EVENTS

The Haunt - Ithaca, NY

Sep 3

Sep 3

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

Price: $10

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People’s Blues of Richmond brings a carnival-like mayhem to their dark, blues-infused psychedelia. Their new album, Good Time Suicide, is a study inexcess, brimming with ballads of drugs, vice and murder that sonically recall early Led Zeppelin, only weirder and with a modern sheen. Word is starting to spread about the manic intensity of the band’s live performances as theyburn up the road in support of Good Time Suicide, sharing bills with a diverse collection of bands—from Ghostland Observatory and Black Joe Lewis to Galactic and Flogging Molly. People’s Blues co-founders and lifelong friends Tim Beavers (lead guitar/vox) and Matt Volkes (bass, vox) began playing music together in college as a way to grieve the loss of a mutual friend. Those bleak, drug-fueled days pushed the two into a maelstrom of songwriting and camaraderie that led to their debut LP, Hard-On Blues. Recorded in just two days, the record teems with urgency, transcendence and raw, primal emotion. The band wasted no time in hitting the road behind the release, galloping offon a year-and-a-half-long endurance test of live dates. During this tour, original drummer Raphael Katchinoff introduced the band to Tommy Booker, who left behind his more subdued life in NYC to play keys with People’s Blues on the road, and write and record with them back home in Richmond. The band’s sophomore release, Good Time Suicide, came together in a time offlux. Busy with new side projects and tired of the constant touring, Booker and Katchinoff decided to leave People’s Blues as soon as the record was finished. Undaunted, Beavers and Volkes pressed on, paring down to a three-piece and bringing on local hotshot Neko Williams (son of Drummie Zeb of legendary reggae band The Wailers) as their new drummer. “It was a wild time,” Volkes says, “because we were simultaneously practicing with Neko and recording with our old drummer, sometimes on the same day.” Good Time Suicide was recorded and produced by Adrian Olsen (Futurebirds, Steve Wynn) at Montrose Recording in Richmond on the exact same handmade ’68 Flickinger board used to record T. Rex’s Futuristic Dragon. “There was definitely a vibe to the sessions,” Beavers says. “We had the songs down so well that we could’ve easily nailed them all in one take, but instead we took the time try new things—space-echo on the drums, layering multiple amps to get just the right sound. And if you got frustrated you could justwalk out behind the studio and chop some wood.” Good Time Suicide is a debauched album wrapped in an ecstatic, celebratory delivery, lead track “Cocaine” spilling forth witha raw, rootsy gypsy/klezmer feel. “I’d been off of drugs for six months,” Beaverssays, “and I wanted to write a tongue-in-cheek song about being strung out. For percussion we pounded a steel chain on the bass drum and banged on some pottery we found outside.” “Black Cat” sets pulsing mad-scientist organ to the narrative of two addictsslowly tearing each other apart, while on “Free Will” and “Nihilist,” the band wrestles with the ideas of destiny and futility. “I just screamed at my ceiling with my acoustic guitar while writing ‘Free Will,’” Volkes says, “and in that same vein, ‘Nihilist’ came out like a temper tantrum.” People’s Blues is currently on the road touring behind Good Time Suicide and has been busy crafting a whole new set of eclectic, blues-infused psych rockers. “It’s working out really well because we all have the same dream,” Neko says. “ We’re hungry for it.” “It’s more than that even,” Volkes adds. “This band—we look out for each other. If I have a sandwich, Tim and Neko get a bite. It’s like we’re brothers.” "The whole concept behind People’s Blues of Richmond,” Beavers says, “is that we all struggle, we all experience pain. Life is full of highs and lows, and we all work hard to survive. So we do the only thing we know how—we get out on the road, and we keep moving forward. We become a part of something bigger than ourselves."

The Haunt - Ithaca, NY

with DJ Mike Judah

Sep 4

Sep 4

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

Price: $10-$12

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Age policy: 18+ with ID / under 18 with a parent or guardian

The Haunt - Ithaca, NY

Sep 5

Sep 5

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

Price: $15-$18

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Known as “America’s funniest and outrageous grandmother,” Grandma Lee shot to stardom on the NBC talent show America’s Got Talent where she made it through to the grand finale. She was a contestant in the 2004 season of Last Comic Standing on NBC, where she later returned for three seasons as a special guest and was chosen as a Top 10 Favorite Comic of the program. Grandma Lee won the 2003 Las Vegas Comedy Festival at MGM Grand and appeared in America’s Got Talent Live at Planet Hollywood, hosted by Jerry Springer. Grandma Lee will electrify the stage from the moment she bursts from the starting gate until she crosses the finish line in a blaze of glory. This sassy senior has mastered the art of entertaining audiences of all ages with unorthodox views of family, television and life in general. She may shock you with colorful use of the English language although few find it offensive.

