too. They combine brother-like rivalry, their passion for music, a lot of laughter and a heapload of energy into one very entertaining performance. Anything can happen with Floodwood...


...and they will make you part of it.

The Dock - Ithaca, NY

Jun 24

Jun 24

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $17-$20

Event Information

Rachael Yamagata is not your ordinary singer/songwriter. Yes, she has released numerous albums; had record label deals; toured the world multiple times with sell-out concerts; built a loyal and ever-growing fan base; earned her place as a media 'darling'; made appearances on Jay Leno, Conan O'Brien, Carson Daly, "30 Rock," "One Life to Live" and "The O.C."; been an NPR profiled artist; made a cameo appearance as herself in Sony Pictures' To Write Love on Her Arms; had song placements in hit TV shows including "NCIS: New Orleans," "Vampire Diaries," "Grey's Anatomy," "Alias," "How I Met Your Mother," and in and Hollywood movies including "Hope Springs," "Prime," "Monster-in-Law," and "Sisterhood of the Traveling Pants"; been nominated Best Female Vocal by the Chicago Music Awards (2012); opened for artists including Patti Smith, David Gray, and Pete Townsend; and performed at venues including Madison Square Garden, Radio City Music Hall, Carnegie Hall, SXSW, Austin City Limits, Glastonbury, and Bonnaroo.

College Street Music Hall - New Haven, CT

Jun 24

Jun 24

Doors open at 7:00 pm Starts at 8:00 pm All ages

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Internationally acclaimed Mexican acoustic rock guitar duo Rodrigo y Gabriela are back on the road again in 2015, bringing their unique instrumental blend of metal, jazz and world music to audiences all over the US. Rodrigo Sanchez and Gabriela Quintero have been playing together for more than fifteen years. First as young thrash metal fans in their native Mexico City, then as innocents abroad and street musicians in Dublin, Ireland at the turn of the millennium, and finally as the globe-straddling, film-scoring, record-breaking artists they are today. Known for exhilarating live shows, Rodrigo y Gabriela have won the hearts of music lovers from the haciendas of Cuba to the Hollywood Bowl and festival fields of Europe, as they continue to weave their unique six-string magic. The extraordinary interplay between Sanchez's fiery lead lines and Quintero's phenomenal rhythmic battery is truly universal. The duo has reloaded their arsenal following the April 2014 worldwide release of “9 Dead Alive”, their first studio album in five years. The new songs are intimate, the playing intuitive, and the results are spectacular, bursting with melodic energy and rhythmic invention. Recorded at their Pacific Coast hideaway in late summer, the album captures the warmth and spontaneity of two great musicians riffing and jamming together, perfectly distilled into 9 new songs teeming with desire, elegance and gusto. With career sales in excess of 1.5 million albums, blockbuster movie scores, and sold out tours worldwide, Rodrigo y Gabriela have certainly made their mark. Their appeal is boundless, their scope limitless, and the music timeless; clearly, we have only begun to see what this duo is capable of.

The Haunt - Ithaca, NY

Jun 24

Jun 24

Doors open at 8:00 pm Starts at 9:00 pm Ages 18+ Only

Price: $10-$13

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City of The Sun is John Pita, Avi Snow and Zach Para. Three guys from all around the world — Ecuador, Seattle, Israel —  coming together in NYC with two guitars, a box, some bells, and a sound far greater than the sum of those parts. Their music has been called “tremendous,” “powerful,” “mesmerizing,” and “a re-invention of acoustic music.” It’s acoustic, but electric. Instrumental, but lyrical. Worldly, but deeply personal. City Of The Sun runs the gamut from wide-screen post- rock dynamics to gypsy jazz syncopations. “It seemed as though the aggressive guitar work skated right atop post-rock chord progressions that were held down by a cajon and tambourine. The New York City band’s modern flamenco influence begged comparisons to Rodrigo Y Gabriela, showing the crowd that headbanging acoustic music exists.” - Jambase “We don't get much instrumental rock these days… Yeah, lyrics can make it easier to convey mood/meaning, but if you can do that with just a sonic landscape, you're a true master of your art. And City of the Sun are shaping up to be master artisans. ” - Baeble Music

The Dock - Ithaca, NY

Jun 25

Jun 25

Doors open at 9:00 pm Starts at 10:00 pm Ages 18+ Only

Price: $10-$12

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SeepeopleS is an American four piece psychedelic indie rock band formed in Allston, MA by Will Bradford, Dan Ingenthron and Tim Haney, former members of the Allston-based jam band Cosmic Dilemma. For those who are virgins to the band's live show, a SeepeopleS show is a multi-media psychedlic experience, complete with moving lights, video screens and explosive visuals. - - - Often referred to as a jam band, this inaccurate reputation was born more out of association with the jam band scene rather than the actual music that SeepeopleS plays; the band typically offers concise rock or pop songs with a psychedelic edge. Media and fans refer to SeepeopleS as a political or anarchist band, but the artists tend to refer to themselves as "conscious." This assessment is based on the band's lyrical content, which often can recall the anger or social commentary of bands like Radiohead, Rage Against The Machine or Jane's Addiction. Musically, the band is most often compared to Smashing Pumpkins, Pink Floyd, Radiohead, The Beta Band and The Verve.

The Hanover Theatre - Worcester, MA

Jun 28

Jun 28

Doors open at 6:30 pm Starts at 7:30 pm All ages

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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

with Obnox

Jun 30

Jun 30

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $20-$25

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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

Jun 30

Jun 30

Doors open at 8:00 pm Starts at 9:00 pm Ages 18+ Only

Price: $10-$12

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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

Jul 1

Jul 1

Doors open at 8:00 pm Starts at 9:00 pm Ages 18+ Only

Price: $15-$18

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"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.

Brewery Ommegang - Cooperstown, NY

with special guest Twiddle

Jul 8

Jul 8

Doors open at 5:00 pm Starts at 6:30 pm All ages

Price: $15-$60

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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

Jul 9

Jul 9

Doors open at 5:00 pm Starts at 7:00 pm All ages

Price: $15-$50

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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

Jul 11

Jul 11

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

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“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.”

The Smith Opera House - Geneva , NY

Jul 14

Jul 14

Doors open at 7:00 pm Starts at 8:00 pm All ages

The Dock - Ithaca, NY

Jul 15

Jul 15

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $12.50-$15

Event Information

The Dustbowl Revival is a Venice, California-based collective that merges old school bluegrass, gospel, pre-war blues and the hot swing of New Orleans to form a spicy roots cocktail. Known for their roaring live sets, Dustbowl bravely brings together many styles of traditional American music. Some call it string band-brass band mash up. Imagine Old Crow Medicine Show teaming up with Louis Armstrong’s Hot Fives and Sevens, or Bob Dylan and The Band jamming with Benny Goodman and his orchestra in 1938. It’s infectious, joyous music – a youthful take on time-worn American traditions. Named “Best Live Band in LA” by The LA Weekly, each Dustbowl performance promises to be a white-knuckle ride through the history of American folk music that rarely stays just on the stage. Call it the new old-timey dance hall sound made fresh by some of the best soloists in the business. After placing several songs on ABC and Fox and having tunes featured in independent films like “Made In China” (winner of SXSW) winning Americana song of the year from the Independent Music Awards (Tom Waits judging), playing festivals like Outside Lands and Live Oak and opening for bands like Rebirth Brass Band and Trombone Shorty, the band began barnstorming more extensively across the USA. Founder Z. Lupetin came west from Chicago in 2007 and placed a humble Craigslist ad to get the circus started. The group has grown steadily from a small string band playing up and down the west coast, into a traveling mini orchestra featuring instrumentation that often includes fiddle, mandolin, trombone, clarinet, trumpet, ukelele, drums, tuba, organ, a bass made from a canoe oar, harmonica and plenty of washboard and kazoo for good luck. They have settled into an eight piece touring machine – rattling ceilings and sometimes bringing their grinning sound into the street.