The Haunt - Ithaca, NY

Sep 7

Sep 7

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

Price: $10-$13

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Attention came swiftly following Speedy Ortiz’s 2012 Sports EP on the Boston-centric label Exploding In Sound, and with good reason. Massachusetts-based songwriter/guitarist Sadie Dupuis’ knotty, lyrically dense songs were fully realized by her bandmates, with intricate guitar lines crisscrossing over Darl Ferm’s fluid bass and Mike Falcone’s precisely executed drumming in a way that was simultaneously catchy and jarring. After the success of its 2013 Best New Music-honored debut full-length Major Arcana, the band formalized its assault through a year and a half of relentless touring with bands in whose brainy-slash-brawny legacies it followed—among them Stephen Malkmus & The Jicks, Ex Hex, and The Breeders. In 2014, the band added guitarist Devin McKnight of the Boston-based post-punk group Grass Is Green, whose guitar parts both match and challenge Dupuis’. Speedy Ortiz’s second proper album—Foil Deer, recorded at Rare Book Room in Brooklyn when the band wasn’t pushing forward on its hectic 2014 tour schedule—comes out on April 21, 2015. The songs represent a leap forward, possessing a lightness that mirrors Dupuis’s post-grad school outlook; they also have a deliberate nature to them, one that emanates from extra studio time and more experimentation with the band’s essential form. (Ferm contributes a few unexpected guitar parts; Falcone’s vocal harmonies zing in with more force.) Speedy Ortiz possesses big-tent rock swagger and punk’s restless yet intimate spirit in a way that makes the impulses seem identical; while the quartet can still command crowds at festivals like Primavera Sound and Pitchfork Music Festival, they also relish playing Boston’s teeming basements alongside the city’s next generation of bands. That willingness to push not just forward, but in all directions, makes Speedy Ortiz one of rock’s most exciting outfits.

Academy of Music - Northampton, MA

Sep 7

Sep 7

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

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Grammy-nominated harmony duo The Milk Carton Kids have announced the May 19, 2015 release of their third album, Monterey. A refreshing alternative to the foot-stomping grandeur of the so-called “folk revival,” an understated virtuosity defines The Milk Carton Kids and their new album. The two years since the release of their last album, The Ash & Clay, have been significant ones for the group. In addition to a Grammy nomination for Best Folk Album, The Milk Carton Kids won Duo/Group of the Year at the Americana Music Awards in 2014. Their featured performances and interviews in T Bone Burnett & the Coen Brothers' concert documentary, "Another Day/Another Time,” brought the band its widest audience and their 55-city North American tour last year sold out months in advance. Cultural purveyors from Garrison Keillor to T Bone Burnett to Billy Bragg have hailed the duo’s importance among a group of new folk bands, both expanding and contradicting the rich tradition that precedes them. Yet while some of the band’s many accolades reference a specific genre, the duo quickly transcends those tags with clear inflections of jazz, classical, even the dark lyricism of modern “alternative." This past year, The Milk Carton Kids were asked to pay tribute to Johnny Cash and Emmylou Harris — Cash on the Joe Henry-produced remake of “Bitter Tears,” and Harris with their standing ovation performance at the tribute concert “The Life & Songs of Emmylou Harris,” among luminaries including Kris Kristofferson, Mavis Staples, Alison Kraus, Iron & Wine, and Harris herself. If Cash and Harris taught us that American music is meant to be taken at its expansive word, without confines or borders, The Milk Carton Kids appear to have taken the lesson to heart.

Sep 10

Sep 10

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

Price: $20-$25

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The Randy and Lahey show is a silly, sexist, drunken hour and a half of songs and skits, audience participation, profanity, Shakespeare, and general hilarity. Over the past eight years it has developed into the fastest moving two man show in the known universe. From Newfoundland to Vancouver Island several hundred thousand people have thrilled to Randy and Lahey's shennanigins. It's a constantly moving showcase of two television icons who pull no punches when battering the audience with "Batman and Robin" or "The Shit Rap." The innocent honesty of an out- of-control drunken ex-cop Trailer Park Supervisor and his side-kick Randybobandy the cheeseburger eating ex male prostitute, weekend Trailer Park Supervisor is pants pissing humour at its warmest. The show itself is roughly based on the T.V. series and movies, but being live, necessitates a different format and different is the operative word here. There is nothing like it anywhere. Shit talk and poetry; sodomy and sweet talk all thrown together with music and mayhem. What more could a room full of fun seekers want.