The Smith Opera House - Geneva , NY

Jul 15

Jul 15

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Béla Fleck Just in case you aren’t familiar with Béla Fleck, there are some who say he’s the premier banjo player in the world. Others claim that Béla has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career that has taken him all over the musical map and on a range of solo projects and collaborations. If you are familiar with Béla, you know that he just loves to play the banjo, and put it into unique settings. The 15-time Grammy Award winner has been nominated in more categories than any other artist in Grammy history, and remains a powerfully creative force globally in bluegrass, jazz, classical pop, rock and world beat. In 2009, he produced the award-winning documentary and recordings, Throw Down Your Heart, where he journeyed across Africa to research the origins of the banjo. In 2011, Fleck premiered The Impostor with the Nashville Symphony Orchestra, an unprecedented banjo concerto, followed by the companion documentary, How to Write a Banjo Concerto. In 2016, Béla will unveil his second concerto this year in Canton, Ohio. These days, Fleck bounces between various intriguing touring situations: he performs his concerto worldwide with symphonies, collaborates in a duo with Chick Corea and in a trio with Zakir Hussain and Edgar Meyer. He performs in concert with the Brooklyn Rider string quartet, in banjo duet with Abigail Washburn, and back to bluegrass with his old friends Sam Bush, Jerry Douglas, Stuart Duncan, Bryan Sutton and others. He collaborates with African artists such as Oumou Sangare and Toumani Diabate, in a jazz setting with The Marcus Roberts Trio, and - with Béla Fleck and the Flecktones, who continue to perform together 25 years after the band’s inception. And now, for the first time…with Chris Thile! Chris Thile Multiple Grammy Award-winner and MacArthur Fellow Chris Thile, a member of Punch Brothers and Nickel Creek, is a mandolin virtuoso, composer and vocalist. With his broad outlook that encompasses classical, rock, jazz, and bluegrass, Thile transcends the borders of conventionally circumscribed genres, creating a distinctly American canon and a new musical aesthetic for performers and audiences alike. A child prodigy, Thile first rose to fame as a member of Grammy Award-winning trio Nickel Creek, with whom he released three albums and sold over two million records. In 2014, along with a national tour, the trio released a new album, A Dotted Line, their first since 2005. As a soloist Thile has released five albums including his most recent, Bach: Partitas and Sonatas, Vol.1, which was produced by renowned bassist Edgar Meyer. In February 2013 Thile won a Grammy for his work on The Goat Rodeo Sessions, collaborating with Yo-Yo Ma, Edgar Meyer and Stuart Duncan. Then, in September 2014, Thile and Meyer released their latest album collaboration, Bass + Mandolin, which won the Grammy for Best Contemporary Instrumental Album. Punch Brothers released their latest album, The Phosphorescent Blues, in January 2015.

The Dock - Ithaca, NY

Jul 16

Jul 16

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $15-$20

Event Information

Hi everybody, Barry Crimmins here. You may not have heard of me. I’m OK with that. Really. I may not have heard of you although I’m sure you’re a lovely person but this is my bio so let’s focus on me. I’m the subject of Bobcat Goldthwait’s Sundance-debuted, critically-acclaimed and award-winning documentary, Call Me Lucky, now streaming on Netflix all over the world. Call Me Lucky has been written about glowingly in the New York Times, the New Yorker, Variety, the Boston Globe and Rolling Stone plus about ten dozen other notable publications. If you go to www.callmeluckymovie.com you can catch up on most of that stuff. It’s also available on my website www.barrycrimmins.com. If you’re a podcast person you can check out my appearances on WTF with Marc Maron, The Joe Rogan Experience, The Greg Fitzsimmons Show,The Dana Gould Hour and Reply All. And many, many more, because you know how to Google, right? Like radio? How about Fresh Air? Or the Bennington Show or Opie and Jim? Been there, done them. Many people seem to be impressed with my story which I am now being asked to tell again here. OK,why not? I grew up in Skaneateles, NY. I went on to note as the founder of the Ding Ho Comedy Club in Cambridge (Ma) and Stitches in Boston. I produced shows. I performed in them. I helped many great comics by treating them decently and encouraging originality. Their names are all over the press about the movie. They are in the movie. They are great comics and greater friends. I have done concert tours with Jackson Browne, Billy Bragg, Dar Williams, Michelle Shocked, Utah Phillips and my dear, dear pals Steven Wright and Bill Morrissey. I opened for Warren Zevon 9 times. I was a good friend and confidante of the late Bill Hicks. He would endorse me had he not been stolen from us so early. I am noted as a political satirist as well as a political and social activist. I’ve failed to stop all the major wars -- and the minor ones, too. My career was greatly augmented by the guidance I received from the late preeminent historian Howard Zinn, who was a very dear friend. Even Kurt Vonnegut was kind to, and supportive of, me. I appeared on C-SPAN with him. We had a lot of laughs. So it went. Mobilization for Survival presented me with the Peace Leadership Award in 1991, the year the Gulf Wars began. There was very little competition for it that year. Noam Chomsky presented it to me. I received the Courage of Conscience Award from the Peace Abbey in Massachusetts on the same day it was presented to Dr. Maya Angelou. Howard Zinn handed me that statue, which is kind of a left-wing Heisman Trophy. But who cares? I was never on a sitcom so some people haven’t heard of me and think I’ve been somehow cheated. They are wrong. I got to hang around with a zillion great comics, tremendous musicians, and remarkable thinkers and doers. I’ve gotten to perform thousands of times before audiences in North and Central America and Europe. I haven’t had to have a real job since the 70’s. It makes me smile to type that. I have written for TV and radio - The Dennis Miller Show, an ACE-nominated Kevin Meaney HBO special and all kinds of stuff at Air America Radio where I was a senior writer, producer and correspondent. I was a contributor to the Boston Phoenix for 20 years. I appeared on the HBO Young Comedians Special (in my final year of eligibility!) , The Smothers Brothers last go-round on CBS, all the network nightly news shows and CNN and MSNBC numerous times. I’ve appeared on a dozen or so nationally syndicated comedy shows. I authored a book of essays for 7 Stories Press called “Never Shake Hands With a War Criminal” My new book for 7 Stories is due out in 2016. I am noted for disclosing that I was was raped as a young boy. I have no problem discussing this in public because I was a crime victim and have no shame about being in that unfortunately large club. After disclosing, I went on to expose rampant child pornography trading on America OnLine before the United States Senate Judiciary Committee in 1995 — not a bad room if you can ever play it. I thumped the massive corporation’s high-priced mouthpiece and shamed them into a zero tolerance policy concerning the heinous crime of trading photographic evidence of children being exploited, sexually assaulted and/or raped.It’s all in Bobcat’s movie. Some people call me a hero for this. I don’t think of myself as a hero. A legend, sure but I’m no hero. I suppose I needn’t point out my great humility. I’m a funny, smart, andpoignant comic. Really. I know how to do my job. My message is always smuggled in large amounts of wit. Laughing people can’t defend themselves. Most of my recent dates have resulted in uproarious laughter and ended with standing ovations. I’m thrilled to be represented by APA. OK that’s enough. I hope you’ll come see me in a lovely venue near you because my job is a lot less fun if no one’s there. Either way, thanks for considering me.

Brewery Ommegang - Cooperstown, NY

with Preservation Hall Jazz band

Jul 21

Jul 21

Doors open at 5:00 pm Starts at 7:00 pm All ages

Price: $15-$65

Event Information

Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described "moody little record" that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 Grammy Awards and signaling a paradigm shift away from the prevailing synthetic pop music of the time. Since then, Jones has sold over 40 million albums worldwide and become a 9-time Grammy-winner. She has released a series of critically acclaimed and commercially successful solo albums-Feels Like Home (2004), Not Too Late (2007), The Fall (2009), and Little Broken Hearts (2012)-as well as two albums with her country collective The Little Willies and one with the Brooklyn based Puss N Boots. The 2010 compilation ...Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Little Broken Hearts, which was produced by Danger Mouse, presented the fascinating next step in the artistic evolution of one of the music world's most consistently intriguing singer-songwriters. Jones previously collaborated with Danger Mouse on his acclaimed 2011 album ROME, a valentine to classic Italian film score music that also featured Jack White. Fans can expect to hear songs from across Norah’s entire catalog on the fall US tour dates!

The Dock - Ithaca, NY

Jul 28

Jul 28

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $10-$13

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Fast-emerging Midwestern Americana act, The Way Down Wanderers, draw in audiences with soulful generosity, soaring instrumentals, lively harmony vocals & foot stomping sing-alongs. This youthful group of professionally trained musicians (banjo,mandolin, fiddle, guitar, upright bass and percussion) has been compared to Trampled by Turtles, Mumford & Sons, Avett Brothers and the Lumineers.

Brewery Ommegang - Cooperstown, NY

with Langhorne Slim & The Law and Rayland Baxter

Jul 30

Jul 30

Doors open at 5:00 pm Starts at 7:00 pm All ages

Price: $15-$45

Event Information

Amazon Presale April 6 @ 1pm EST/10am PST (requires password)


Dan Smalls Presents Presale April 7 @ 10am EST(requires password)


General Public On Sale April 8 @ 10am EST


 


It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut -- which spent 46 weeks on the Billboard 200 and peaked at #2 -- but 'Cleopatra' is well worth the wait. After exploding onto the scene with their monster single, "Ho Hey" (which spent a staggering 62 weeks on the Billboard Hot 100, peaking at #3) and its follow-up, "Stubborn Love" (recently featured on President Barack Obama's Spotify playlist), The Lumineers spent a solid three years touring six of the seven continents. During that time, The Lumineers -- whose original members Wesley Schultz and Jeremiah Fraites founded the band in Ramsey, New Jersey back in 2002 -- earned a pair of Grammy nominations (Best New Artist, Best Americana Album), contributed two songs to 'The Hunger Games' franchise (including the hit Jennifer Lawrence/James Newton Howard collaboration, "The Hanging Tree") and sold an impressive 1.7 million albums in the U.S., and 3 million worldwide. 'Cleopatra' proves Schultz and Fraites -- along with cellist/vocalist Neyla Pekarek -- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood [and] the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's 'East of Eden' -- which were models for the record alongside Bob Dylan, Leonard Cohen and Jack Nicholson in 'One Flew Over the Cuckoo's Nest.'

The Smith Opera House - Geneva , NY

Aug 2

Aug 2

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

If the phrase “male a cappella group” conjures up an image of students in blue blazers, ties, and khakis singing traditional college songs on ivied campuses... think again. Straight No Chaser (SNC) are neither strait-laced nor straight-faced, but neither are they vaudeville-style kitsch. They have emerged as a phenomenon with a massive fanbase, numerous national TV appearances and proven success with CD releases. THE NEW OLD FASHIONED TOUR comes to town on the heels of the release of their new album "The New Old Fashioned”, their fifth album release through Atlantic Records. The album features an eclectic array of songs that explore multiple influential musical eras highlighted by signature and singularly unique medleys. Straight No Chaser is the real deal, the captivating sound of ten unadulterated human voices coming together to make extraordinary music that is moving people in a fundamental sense... and with a sense of humor. On the road, Straight No Chaser has built a reputation as an unforgettable live act.

The Catskill Brewery - Livingston Manor, NY

with Felice Brothers, Steve Gunn + more

Aug 6

Aug 6

Doors open at 11:00 am Starts at 12:00 pm Ages 18+ Only

Price: $35

Event Information

Catskills Back Forty Revival


Featuring:


The Felice Brothers, Steve Gunn, Big Mean Sound Machine, Kendy Gable and Jordan Dumond


Saturday, August 6th


Noon - Dark
The Catskill Brewery, Livingston Manor NY

The Dock - Ithaca, NY

Aug 11

Aug 11

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $15-$20

Event Information

Since its beginnings in the late 1990s, Hot Club of Cowtown’s star has continued to rise as its reputation for jaw-dropping virtuosity and unforgettable live shows has become the band’s global brand. Lauded for its “down-home melodies and exuberant improvisation” (The Times, London), the Hot Club has always woven a combination of seemingly disparate styles together to its own magical effect, setting up camp “at that crossroads where country meets jazz and chases the blues away” (The Independent), and “conscious always that above all else, the music is for dancing and an old-fashioned good time” (New York Times). The band’s musical alchemy has been described as “another breathless journey in the Texas tardis” (The Times, London), while American Songwriter observed that “The excellent three players of this band could be doing anything but have chosen to honor the greats of jazz and swing with their sound.” The Belfast Telegraph calls them “a pretty much perfect country trio at the very top of their game,” while the New York Times, reviewing a live performance in New York City in 2011, describes the trio as armed with “an arsenal full of technique and joy.” Along with the Hot Club’s dedicated cult following worldwide — they have toured for the U.S. State Department as musical ambassadors to Azerbaijan, Armenia, the Republic of Georgia and the Sultanate of Oman — certain titans of the industry have also taken notice. Bob Dylan, with whom the band toured and with whom James has toured and recorded, is a continuing inspiration. The Hot Club has opened several shows for Willie Nelson, toured with Nelson and Dylan during a summer-long stadium tour, and recently opened seven nights of Roxy Music’s sold-out “For Your Pleasure” U.K. stadium tour in early 2011. In the U.K. the Hot Club of Cowtown continues to tour extensively and has been featured at the Glastonbury Festival and has also been a returning guest on Later With Jools Holland, the Cambridge Folk Festival, and BBC Radio 2’s Radcliffe and Maconie and Bob Harris Country shows.

The Dock - Ithaca, NY

Aug 14

Aug 14

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $25-$30

Event Information




For thousands of years, sailors navigated by the stars, trusting the constellations to keep them on the correct course. The same celestial bodies that led them away from home were the same ones that directed them back. Since childhood, Eric and Leigh Gibson’s guiding stars have been songs recorded by music’s greatest brother duos: the Monroes, the Louvins, and the Everlys, whose close harmonies have captivated listeners for decades. 


On February 24, 2015, the two-time International Bluegrass Music Association Entertainers of the Year will release Brotherhood, a salute to those influential groups.


“Making an album like this is something we’ve always talked about,” explains Leigh Gibson. “At some point you have to stop talking and start doing.”


Older brother Eric elaborates: “We love that tradition of brothers singing together, and to pay tribute to that shows people where our hearts are.”


For Brotherhood, Eric and Leigh chose fifteen songs from country, bluegrass, and early rock ‘n’ roll brother acts. The track listing reflects nearly a century of American music history, from “The Eastbound Train,” a parlor tune with roots that can be traced back to the 1890s, to “It’ll Be Her,” a Top 20 single released by Tompall and the Glaser Brothers in 1982. This is the music the Gibsons grew up with on the family dairy farm in Ellenburg Depot, a tiny town in upstate New York that was closer to the Canadian border than it was to a record store.


Brotherhood is the Gibsons’ twelfth album since their 1993 debut, Underneath a Harvest Moon. 20 years on, Eric and Leigh have matured considerably as musicians, writers and performers, causing an ever-growing legion of bluegrass fans to take notice and garnering impressive amounts of critical acclaim: not only did the band win IBMA’s Entertainer of the Year Award in 2012 and 2013, but the organization presented Eric with the prestigious Songwriter of the Year Award last year as well. The Gibson Brothers have come into their own, combining their wide-ranging influences – live shows are often peppered with a variety of covers ranging from Buck Owens to Tom Petty – into a unique style that honors tradition while still sounding refreshingly new.


The material is familiar, yet in some ways Brotherhood is an album of firsts. It’s the Gibson Brothers’ first album on Rounder Records, their first covers project, and it’s also the first release that includes the newest member of the band, award-winning mandolin player and vocalist Jesse Brock, who joined the group in late 2012.


Though Brock has only been with the band for two years, the lineup has never sounded tighter. Fiddler Clayton Campbell has been with the band for a decade, and bassist Mike Barber has played with Leigh and Eric for so long that he’s affectionately known as the third Gibson Brother. While their stunning harmonies capture most of the fan and critical attention, Eric and Leigh are also accomplished musicians, playing banjo and guitar, respectively.