The Dock - Ithaca, NY

General Admission Seated Event

Sep 11

Sep 11

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

Price: $20-$25

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This is a general admission seated event


Formed in Sleepy Hollow, New York over a decade ago, The Slambovian Circus of Dreams (AKA The Grand Slambovians) pioneered the alt-folk/americana genre, staying on the fringes of the music industry and under the radar while producing several critically acclaimed studio albums. 'A Box of Everything' the band's next release (due out April 1st, 2014) is a compilation of the 'Greatest Hits' you've never heard from this reclusive band. Their melodic avant-folk conjures a quirkier Tom Petty or fuller Buffalo Tom with an exotic instrumental arsenal. If you like Dylan, Bowie, The Decemberists, you'll find a lot to love about this band which features an otherworldly slide mandolin, accordion, cello and styles ranging from dusty Americana ballads to Pink Floydesque cinematic anthems. Headlining major music festivals and venues across the US, Canada and UK, they built their career from the ground up with a loyal fan base supporting them all the way. Fronted by songwriter Joziah Longo (vocals/guitar/harmonica) whose voice is "Soothing and bewitching as a snake oil tonic" says The Big Issue, UK and goes on to say "the entire root system of Rock Family Trees is embedded in his voice". The band features guitarist/mandolin player Sharkey McEwen (think lovechild of David Gilmour and Duane Allman); multi-instrumentalist Tink Lloyd (accordion, cello, uke, theremin, melodica); and Eric Puente (Percussion).

Asbury Hall at Babeville - Buffalo, NY

Sep 14

Sep 14

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

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Hailing from Athens, GA., of Montreal have carved their own niche -- establishing themselves as a band that thrills fans with compelling live performances, delights critics with their constant innovations, and continually showcases their musical evolution by drawing from a different set of influences for each album.

Primary songwriter Kevin Barnes pours emotion -- heartbreak, frustration, elation, whimsy -- into lyrics that shift from adopted personas to invented alter egos to unobstructed views directly into his psyche.

The Haunt - Ithaca, NY

with Surface To Air Missive

Sep 15

Sep 15

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

Price: $20-$25

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Hailing from Athens, GA., of Montreal have carved their own niche -- establishing themselves as a band that thrills fans with compelling live performances, delights critics with their constant innovations, and continually showcases their musical evolution by drawing from a different set of influences for each album.

Primary songwriter Kevin Barnes pours emotion -- heartbreak, frustration, elation, whimsy -- into lyrics that shift from adopted personas to invented alter egos to unobstructed views directly into his psyche.

The Haunt - Ithaca, NY

with Joyce Manor

Sep 17

Sep 17

Doors open at 7:30 pm Starts at 8:30 pm All ages

Price: $20

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Desaparecidos is a rock band featuring Conor Oberst (vocals,guitar) Landon Hedges (bass guitar, vocals), Matt Baum (drums), Denver Dalley – (guitar) and Ian McElroy (keyboards). The band formed in 2001, released one album (2002’s Read Music/Speak Spanish), and broke up shortly thereafter. In 2010, Desaparecidos reunited to play The Concert for Equality in Omaha.

The Haunt - Ithaca, NY

with Sammus, Mr. McBean, Jesucifer

Sep 18

Sep 18

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

Price: $12

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Busdriver is fixed as one of LA music’s most dynamic indie artist. From his years as a cyher phenom at Project Blowed to his years as a recording artist on Epitaph to his current role as co-head of Hellfyre Club, Busdriver has always challenged rap in the most particular and thoughtful of ways.

BD’s first record, Memoirs of the Elephantman, was self-released thru Afterlife records (a Project Blowed subcrew at the time) in 1999. Not until his second self-released record, Temporary Forever, came out in 2002 did Busdriver step on the world stage. Sleeper hit "Imaginary Places" turned him into one of many beacons of left-leaning hip-hop at the moment.

After the new success of Temporary Forever, Busdriver signed with Mush records to do a collaborative album with beat/production guru Daedelus and quirky rap talent Radioinactive in 2003. The project was called ‘The Weather’. Their album toyed with daring disjointed production and dexterous rap writing in a way that Busdriver hadn’t in the past. The project amassed a small cult following all its own and aligned Driver’s taste with the output of LA’s electronic music scene.

In 2004, Busdriver began his relationship with Big Dada by releasing with them the Daddy Kev-produced mini-LP, Cosmic Cleavage. This was followed by Busdriver’s official 3rd album, Fear of a Black Tangent, released via Big Dada in the EU and on Mush in the US.

Busdriver’s label dealings grew outside of the rap arena in 2007 when he signed to indie-punk mega-label Epitaph and eventually, it’s more indie-music driven sister label, Anti-. Through them he released RoadKillOvercoat in 2007 and Jhellibeam in 2009. Both albums featured production from DJ Nobody, Nosaj Thing, Free the Robots and Boom Bip. During these years, rap producer culture was in flux in LA and the newly founded Low End Theory began gaining momentum. Producer eDIT (who becomes the head of Glitch Mob) featured Busdriver on "Crunk De Gaulle" (also featuring TTC) off his Alpha Pup debut, Certified Air Raid Material.