While this impeccable five-man team is the heart of the record, which was largely recorded live in the studio, several guests appear on Brotherhood, giving the album a welcome dose of variety while still remaining true to the original songs and the Gibsons’ own sound. Ronnie and Rob McCoury sing and play mandolin and banjo on a spellbinding version of “What a Wonderful Savior is He,” a song that was recorded by The Four Brothers Quartet, a 1959 collaboration between Knoxville-area duos the Webster and Brewster Brothers. Ronnie Reno, a former Osborne Brothers sideman, lends harmony vocals to “Each Season Changes You” and one of the most beloved songs of the bluegrass canon, “How Mountain Girls Can Love.” Russ Pahl (who’s played on sessions for Don Williams, Kacey Musgraves, and dozens more) contributes aching pedal steel to the stunning version of the Everly Brothers’ “Crying in the Rain” that closes out the album, while drummer Sam Zucchini, who appeared on several of the Gibsons’ earlier releases, provides percussion.


Listeners will immediately recognize material released by familiar names like Phil and Don Everly (“Bye Bye Love” and “Crying in the Rain”), Charlie and Ira Louvin (“Seven Year Blues”), Jim and Jesse McReynolds (“Sweet Little Miss Blue Eyes”), and Carter and Ralph Stanley (“How Mountain Girls Can Love”), but Brotherhood includes covers of songs recorded by some lesser-known acts as well, including The Blue Sky Boys (“The Sweetest Gift”), The York Brothers (“Long Gone”), and The Church Brothers (“Angel with Blue Eyes”). These are duos whose harmonies fit together so tightly that you can’t tell where one voice stops and the other begins. The concept of families singing together is a tradition that stretches back through the history of folk music, and with 20 years of professional musicianship behind them, the Gibson Brothers, using those groups as a compass, have established themselves as proud keepers of that musical heritage.


“These are the acts that pointed us in our direction musically. After we got going, we went our own way for a while,” explains Leigh. “But the process of making this record brought us back to the music we were listening to when we were just getting started. So many of these songs, when we sing them, I feel like I did when I was 15 years old, sitting in our living room in the farmhouse and learning how to play. This music is a part of our soul.”




The Dock - Ithaca, NY

Aug 21

Aug 21

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $10-$13

Event Information

Named to the Chicago Tribune's 50 Most Significant Songwriters in the Last 50 Years, Austin, TX-based singer/songwriter Danny Schmidt has amassed a cult following for his stunningly poetic, poignant imagery. With lyrical depth drawing comparisons to Leonard Cohen, Townes Van Zandt, and Dave Carter, Danny is considered a preeminent writer, an artist whose earthy poetry manages to somehow conjure magic from the mundane, leading Sing Out Magazine to tag him as: "Perhaps the best new songwriter we've heard in the last 15 years." Performing solo almost exclusively, armed with just his voice, his acoustic guitar, and his acute commentary, Schmidt's an authentic timeless troubadour, one man sharing his truth in the form of songs, unadorned and intimate. The understated effect can be startlingly powerful. As songwriter Jeffrey Foucault put it: "Everything about the man is gentle, except for his capacity for insight, which is crushing."

The Haunt - Ithaca, NY

with Secret Cutter

Sep 10

Sep 10

Doors open at 7:00 pm Starts at 7:30 pm All ages

Price: $18-$22

Event Information

Ithaca Underground presents
Pig Destroyer (Relapse Records)
Secret Cutter (Bethlehem, PA)
+ locals tbd

The Haunt | Sat Sept 10 | 7PM | $18 ADV / $22 DOS | All Ages

PIG DESTROYER
https://pigdestroyer.bandcamp.com/
https://www.youtube.com/watch?v=R_SqtCNhv44
https://www.youtube.com/watch?v=8HdVgLSu7mw&nohtml5=False
Virginia extreme sound revolutionaries PIG DESTROYER deliver savage grindcore that is both intentionally confrontational and thoroughly pummeling.

SECRET CUTTER
https://www.facebook.com/SecretCutter/
https://secretcutter.bandcamp.com/
Secret Cutter is a 3 piece (guitar, drums., vocals) Sludge/Doom/Grind Band from Bethlehem, PA.

Two regional/local acts tbd.

The Dock - Ithaca, NY

Sep 11

Sep 11

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $12.50-$15

Event Information

The Stray Birds light the night with sparkling harmonies and wrestle hearts with the quiet power of song. A devoted trio of singers, songwriters, and multi-instrumentalists, the band’s passionate live shows and critically acclaimed recordings—Best Medicine (Yep Roc Records, 2014) and The Stray Birds (self-released, 2012)— have launched them to turntables and festival stages around the globe. Oliver Craven, Maya de Vitry, and Charles Muench are on the road this summer in anticipation of their 3rd full-length record of original music, coming in 2016 from Yep Roc Records.

New to the stage this summer is Eau Claire, Wisconsin musician Shane Leonard on drums and percussion. He joined the band in the studio in December 2015, bringing a dynamic rhythmic undercurrent to The Stray Birds. The band's live shows this summer will bring fans a preview of the sounds coming on this highly anticipated 2016 release! Amidst their expanding sound, the trio is dedicated to preserving the intimacy of their beloved acoustic show, and will once again gather around one mic for their first annual “Solstice Roadshow” on the East Coast in June 2016.

Catch The Stray Birds live on tour this summer, as they move into another collaborative and inspired season!

The Stray Birds have been flying high since the 2012 release of their critically acclaimed self-titled album. Two years, hundreds of gigs, and thousands of highway miles later, the genre-melding acoustic trio made its Yep Roc Records debut with Best Medicine, released on October 21, 2014.

“This is the first time that we have written music within the context of being a consistent, traveling, performing band,” says de Vitry. “These songs have been largely inspired by places we’ve been or experiences we’ve had on the road.” The album’s title track, “Best Medicine,” was inspired by a trip to Schenectady, New York, a town with a lively record store amidst countless abandoned storefronts. This juxtaposition, along with the fascinating life story of the record shop’s proprietor, led de Vitry to pen the lyrics, “You never know the gold you can find out there / ‘Til you put the needle down and do some digging in the air…if the body is a temple, the soul is a bell/ And that’s why music is the best medicine I sell."

The band – multi-instrumentalists and vocalists Maya de Vitry, Oliver Craven, and Charlie Muench – hails from Lancaster, Pennsylvania. All three are classically-trained musicians who’ve been making music of all kinds since childhood (before they reconnected through the local music scene, de Vitry and Muench first met in middle school orchestra); however, they were also all raised with a steady diet of music ranging from pioneers like The Carter Family and Bill Monroe & His Blue Grass Boys to the joyous invention of The Beatles and The Band, to the groundbreaking artistry of Jimi Hendrix.
After college, Craven was playing with Muench in a bluegrass band called River Wheel when he and de Vitry first met. Craven and de Vitry began sharing their original songs with one another, playing local open mics, and busking regularly at Lancaster’s Central Market. In an effort to preserve their songs before an impending parting, the pair recorded the Borderland EP in a friend’s basement studio in 2010. Muench appeared as a guest bassist on a few tracks.

It was only a year before the trio would wrap up other endeavors and reassemble in a recording studio, independently releasing their first full-length album, The Stray Birds, in 2012. “Making that record was a really great process for us to learn how we work together as a band,” explains de Vitry. The album became a critical darling: NPR included it on their 10 Best Folk/Americana Albums of the Year list and several songs from the project were in heavy rotation on taste-making radio stations like WXPN.

The album’s success earned The Stray Birds performance slots at prestigious events like the Philadelphia, Kerrville, and Falcon Ridge Folk Festival and legendary venues like Nashville’s famous bluegrass club, The Station Inn. Their steadily increasing popularity led to an appearance on Mountain Stage, where their spellbinding harmonies captivated audiences nationwide and helped to build a dedicated fanbase in the UK and Ireland as well.

The trio, who roots music site No Depression praised as “a band destined for global success,” received rave reviews at the 2014 Celtic Connections Festival in Scotland and followed that appearance with a number of sold-out dates in England and Ireland; they plan to return to the UK for a string of shows in September of this year.

Where their previous releases (aside from the 2013 EP, Echo Sessions, which consisted of covers of songs penned by Townes Van Zandt, The Louvin Brothers, Jimmie Rodgers, Nanci Griffith, and Susanna Clark) consisted nearly entirely of songs that the band members wrote individually while remaining close to home, for Best Medicine, the band’s primary songwriters, Maya and Oliver, wrote new, original material inspired by their last two and a half years on the road; then The Stray Birds honed the majority of these songs onstage together.