Computer Cooties came out in 2010 after BD parted with Anti-. It was a free mixtape featuring collaborations with Flying Lotus, Anti-Pop Consortium, Sister Crayon, Daedelus and Open Mike Eagle. He followed this by joining Hellfyre Club and forming Flash Bang Grenada, a two-man group made of Nocando (founder of Hellfyre Club and original resident of Low End Theory) and himself, created solely to let their musings on popular rap themes run amok. They released their debut 10 Haters in 2011.

In 2012, BD released Beaus$Eros through Fake Four. The album was produced entirely by Loden and had features from Cocorosie and Mike Ladd. It was a departure from rap writing into microclimates of experimental pop but then completely not also. The record was coupled with Regan Farquhar aka Busdriver(Driver) fronting an progressive power pop outfit briefly called Physiccal Forms.

That same year Driver released Arguments with Dreams, an EP marking a return to Big Dada. It was mostly self-produced with stand-out appearances from Das Racist on “Firehydrant” and HFC members Nocando and Mike Eagle on “Wernor Herzog”.

In 2013, Driver helmed and oversaw the production of Dorner Vs. Tookie, the joint mixtape featuring efforts from all the members of Hellfyre Club (Nocando, Busdriver, Open Mike Eagle, milo, Rheteric Ramirez, Kail, VerBS, Taurus Scott, The Kleerz). While doing this Busdriver completed his 8th proper studio album, Perfect Hair. The album features production from Mono/Poly, Jeremiah Jae, Great Dane, Kenny Segal and Riley Lake with guest performances from Danny Brown, Aesop Rock and Mike Eagle. A follow up mixtape from Hellfyre Club in collaboration with producer collective Team Supreme is planned for 2014. But it is only it is pre-production stages now.

More recently Driver has done collaborations with Modeselektor, Son Lux, Latyrx, Kool AD, Lapalux, Sonnymoon, P.O.S, and others on various albums.

The Haunt - Ithaca, NY

with Mrs Skannotto

Sep 19

Sep 19

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

Price: $15

Event Information

Age policy: 18+ with ID / under 18 with a parent or guardian


Pilfers are a legendary band out of New York City that play an infectious, unique sound that blends pop, reggae, hardcore, dub, punk, and ska. Their sound, dubbed “raggacore” features the talents of lead vocalist Coolie Ranx, guitarist/vocalist Nick Bacon, drummer James Blanck, bassist Ben Basile, and trombonist/keyboardist Billy Kottage. Pilfers are well known and loved for their intense live performances that encourage constant crowd participation. Followers of Pilfers have been affectionately named “Pilfers Crew.” Formed in 1997, Pilfers has toured internationally with the likes of Bad Brains, Zebrahead, Reel Big Fish, the Specials, Madness, the Mighty Mighty Bosstones, Amazing Royal Crowns, Mustard Plug, and Goldfinger. Pilfers released two albums including a self-titled full-length and Chawalaleng (Mojo Records). In the summer of 2001, the band broke up over various differences. Since 2005, the original line up has come together for several sold out reunion shows along the East Coast for their devoted fans. In 2013, Pilfers hit the road with Reel Big Fish making new fans across the U.S. and Canada. The strong demand for more from their Pilfers Crew and their love for playing intense live shows has them hitting the road more frequently. Pilfers are currently recording new songs for an upcoming full-length album.