When the group began to work on their new album at Stonebridge Studios in Leesburg, Virginia, The Stray Birds and their co-producer Stuart Martin pursued a method of recording that was unlike any other project the band had ever made before. “It’s more us,” states Craven. Instead of recording in isolation as they did on The Stray Birds, for Best Medicine, the band eschewed booths and headphones, instead recording the majority of their material live off the floor, in the same room, each musician playing and singing around a microphone, capturing the energy and the familial feel of their live shows. There were few overdubs, which were largely used by the Birds to give several songs an extra layer of texture by adding more instrumental tracks (ranging from slide guitar to piano) instead of using session musicians.

“By the time we recorded this album, singing together had become so natural,” explains de Vitry. It had become familial rather than just professional. Our vocal ranges and tones were complementary to begin with, but our inflection and phrasing evolved so effortlessly once we were singing out on the road every night.”

Muench agrees, noting, “I think the three of us have really gelled and inhabited The Stray Birds as a single entity. In the beginning it was ‘Maya and Oliver and Charlie sometimes playing music together.’ Now we are a solid unit.”

In addition to being their strongest, most personal, and most authentic album to date, Best Medicine is an album of firsts for these three musicians: it is the band’s first full-length album where Charlie Muench sings lead on a song, a jaunty, fiddle-laced version of the traditional tune “Pallet,” which has long been a fan favorite at shows. It was also the first song Maya and Oliver sang together back in 2010, making its inclusion on Best Medicine a moment in which the band’s journey from a Lancaster basement to the stages of some of the most well known festivals in the country seems to have come full circle. The album is also the first one to include a song co-written by Maya and Oliver, who normally write separately: the poignant “Feathers and Bone,” a song that the pair finished in the studio late one night after one of their recording sessions.

Craven’s “Stolen Love,” on which he sings lead, is arguably his strongest song to date, where the heartbreaking lyrics -- “a stolen love just don’t grow” -- are belied by sweet, three-part harmony singing, and the band’s infectious take on the traditional song “Who’s Gonna Shoe” is downright irresistible.

Many of the songs on Best Medicine have been refined onstage in the last year; however, there is one new song that has never been performed live before. “Never for Nothing,” is an unforgettable ballad that shines with a glimmer of hope as de Vitry sings, over delicate piano and guitar, “I’m dripping from the rivers I never meant to cross / But I like the things I’m learning more than anything I’ve lost / And, oh, I have lost…but not for nothing.”

Although The Stray Birds choose to focus on folk music’s sounds, harmonies, and tones, rather than its tradition of politically-conscious lyrics, Best Medicine includes two songs that would do Pete Seeger proud: Craven’s “Simple Man,” a heartbreaking song, reminiscent of Woody Guthrie’s Dust Bowl ballads, told from the perspective of a down on his luck farmer who prays he won’t live to see the next sunrise, and de Vitry’s “Black Hills,” a moody song, anchored by clawhammer banjo, about a dark spot in American history – it was inspired by a 2012 National Geographic article titled “In the Shadow of Wounded Knee.”

While the bulk of the original material for Best Medicine was written with The Stray Birds in mind, the two songs that close the album come from an earlier time but find a home in the hands of the close-knit trio. Craven’s aforementioned “Simple Man”, and de Viry’s “Might Rain”—the first song she ever wrote— a song for which Muench lays down the bass and picks up the clawhammer banjo in a lulling, old-time inspired arrangement.

Supporting the release of Best Medicine, The Stray Birds are touring through summer 2016, bringing their stunning harmonies and lyrics to theaters, venues, and festivals across the country and world.

The Dock - Ithaca, NY

Sep 16

Sep 16

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $30-$35

Event Information

Martin Barre has been the guitarist of Jethro Tull for 43 years, his sound and playing having been a major factor in their success. Album sales have exceeded 60 million units and they continue to be played worldwide,representing an important part of classic rock history. Martin,s guitar playing has earned him a high level of respect and recognition;he was voted 25th. best solo ever in the USA and 20th. best solo ever in the UK, for his playing on Aqualung. As Jethro Tull are taking a long break from touring,Martin has put together a band to play the "classic" music from the Tull catalogue. This is an exciting project as it features many early tracks not performed for many years. His band,under the title of Martin Barre's New Day is a total commitment to give the Tull fans and a broader audience the chance to hear songs played as they were recorded. The band includes other members of Tull and top musicians from a similar background.

The Hanover Theatre - Worcester, MA

Sep 16

Sep 16

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Two time Grammy-award winner, John Prine, is a singer songwriter who, from his eponymously titled first LP release in 1971, has continued to write and perform songs that have become central to our American musical heritage. Classics like, ‘Angel from Montomery’,‘Sam Stone,’ ‘Paradise,’ and ‘Hello in There’ speak to the everyday experience of ordinary people with a simple honesty, and an extraordinary ability to get right through to the heart of the listener. Long considered a “songwriter’s songwriter,” John Prine is a rare talent whose writing is greatly admired by his peers. Performers who have recorded from his extensive catalog, include Johnny Cash, Bonnie Raitt, the Everly Brothers, John Denver, Kris Kristofferson, Carly Simon, Ben Harper, Joan Baez, George Strait, Old Crow Medicine Show, Norah Jones, Bette Midler, Miranda Lambert and many others.

The Warner Theatre - Torrington, CT

Sep 17

Sep 17

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Two time Grammy-award winner, John Prine, is a singer songwriter who, from his eponymously titled first LP release in 1971, has continued to write and perform songs that have become central to our American musical heritage. Classics like, ‘Angel from Montomery’,‘Sam Stone,’ ‘Paradise,’ and ‘Hello in There’ speak to the everyday experience of ordinary people with a simple honesty, and an extraordinary ability to get right through to the heart of the listener.

Long considered a “songwriter’s songwriter,” John Prine is a rare talent whose writing is greatly admired by his peers. Performers who have recorded from his extensive catalog, include Johnny Cash, Bonnie Raitt, the Everly Brothers, John Denver, Kris Kristofferson, Carly Simon, Ben Harper, Joan Baez, George Strait, Old Crow Medicine Show, Norah Jones, Bette Midler, Miranda Lambert and many others.

Academy of Music - Northampton, MA

with JD McPherson

Sep 21

Sep 21

Doors open at 6:30 pm Starts at 7:30 pm All ages

Event Information

What a difference three years makes. Lucius went from being the five-piece Rolling Stone claimed was the “Best Band you’ve never heard of” to the group you can’t get enough of. Fronted by the sleek and compelling look-alike twosome of Jess Wolfe and Holly Laessig and backed by their counterpart bandmates Dan Molad, Pete Lalish and Andy Burri, Lucius spent more than 250 days on the road in the past year. They’ve sold out shows big and small, headlined all over the US and Europe, played slots at Bonnaroo, Newport Folk Festival, Lollapalooza, End of The Road, Reading and Leeds Festivals and more and shared the stage with a variety of musicians including Roger Waters, Jack White, Mavis Staples, Jeff Tweedy, Sara Bareilles, The Head and the Heart, Tegan and Sara and David Byrne. The band’s uphill ascent began when Jess and Holly crossed paths while at college in Boston; more than 10 years ago, Lucius started making music and hasn’t stopped since. Along the way they’ve become NPR darlings, grist for Britain’s prestigious Guardian and favorites of the Nobel-prize winning New York Times columnist Paul Krugman. Since the critically acclaimed release of their 2013 debut LP Wildewoman they have built a stunningly loyal following, and share an intimate bond with their fans. It’s not uncommon to see Lucius doppelgängers in the crowd. Sitting with Jess and Holly to discuss the band’s sonically-grand and emotionally-honest sophomore release Good Grief, the first thing that strikes you when you meet the frontwomen of Lucius is how fine-boned and delicate they both are. But even more striking is that they don’t actually look alike once you see them offstage. Their builds are markedly different: Jess is curvy, with a generous mouth and eyes that tilt up at the corners; Holly is willowy and angular, serious and with the pale complexion that conjures up the image of a Nordic princess. But despite the six-inch disparity in their height on stage you could swear they were identical. Of course it helps that they always dress exactly alike, their hair is the same style and shade — right now a warm curry red — and they sing in a strong unison, doubling their high, clear voices and creating a third sound that is as unnerving as it is lovely, like two mirrors, creating an infinite number of reflections that reveal as much as they obscure. “We wanted to feel like we were transforming ourselves and going into a different head space while performing,” Jess says. “In some way I think what we do is like a fantasy. We wanted to take people along with us for a ride. We wanted to present that visually so when you look at us you’re seeing what you’re hearing.” What you’re hearing (and seeing) when Lucius takes the stage are two voices becoming one. The band’s distinctive play on duality showcases Jess and Holly’s powerful voices at the center — bolstered and surrounded by the mathematically precise drumming of Dan with the graceful, chiming guitars of Pete and Andy. Together the quintet create a sound the New Yorker calls “seemingly impossible with flawless grace that brings delicate beauty to even the most bombastic moments.”