The Haunt - Ithaca, NY

Sep 22

Sep 22

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

Price: $20-$25

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Derrick “Duckie” Simpson the “Gong Gong Gullie” is the founder and leader for reggae’s BLACK UHURU. Although going through numerous lead singers and musicians they have remained to be one of the most recognized and prolific reggae band for over 50 years.
The roots of BLACK UHURU were formed in Kingston Jamaica’s Waterhouse district also known as “Firehouse” in the early 60′s. Though considered to be one of Jamaica’s toughest neighborhoods it’s home to several other reggae singers and musicians. It was where Duckie Simpson grew up and learned to sing from boyhood friends Winston “Pipe” Matthews and Lloyd “Bread” McDonald of Wailing Souls and Bob Marley. He recorded four tracks with Wailing Souls before forming his own group.
The original Uhuru’s (Swahili for freedom) were Derrick “Duckie” Simpson, Euvin “Don Carlos” Spencer and Rudolph “Garth” Dennis. They only recorded a few singles “Folk Songs” “Time Is On Our Side” and “Slow Coach” before separating. Don went solo and Garth joined Wailing Souls.
Duckie reformed the group adding Michael Rose & Errol “Tarzan” Nelson, both from Waterhouse. They recorded their debut album “Love Crises” in 1977 at Prince Jammy’s famous studio in Waterhouse on St. Lucia Road. It was later re-released as “Black Sounds Of Freedom”. Errol later left to join The Jayes. He was soon replaced by American female singer & dancer Sandra “Puma” Jones. They teamed up with drummer Sly Dunbar and bass player Robbie Shakespeare. Together they developed a musical style full of deep bass thumps, loud drum slaps, sharp keyboards, long instrumentals with guitar riffs, whirly back round noises, echos and the signature”woh oh oh’s” creating they’re “classic” sound. Producing hits like “I Love King Sellassie, “‘Shine Eye Gals”, “General Penitentary” and “What is Life”.
BLACK UHURU released the albums Red, Chill Out, Sensemila and Guess Who’s Coming To Dinner and began to tour the world bringing them to international audiences. It was during this period they started to gain rapid popularity. They opened live shows for the Rolling Stones and the Police. They began to work with other well accomplished producers and musicians. Keith Richards played guitar for the “Shine Eye Gal” track. Dennis Brown “The Crown Prince of Reggae” produced the tracks “Rent Man” and Wood For My Fire”. The track” Spongi Reggae” appeared on an episode of The Bill Cosby Show and “Party in Session” in the movie 1980′s North Shore. BLACK UHURU made reggae history when they won the first ever Grammy Award for reggae music in 1984 for the album Anthem Shortly after the grammy Michael Rose went solo.
Another Waterhouse resident named Delroy “Junior” Reid became the new lead singer. They released two albums Brutal and Positive. The Brutal album was nominated for a grammy. They filmed three music videos for the tracks “Fire City” “Brutal”, and “Great Train Robbery”, that track also played on a popular video game Grand Theft Auto. Sadly in 1990, due to ill health, Sanda “Puma” Jones passed away of cancer. Junior Reid shortly went solo.
Then the original three re-united. They released four albums Now, Iron Storm, Mystical Truth and Strong. Each album was nominated for grammy. They made an award winning music video for the track “Tip Of The Iceberg” featuring rap star Ice-T in 1992. Eventually splitting up again. Carlos & Dennis left again & Duckie stayed again. This time there was a lawsuit brought amongst the group over the band’s legal rights in Los Angeles county court. Derrick Simpson won.
As the new melenium approached there came a new lead singer yet again from Waterhouse named Andrew “Bee’s” Beckford. They released two albums. Unification was produced by King Jammy & Dynasty was produced by Fitzroy Francis & Duckie. They went on a worldwide tour featuring Sly and Robbie and had the famous producer Scientist as its road engineer. Andrew Bee’s then went solo.
In 2007 Duckie & Michael Rose reunited after twenty years. They performed in Jamaica and did one international tour and released the single “Dollars”. In 2011 Duckie reunited with Andrew Bee’s after ten years. He added female backing vocalist Kaye Star and began touring again performing in South America & America.
BLACK UHURU recently performed in a Broadway Musical. The red carpeted event “Loving the Silent Tears: A New Msuical” premiered October 27th 2012 at the Shrine Auditorium in Los Angeles Ca. They were invited to represent reggae music and performed a new track “Make A Deal”. And in Las Vegas Nevada BLACK UHURU was recently honored for its contribution to the entertainment industry. August 31st if now officially “Black Uhuru Day” in the city of Las Vegas.
BLACK UHURU’s long success has allowed them to become ambassadors of reggae while earning several achievements in the music industry. With 14 full length albums, 7 instrumental dub albums, and 4 live albums they have the highest record sales in reggae music behind Bob Marley. The album Red was voted #23 for Rolling Stone’s list of “100 Greatest Albums of the 1980′s. Aside from winning the first reggae grammy they have been nominated 5 more times. They are the only reggae group to have won the Diamond Awards of Excellence in 1994.
Despite all of BLACK UHURU’s change of different singers and musicians the one thing that has always remained is Derrick “Duckie” Simpson. Much respect to a legendary figure for Reggae Music. The group is presently working on releasing a new album soon to come. It features Duckie on lead.

State Theatre of Ithaca - Ithaca, NY

with William Tyler

SOLD OUT

Sep 23

Sep 23

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

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Wilco is a Chicago sextet formed by singer-songwriter and guitarist Jeff Tweedy in the mid-1990s. The band’s current lineup solidified in 2004 when guitarist Nels Cline and guitarist/keyboardist Patrick Sansone joined Tweedy, founding bassist John Stirratt, drummer Glenn Kotche and keyboardist Mikael Jorgensen. Wilco’s brand of classic roots rock incorporates folk, pop and genre-spanning experimentalism. The band’s 10-album catalog includes 2002’s Yankee Hotel Foxtrot (named one of the 500 greatest albums of all time by Rolling Stone), 2005’s Grammy award-winning A Ghost is Born, the Grammy-nominated Wilco (The Album) and The Whole Love and more. NPR has called Wilco “the best rock band in America” and the band has been heralded by the Los Angeles Times as “an amazing machine whose six players seem more at one with their music than any rock group working today.” The Wilco catalog includes Mermaid Avenue Volumes 1, 2 and 3, which, in collaboration with British folk singer Billy Bragg, sets original music to song lyrics by the iconic Woody Guthrie.

Asbury Hall at Babeville - Buffalo, NY

Sep 24

Sep 24

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

Event Information

From their days playing together as teenagers to their current acoustic and electric blues, probably no one has more consistently led American music for the last 50 years — yes! — than Jorma Kaukonen and Jack Casady, the founders and continuing core members of Hot Tuna.
The pair began playing together while growing up in the Washington D.C. area, where Jack’s father was a dentist and Jorma’s father a State Department official. Four years younger, Jack continued in junior high, then high school — while playing professional gigs as lead guitarist at night before he was old enough to drive — while Jorma (who had played rhythm guitar to Jack’s lead) started college in Ohio, accompanied his family overseas, then returned to college, this time in California.
Along the way, Jorma became enamored of, then committed to, the finger-picking guitar style exemplified by the now-legendary Rev. Gary Davis. Jack, meanwhile, had taken an interest in the electric bass, at the time a controversial instrument in blues, jazz, and folk circles.
In the mid 1960s, Jorma was asked to audition to play guitar for a new band that was forming in San Francisco. Though an acoustic player at heart, he grew interested in the electronic gadgetry that was beginning to make an appearance in the popular music scene — particularly in a primitive processor brought to the audition by a fellow named Ken Kesey — and decided to join that band; soon thereafter he summoned his young friend from Washington, who now played the bass.
Thus was created the unique (then and now) sound that was The Jefferson Airplane. Jorma even contributed the band’s name, drawn from a nickname a friend had for the blues-playing Jorma. Jack’s experience as a lead guitarist led to a style of bass playing which took the instrument far beyond its traditional role.
While in The Jefferson Airplane, putting together the soundtrack of the 60s, the pair remained loyal to the blues, jazz, bluegrass, and folk influences of the small clubs and larger venues they had learned from years before. While in San Francisco and even in hotel rooms on the road, they would play together and worked up a set of songs that they would often play at clubs in the Bay Area and while on the road, often after having played a set with the Airplane. This led to a record contract; in fact, they had an album recorded before they decided to name their band Hot Tuna. With it they launched on an odyssey which has itself continued for more than 35 years, always finding new and interesting turns in its path forward.
The first thing an early Hot Tuna fans discovered at their concerts of the early 1970s was that the band was growing louder and louder. In an era in which volume often overtrumped musicianship, Hot Tuna provided both. The second thing a fan would discover was that Jack and Jorma really loved to play. “Look around for another band that plays uninterrupted three- to six-hour sets,” wrote reviewer Jerry Moore. What Moore could not have known was that had there been no audience at all, they would have played just as long and just as well, so devoted were they to making music. Of course, the audience wasn’t superfluous by any means; it energized and continues to energize their performances. Album followed album — more than two dozen in all, not counting solo efforts, side projects, and appearances on the albums of other bands and performers — and they continued to develop their interests and styles, both together and in individual pursuits. In an era in which old bands reunite for one last tour, Hot Tuna can’t because Hot Tuna never broke up.
Along the way, they have been joined by a succession of talented musicians: Drummers, harmonica players, keyboardists, backup singers, violinists, mandolinists, and more, all fitting in to Jorma and Jack’s current place in the musical spectrum. And along the way there was no list of outstanding guitarists that didn’t include Jorma, nor was there anyone who seriously thought there is a better bass player than Jack.
After two decades of acoustic and electric concerts and albums, the 1990s brought a new focus on acoustic music to Hot Tuna. More intimate venues with a more individual connection to the audience became increasingly frequent stops. Soon, the loud electric sound (and the semi trailer load of equipment) disappeared entirely from Hot Tuna tours. Maturity brought the desire to do things not instead of but in addition to being a touring band. Both had become interested in teaching, passing along what they had learned and what they had uniquely developed to a new generation of players.
In 1998 Jorma and his wife Vanessa opened Fur Peace Ranch Guitar Camp, in the beautiful rolling Appalachian foothills of southeastern Ohio.
Here, on a sprawling and rustic yet modern campus, musicians and would-be musicians come for intensive and enjoyable workshops taught by Jorma, Jack, and other extraordinary players, learning things that range from different styles of playing to songwriting and even storytelling (the musician in performance has to say something while changing that broken string!), to making a song one’s own.
In addition, there is now BreakDownWay.com, a unique interactive teaching site that comes closest of anything yet to make individual instruction available to students anywhere there is a computer and an Internet connection.
But the teaching doesn’t replace Hot Tuna’s busy tour schedule; it’s in addition to the tours. Nor have they lighened up their individual schedules. Jack released his first solo CD, Dream Factor, on Eagle Records in 2003. He has a busy and elaborate website at jackcasady.com. Jorma has a website, too, and achieved enormous critical acclaim and a Grammy nomination for his 2003 solo album, Blue Country Heart. (Both are in the Rock and Roll Hall of Fame due to their pioneering work in The Jefferson Airplane.) As 2006 began, they launched another exciting website, Hot Tuna Tunes, where fans may inexpensively download professionally made recordings of full Hot Tuna concerts in both MP3 and lossless encodings, suitable for portable player and home-burned CDs respectively. Hot Tuna Tunes is added to all the time, so it’s almost as if Hot Tuna were releasing numerous live concert albums every year. Collect the entire set!
For the last few years, Jorma and Jack have been joined in most of their Hot Tuna performances by the mandolin virtuoso Barry Mitterhoff. A veteran of bluegrass, Celtic, folk, and rock-influenced bands including “Tony Trischka and Skyline” and “Bottle Hill,” Barry has found a new voice in working with Hot Tuna, and the fit has been good — watching them play, it’s as if he’s been there from the beginning and they’re all having the time of their lives.
Jorma and Jack certainly could not have imagined, let alone predicted, where playing would take them. It’s been a long and fascinating road to numerous exciting destinations. Two things have never changed: They still love to play as much as they did as kids in Washington D.C., and there are still many, many exciting miles yet to travel on their musical odyssey.