Sep 24

Doors open at 7:00 pm Starts at 8:00 pm Ages 18+ Only

Price: $20-$25

Event Information

The original Allman Brothers Band performed regularly at New York's Fillmore East Auditorium run by legendary promoter Bill Graham and often referred to as the 'church of rock and roll.' The Allman Brothers Band played often enough at Fillmore East to be called 'Bill Graham's house band.' It was here and at other New York metropolitan area venues like Passaic New jersey's Central and Capital Theaters, New York's Central Park's Schaefer Summer Concert Series where I heard the band many times beginning in 1970 and finally in July of 1971 at the closing of Fillmore East. I was there for the Friday night late show, the one the ABB band calls 'the show,' the one they feel is the greatest performance they ever gave. I can't say I've heard them or any other band give a better performance. Sadly, the next time I heard the band was a few months later at New York's Academy of Music. It was without its leader, Duane Allman, who had died only weeks before in a motorcycle accident near his home in Macon, Georgia. It was the most solemn rock concert I have ever attended. These shows left an indelible impression on me and I had already formed 'Skydog,' what may have been the very first Allman Brothers tribute band earlier that year. LIVE AT THE FILLMORE is the continuation of my devotion to performing the music of the original Allman Brothers Band as it was performed in those early years before the untimely deaths of Duane and Berry Oakley and the departure of Dickey Betts. For me, those years were the 'glory days' of the Allman Brothers Band. Unlike others who believe the band was a jam band, I share the view of Gregg Allman, who has been quoted as recently as 2003 by fellow band member Butch Trucks in stating that rather than being a jam band The Allman Brothers are "a band that jams". My perspective on the music is that rather than completely freeform in its structure, form and content it is a body of work largely composed after much trial and error and 'jamming' in order to extract those elements which ultimately became part of the finished songs. Anyone like myself who had the good fortune to hear the Allman Brothers shows 'back in the day' on the same or successive nights will corroborate that though they did leave room for improvisation and personal expression, for the most part the songs remained the same. This has continued to be my approach to performing their music. Along with the other highly talented and committed musicians in LIVE AT THE FILLMORE, this is my attempt to bring back authentically the performances of the original Allman Brothers Band for those who were there to hear and still remember them along with those who have a similar love of this music and wish they had been there with us. We hope you enjoy listening to LIVE AT THE FILLMORE! My best, Lou Maresca
"If you are a fan of bands that jam, then you will be a fan of LIVE AT THE FILLMORE, the ultimate Allman Brothers tribute band. These guys recreate the music of Duane and Gregg and Dickey and the rest of the original Brothers the way it's meant to be played. They are true local treasures, not to be missed." Philadelphia's Classic Rock Station Rock 102.9 WMGK's Debbi Calton
"You guys sound great!!! LIVE AT THE FILLMORE is the real deal! The music of Duane, Dickey and Gregg from the glory days recreated."
Colleen Carew, Baltimore's Classic Rock 100.7 FM 'The Bay' DJ

Sep 30

Sep 30

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

DAR WILLIAMS
Return to MORTAL CITY
The 20th Anniversary Tour

When The Honesty Room came out in 1994, I left my three part time jobs for one touring life, writing songs on notepads and napkins as I went. I have clear memories of places where I wrote lyrics. My housemate Sarah Davis had said, "I think you should look at this story about an ice storm in Philadelphia. The whole city basically shut down, voluntarily, to help the hospitals keep running."

So I wrote half of the song, Mortal City, in Lisa Wittner's bathtub in Boulder.

I wrote a verse of As Cool As I Am looking out my friend Jay's window in San Francisco. And then I tried it out on a group of cool woman at the Kumbwa Cafe in Santa Cruz.

I started The Ocean in an undisclosed Washington city, surrounded by aspiring heroin addicts, while February began on the drive home from a friendly coffeehouse in eastern Massachusetts.

I wrote Iowa...well, it's pretty obvious where I wrote that.

Steve Miller, who had done such beautiful work at Wyndham Hill, produced the album. He had this crazy new thing called digital recording that you could do anywhere, and since I lived with one of my managers, Charlie Hunter, we tacked up blankets on the walls and turned a whole room into the sound booth.


The Nields sisters went in and harmonized with their sister shorthand:
"That's too--"
"Yeah."
"Maybe I'll try--"
"Yes. And I'll--"
"Totally."

Gideon Freudmann wandered into the blanket room and played the now familiar part in February as well as the trippy solo (as only Gideon could do), on the song about college potheads.

Steve brought players into New York City who were as generous of spirit as they were wildly talented. He introduced me to Steve Gaboury, Larry Campbell, Zev Katz, Billy Ward, Marc Schulman and his good friend, the late, great Jeff Golub. He also fired me on back-up vocals on The Christians and Pagans and asked Lucy Kaplansky to sing them instead!

He got Eileen Ivers to play the tempestuous part at the end of The Ocean and helped me invite John Prine to sing on it. I remember the first time I was on Mountain Stage in West Virginia, John poked his head into my dressing room and said, "I'll sing on your song."

And then, when we released the album in 1996, Joan Baez let me come with her throughout the United States. I loved every minute of touring with Joan. She did everything she could to teach me the ropes while always noting how far I'd already come. One night she had the band in her room after a show and the next morning I found my boots outside my room with the note, "You need new shoes. Other than that, you're perfect. -Joan"

A second album can be a daunting experience, but thanks to my managers Charlie and Carole, Razor and Tie, Steve Miller and Joan, it all felt like a magic carpet ride, and I can't thank everyone enough (I might have been too tired to thank them at the time).

And, given the title of the record, I also want to mention what I've seen since I released Mortal City. In the nineties, most towns and cities were still reeling from the decline of manufacturing and the rise of shopping malls. I was working with coffeehouse volunteers, local radio stations, and promoters who were trying very hard, with limited resources, to bring music, poetry and life back into their downtowns. Thanks to people like them, not only have many places reclaimed their former glory, they've improved on their histories, embracing their brick-walled, tree-lined Main Streets as they've welcomed more worldliness and diversity in the present. In 1996 I said, "We are not lost in the mortal city" as a statement of faith, and now, twenty years later, I say it as a statement of fact.

Thank you for opening up your towns and cities to me over the last twenty years. We're very excited to be presenting the full album on tour this fall.

Always,
Dar Williams

The Dock - Ithaca, NY

Oct 7

Oct 7

Doors open at 6:00 pm Starts at 7:00 pm Ages 18+ Only

Price: $25-$30

Event Information

Bursting on the scene in 1972 with their critically acclaimed self-titled debut on Elektra Records, Aztec Two-Step’s first album and three subsequent albums for RCA Records were staples of progressive FM and college radio, and helped usher the music of the 1960s into the '70s and beyond. Since then, Rex Fowler and Neal Shulman have spent a lifetime making music together as the folk-rock duo that takes its name from a poem by beat poet Lawrence Ferlinghetti. The duo has performed on stages worldwide including Carnegie Hall and Lincoln Center, been critically acclaimed in major U.S. newspapers, reviewed in Rolling Stone Magazine, and appeared on numerous radio and TV shows, including The King Biscuit Flour Hour and David Letterman. The duo's 1986 “Living In America” received the New York Music Award for Best Folk Album and was named in Billboard’s year-end critic’s poll, and they were the subject of the 1999 “No Hit Wonder,” a documentary that aired on PBS. Aztec Two-Step continues to impress audiences with intelligent songwriting, dazzling acoustic lead guitar, and inspiring harmonies, and they remain one of acoustic music’s most respected and enduring acts. And on a local nostalgic note, back in 1971 before their debut album was even released, Rex & Neal came up from NYC to do a week-long residency at Cornell’s Johnny Parsons Club. And of course then went on to play The Unicorn on State Street, more dates than they can remember.