Center for the Arts of Homer - Homer, NY

Sep 25

Sep 25

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

Event Information

From their days playing together as teenagers to their current acoustic and electric blues, probably no one has more consistently led American music for the last 50 years — yes! — than Jorma Kaukonen and Jack Casady, the founders and continuing core members of Hot Tuna. The pair began playing together while growing up in the Washington D.C. area, where Jack’s father was a dentist and Jorma’s father a State Department official. Four years younger, Jack continued in junior high, then high school — while playing professional gigs as lead guitarist at night before he was old enough to drive — while Jorma (who had played rhythm guitar to Jack’s lead) started college in Ohio, accompanied his family overseas, then returned to college, this time in California. Along the way, Jorma became enamored of, then committed to, the finger-picking guitar style exemplified by the now-legendary Rev. Gary Davis. Jack, meanwhile, had taken an interest in the electric bass, at the time a controversial instrument in blues, jazz, and folk circles. In the mid 1960s, Jorma was asked to audition to play guitar for a new band that was forming in San Francisco. Though an acoustic player at heart, he grew interested in the electronic gadgetry that was beginning to make an appearance in the popular music scene — particularly in a primitive processor brought to the audition by a fellow named Ken Kesey — and decided to join that band; soon thereafter he summoned his young friend from Washington, who now played the bass. Thus was created the unique (then and now) sound that was The Jefferson Airplane. Jorma even contributed the band’s name, drawn from a nickname a friend had for the blues-playing Jorma. Jack’s experience as a lead guitarist led to a style of bass playing which took the instrument far beyond its traditional role. While in The Jefferson Airplane, putting together the soundtrack of the 60s, the pair remained loyal to the blues, jazz, bluegrass, and folk influences of the small clubs and larger venues they had learned from years before. While in San Francisco and even in hotel rooms on the road, they would play together and worked up a set of songs that they would often play at clubs in the Bay Area and while on the road, often after having played a set with the Airplane. This led to a record contract; in fact, they had an album recorded before they decided to name their band Hot Tuna. With it they launched on an odyssey which has itself continued for more than 35 years, always finding new and interesting turns in its path forward. The first thing an early Hot Tuna fans discovered at their concerts of the early 1970s was that the band was growing louder and louder. In an era in which volume often overtrumped musicianship, Hot Tuna provided both. The second thing a fan would discover was that Jack and Jorma really loved to play. “Look around for another band that plays uninterrupted three- to six-hour sets,” wrote reviewer Jerry Moore. What Moore could not have known was that had there been no audience at all, they would have played just as long and just as well, so devoted were they to making music. Of course, the audience wasn’t superfluous by any means; it energized and continues to energize their performances. Album followed album — more than two dozen in all, not counting solo efforts, side projects, and appearances on the albums of other bands and performers — and they continued to develop their interests and styles, both together and in individual pursuits. In an era in which old bands reunite for one last tour, Hot Tuna can’t because Hot Tuna never broke up. Along the way, they have been joined by a succession of talented musicians: Drummers, harmonica players, keyboardists, backup singers, violinists, mandolinists, and more, all fitting in to Jorma and Jack’s current place in the musical spectrum. And along the way there was no list of outstanding guitarists that didn’t include Jorma, nor was there anyone who seriously thought there is a better bass player than Jack. After two decades of acoustic and electric concerts and albums, the 1990s brought a new focus on acoustic music to Hot Tuna. More intimate venues with a more individual connection to the audience became increasingly frequent stops. Soon, the loud electric sound (and the semi trailer load of equipment) disappeared entirely from Hot Tuna tours. Maturity brought the desire to do things not instead of but in addition to being a touring band. Both had become interested in teaching, passing along what they had learned and what they had uniquely developed to a new generation of players. In 1998 Jorma and his wife Vanessa opened Fur Peace Ranch Guitar Camp, in the beautiful rolling Appalachian foothills of southeastern Ohio. Here, on a sprawling and rustic yet modern campus, musicians and would-be musicians come for intensive and enjoyable workshops taught by Jorma, Jack, and other extraordinary players, learning things that range from different styles of playing to songwriting and even storytelling (the musician in performance has to say something while changing that broken string!), to making a song one’s own. In addition, there is now BreakDownWay.com, a unique interactive teaching site that comes closest of anything yet to make individual instruction available to students anywhere there is a computer and an Internet connection. But the teaching doesn’t replace Hot Tuna’s busy tour schedule; it’s in addition to the tours. Nor have they lighened up their individual schedules. Jack released his first solo CD, Dream Factor, on Eagle Records in 2003. He has a busy and elaborate website at jackcasady.com. Jorma has a website, too, and achieved enormous critical acclaim and a Grammy nomination for his 2003 solo album, Blue Country Heart. (Both are in the Rock and Roll Hall of Fame due to their pioneering work in The Jefferson Airplane.) As 2006 began, they launched another exciting website, Hot Tuna Tunes, where fans may inexpensively download professionally made recordings of full Hot Tuna concerts in both MP3 and lossless encodings, suitable for portable player and home-burned CDs respectively. Hot Tuna Tunes is added to all the time, so it’s almost as if Hot Tuna were releasing numerous live concert albums every year. Collect the entire set! For the last few years, Jorma and Jack have been joined in most of their Hot Tuna performances by the mandolin virtuoso Barry Mitterhoff. A veteran of bluegrass, Celtic, folk, and rock-influenced bands including “Tony Trischka and Skyline” and “Bottle Hill,” Barry has found a new voice in working with Hot Tuna, and the fit has been good — watching them play, it’s as if he’s been there from the beginning and they’re all having the time of their lives. Jorma and Jack certainly could not have imagined, let alone predicted, where playing would take them. It’s been a long and fascinating road to numerous exciting destinations. Two things have never changed: They still love to play as much as they did as kids in Washington D.C., and there are still many, many exciting miles yet to travel on their musical odyssey.