State Theatre - Ithaca, NY

Oct 8

Oct 8

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today. David Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames, and his most recent book, Let’s Explore Diabetes with Owls, each of which became an immediate bestseller. The audio version of Let's Explore Diabetes With Owls is a 56th Annual GRAMMY Awards Nominee for Best Spoken Word Album. He is the author of the NYT-bestselling collection of fables entitled Squirrel Seeks Chipmunk: A Modest Bestiary (with illustrations by Ian Falconer). He was also the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’s pieces appear regularly in The New Yorker and have twice been included in “The Best American Essays.” There are a total of ten million copies of his books in print and they have been translated into 25 languages. He and his sister, Amy Sedaris, have collaborated under the name “The Talent Family” and have written half-a-dozen plays which have been produced at La Mama, Lincoln Center, and The Drama Department in New York City. These plays include Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident at Cobbler’s Knob, and The Book of Liz, which was published in book form by Dramatists Play Service. David Sedaris’s original radio pieces can often be heard on the public radio show This American Life. David Sedaris has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His latest audio recording of new stories (recorded live) is “David Sedaris: Live for Your Listening Pleasure” (November 2009). A feature film adaptation of his story C.O.G. was released after a premiere at the Sundance Film Festival (2013). Since 2011, he can be heard annually on a series of live recordings on BBC Radio 4 entitled “Meet David Sedaris.” David Sedaris’ next book will be a collection of his diaries, entitled Theft By Finding (summer 2017).

State Theatre - Ithaca, NY

Oct 11

Oct 11

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

With his new album, Are You Serious, Andrew Bird has widened the breadth of his art by directly rejecting his own human experience. With key contributions from Fiona Apple and Blake Mills, Are You Serious attains a level of expression that’s a personal, evolutionary leap. “Here I am with my most unguarded, direct, relatable album to date,” Bird says, “Go easy on me.”

“I set out to make a record that’s diferent than any I’ve made before,” he explains. “I wanted to make an album musically crafed like a Wrecking Crew session, where you have to be good. There’s less wordplay and more intention to process some brutal times that I went through. What happens when real ordeals befall someone who has always been happy writing from their imagination and the distance of the third person? Who has time for poetics while grappling with birth and death? What’s the role of sincerity for a songwriter who doesn’t really go in for the confessional thing? This is what I struggled with for this record. I suppose the title could be poking fun at my own foray into the confessional realm.”

Are You Serious is the second record Bird has made with producer Tony Berg, following 2005’s breakthroughThe Mysterious Production of Eggs. “Tony and I spent months preparing for Sound City,” says Bird, referring to the legendary Los Angeles studio where Nirvana recorded Nevermind and Neil Young made After The Gold Rush. “We went through every part of every song, every note, scrutinizing the voicing of the chords, fnding melodically interesting ways to move from one chord to the next. I decided to work with a producer because I wanted the recording process to be more rigorous. Novelists have editors and playwrights workshop their drama. Tony really played that role for me on this album.”

An up-tempo blitz addressing personal chemistry as a rearrangement of molecules, “Roma Fade” may be the album’s centerpiece. Its sense of longing – “from the tips of your fngers, every strand of hair …you may not know me but you feel my stare” – is based in part on how Bird met his wife, or rather, the times he saw her before they met. “It always seemed to be at a party, from ffeen or twenty feet away,” he explains. “‘Roma Fade’ and ‘Truth Lies Low’ present both sides of the phenomenon of observing and being observed. Desire draws a fne line between what’s romantic and what’s creepy.”

The album’s surprise revelation is “Lef Handed Kisses,” a duet with the singular Fiona Apple. With Bird playing the skeptic and Apple the romantic, the stop-start ballad portrays two lovers who are philosophically opposed but inevitably drawn together. It feels like it could be a lost Johnny Cash/June Carter classic.

“The song began as an internal dialogue,” Bird says. “At frst it was just my voice. Then this other voice came creeping in and I thought ‘this should be a duet if I can fnd the right person.’ I needed to find someone really indicting. And Fiona does the pissed of thing really well! She was totally committed. The session was a long whiskey-fueled night. We were unhinged, for sure. All worth it, of course… I can’t write simple love songs. People are complex. My inclination was to write a song about why I can’t write a simple love song.”

“My favorite songs I write are the ones that change and adapt according to my mood,” says Bird. Album opener “Capsized” is a prime example, having been in his live repertoire for close to a decade under various titles and guises. In the album’s recorded incarnation, “Capsized” is a propulsive gem evoking both the chamber-soul of Bill Withers and the backbeat of The Meters. Bird’s vocals are driven onward by drummer Ted Poor and bassist Alan Hampton. The musically expansive nature of Are You Serious is due in part to ace ensemble players like Poor and Hampton, and the guitar playing of Blake Mills. “Blake raises the bar and gets where I’m coming from like few musicians I’ve met. He’s as restless as I am and gets the odd accents and microtonal stuf that’s outside western music.”

The album closer “Valleys of the Young” encapsulates the album’s themes. This is what Andrew means of when he uses the word “brutal.” “For years now, the code I’ve been trying to crack is how to translate plainspoken real life into song and have it meet my melodic, syntactic standards. There are no riddles here. No encryption. I’ve lef the valley of the young, the small-seeming dramas, the brunch and misery, for a far more perilous place where your heart breaks from cradle to grave. The musical setting for this had to ensure that both young and old listeners can relate. Tony kept making us look at photos of the dust bowl storms raging across the prairie, the ones that made Woody Guthrie sing ‘So long it’s been good to know ya.’”

Jettisoning established methods begets reinvention. This is part of the great success of Are You Serious. See how it plays out in person on Bird’s 17-date Spring 2016 tour, kicking of March 30 at The Ryman in Nashville. “I never walk onstage knowing what I’m doing,” says the artist. “It’s a shrug-of-the-shoulders approach and people like it, it seems human to them. I began playing with the idea of reinvention, so that onstage a wild untamed thing can happen. I wanted to make a record that lets me subvert or expand my onstage personality.”A personality now ready to answer the question, Are You Serious.

Oct 13

Oct 13

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Sturgill Simpson's 'A Sailor's Guide to Earth' is the rare album that traverses the entire world, both musically and lyrically. It's dizzyingly diverse, jumping from one style to the next, with ports of call in Motor City and Music Row, Harlem and Stax, Berlin and London, yet it never leaves Simpson's very specific point of view. It's his most personal album as well as his most ambitious: a song cycle penned as a sailor's poignant letter home to the wife and child he left behind.

Aptly, 'A Sailor's Guide to Earth' is all over the map, presenting Simpson as music's most daring auteur. He combines the sophisticated soul of '70s Motown, the stomping r&b flash of the Dap-Kings, the reckless rave-ups of the Stones and the Clash, even the countrypolitan flare of legendary Nashville producer Owen Bradley. "I wanted it to be an exploration of all the different types of music that I love -- a musical journey," he says. "I listen to a lot of Marvin Gaye, a lot of Bill Withers. I like the way George Harrison sings and tried to incorporate that. Some people will say I'm trying to run from country, but I'm never going to make anything other than a country record. As soon as I open my mouth, it's going to be a country song."

For Simpson, who produced the album himself, country music is a strong foundation for heady experimentation and exploration. He's been leading the charge to expand the genre's reach, opening the doors for a new generation of rule-breaking musicians. His 2013 debut, 'High Top Mountain,' introduced him as a bold and raucous innovator with a sharp burr of a voice and a rousing band behind him. He followed it up quickly with 2014's 'Metamodern Sounds in Country Music,' a headtrip album full of backmasked guitars, psychedelic Mellotron strings and heartfelt musings on the universe and his place within it. The album proved a surprise international hit, placing high on year-end lists of at array of publications, including The New York Times, Rolling Stone, L.A. Times, Vogue, Stereogum, NPR Music and the Village Voice.

But when his son was born around the time that 'Metamodern' was garnering rave reviews, Simpson began to rethink his place in the music business machinery. "I really questioned whether I wanted to spend however many more years on this bus, not being there and seeing all that was happening," he says. "That's where this record came from, just processing all that guilt and homesickness. I had to figure out a way to put that into music, so I decided to write the whole record from the perspective of a sailor going to sea and not knowing if he's ever coming home." The idea has deep roots in the Simpson family: "I remembered an old letter that I read, written by my Grandfather Ora to my grandmother when he was in the Army. He was in the South Pacific during World War II, and he thought he was going to die. So he wrote a goodbye letter to her and their newborn son. He finally made it home five years later."

To convey that deep sense of yearning that illuminates 'A Sailor's Guide to Earth,' Simpson drew not only from his life as a touring musician, but also from his own experiences in the U.S. Navy. He enlisted as a teenager and shipped out to basic training just two weeks after graduating high school. A few months later, he found himself on a frigate in Southeast Asia, spending ninety days at sea on a cramped, gray boat, then a few days at a different port. "I can't even believe that's the same person. We were so young, and we couldn't comprehend the immense responsibility of what we were doing everyday. It seems like a lifetime ago."

Academy of Music - Northampton, MA

Oct 16

Oct 16

Doors open at 6:30 pm Starts at 7:30 pm All ages

Event Information

Just in case you aren’t familiar with BÉLA FLECK, there are many who say he’s the premiere banjo player in the world. Others claim that Béla has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career that has taken him all over the musical map and on a range of solo projects and collaborations. If you are familiar with Béla, you know that he just loves to play the banjo, and put it into unique settings. Regaled as the most influential bassist since Jaco Pastorius, VICTOR WOOTEN is known as an innovator on the bass guitar, as well as a talented composer, arranger, producer, vocalist and multi-instrumentalist. Victor has won most every major award given to a bass guitarist. He was voted Bassist of the year by Bass Player Magazine three times and is the only person to have won the award more than once. As long time collaborators in their Grammy winning band Bela Fleck & The Flecktones, these virtuosos made music where all manners of genres come into play – from classical and jazz to bluegrass and African music to electric blues and Eastern European folk dances. Now this groundbreaking banjoist/composer/bandleader Béla Fleck and bass guitar innovator Victor Wooten are teaming up to perform a few special duo shows for the first time in their long storied careers.

SOMERVILLE THEATRE - Somerville, MA

Nov 3

Nov 3

Doors open at 8:00 am Starts at 9:00 am All ages

Event Information

Folk music icon Arlo Guthrie is a legendary artist who shares timeless
stories and unforgettable classic songs as he carries on the Guthrie
family legacy. With his singular voice as both a singer-songwriter and
social commentator, he has maintained a dedicated fan base that spans
the globe. On the heels of the sold-out Alice's Restaurant 50th
Anniversary Tour, Arlo Guthrie plunges into another musical trip
certain to be a flashback inducing, mind-expanding show. For the
Running Down The Road Tour, Arlo will again hit the road with his band
to fully embody the best of Guthrie's catalogue from the late sixties
and early seventies. Featuring the most outstanding cuts from Arlo
(1968), Running Down The Road (1969), Washington County (1970) along
with many others, this tour exemplifies the sound that shaped a
generation. Guthrie's upcoming tour promises to take the audience back
to the most remarkable, far-out era.

Academy of Music - Northampton, MA

Nov 4

Nov 4

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Folk music icon Arlo Guthrie is a legendary artist who shares timeless stories and unforgettable classic songs as he carries on the Guthrie family legacy. With his singular voice as both a singer-songwriter and social commentator, he has maintained a dedicated fan base that spans the globe. On the heels of the sold-out Alice's Restaurant 50th Anniversary Tour, Arlo Guthrie plunges into another musical trip certain to be a flashback inducing, mind-expanding show. For the Running Down The Road Tour, Arlo will again hit the road with his band to fully embody the best of Guthrie's catalogue from the late sixties and early seventies. Featuring the most outstanding cuts from Arlo (1968), Running Down The Road (1969), Washington County (1970) along with many others, this tour exemplifies the sound that shaped a generation. Guthrie's upcoming tour promises to take the audience back to the most remarkable, far-out era.

The Smith Opera House - Geneva , NY

Nov 15

Nov 15

Doors open at 7:00 pm Starts at 8:00 pm All ages

Event Information

Folk music icon Arlo Guthrie is a legendary artist who shares timeless
stories and unforgettable classic songs as he carries on the Guthrie
family legacy. With his singular voice as both a singer-songwriter and
social commentator, he has maintained a dedicated fan base that spans
the globe. On the heels of the sold-out Alice's Restaurant 50th
Anniversary Tour, Arlo Guthrie plunges into another musical trip
certain to be a flashback inducing, mind-expanding show. For the
Running Down The Road Tour, Arlo will again hit the road with his band
to fully embody the best of Guthrie's catalogue from the late sixties
and early seventies. Featuring the most outstanding cuts from Arlo
(1968), Running Down The Road (1969), Washington County (1970) along
with many others, this tour exemplifies the sound that shaped a
generation. Guthrie's upcoming tour promises to take the audience back
to the most remarkable, far-out era.

Academy of Music - Northampton, MA

Dec 18

Dec 18

Doors open at 7:00 pm Starts at 7:30 pm All ages

Event Information

Director/Screen Writer/Author/Actor/Comedian John Waters (Pink Flamingos, Hairspray, A Dirty Shame) brings his critically acclaimed one man show A John Waters Christmas to the Academy of Music! Don't miss this unforgettable night of holiday mischief as Waters pokes fun at the holiday season with adult-appropriate humor and effectively “puts the X in Xmas." This is a show for the open minded and slightly left-of-center audience. The cult classic, Baltimore-born filmmaker began his Hollywood success with the now Broadway classic Hairspray in 1988. Claiming his playful nicknames “Pope of Trash” and “Prince of Puke,” he maintains his image through his filmmaking and his personal presentation. Regarded as a shocking entertainer, John Waters carefully chooses his material and exploits it through a dirty lens. “It’s my obsession with Christmas: what I want for Christmas, what you should want, how to handle every holiday disaster,” Waters says. His rapid-fire monologue explores and explodes the traditional holiday rituals and traditions as he shares his religious fanaticism for Santa Claus, and an unhealthy love of real life holiday horror stories. Delving into his passion for lunatic exploitation Christmas movies and the unhealthy urge to remake all his own films into seasonal children’s classics, “The Pope of Trash” will give you a Joyeaux Noel like no other.

- Upcoming Highlights -

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- Spotlight Artists -

- Just Announced -

Jun 23

The Haunt - Ithaca, NY

Jun 24

The Dock - Ithaca, NY

Jun 24

The Haunt - Ithaca, NY

Jun 30

The Dock - Ithaca, NY

Jul 16

The Dock - Ithaca, NY

Jul 21

Brewery Ommegang - Cooperstown, NY

with Preservation Hall Jazz band

Aug 6

The Catskill Brewery - Livingston Manor, NY

with Felice Brothers, Steve Gunn + more

Aug 11

The Dock - Ithaca, NY

- Social Updates -

Dan Smalls Presents Street Team Sign Up!

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Thanks for your interest in helping promote some of our upcoming shows! "Word of Mouth" and physical materials (ie. posters and handbills) will always be one of the most effective ways to get people to actually go to the show. Please enter in all the info below so we know what shows you can help us…

We're still looking for 1-2 more volunteers for Lake Street Dive w/ v/s/g Sharon Jones & The Dap Kings at Brewery Ommegang this weekend!! If you're interested, fill out the form below and we'll be in touch with the first two people who sign up! #DSP2016 #OmmegangSummerConcertSeries

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P.O. BOX 736
Ithaca, NY 14851