The Dock - Ithaca, NY

General Admission Seated Event

Sep 26

Sep 26

Doors open at 7:00 pm Starts at 8:00 pm Ages 16+ Only

Price: $25-$30

Event Information

PLEASE NOTE THIS IS A GENERAL ADMISSION SEATED EVENT


Honing a synthesis of folk and blues for 50 years, Chris Smither is truly an American original. His new CD, Still On the Levee, is a career-spanning retrospective double CD. Recorded in New Orleans with studio-mates, The Motivators, Still On the Levee plays host to special guests including Allen Toussaint and Loudon Wainwright III. The record highlights the vast catalog of an American music master. Reviewers and fans from around the world agree that Chris is a profound songwriter, a blistering guitarist and, as he puts it, a 'one-man band to the bone!’ Chris melds the guitar styles of his two major influences, Lightnin' Hopkins and Mississippi John Hurt, into his own signature sound. His music continues to draw deeply from the blues, American folk music, modern poets and humanist philosophers. 'Link Of Chain', a tribute album of Chris Smither originals with stellar versions by Dave Alvin, Tim O'Brien, Bonnie Raitt, Josh Ritter, Loudon Wainwright III, Jorma Kaukonen, Eilen Jewell and others is now available from Signature Sounds.

State Theatre of Ithaca - Ithaca, NY

Sep 26

Sep 26

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

Event Information

When country a cappella band Home Free was crowned Season 4 Champions of NBC's The Sing-Off this past December, their victory was by no means the beginnings of a career for the five country stars from Minnesota… rather it was a satisfying culmination of nearly a decade of hard work and commitment to a vocal craft growing in popularity. Founded by brothers Chris and Adam Rupp during their college years in the early 2000s, Home Free had been perfecting their live show for years prior to The Sing-Off--performing together for crowds in countless State and County Fairs, on college campuses, in Fortune 500 companies, and in theaters all across the country. It was their experience on the road that carried them to a Sing-Off victory, swelling their fan base and bringing their homegrown country style into a national spotlight. Home Free continues to entertain audiences with their high-energy show peppered with quick-witted humor that meshes Nashville standards with pop hits dipped in country flavor. This spring they continue their journey as they take part in the 32-city, 36-show Sing-Off Tour Live! on the heels of their Columbia Records debut release, Crazy Life, in stores now.

The Haunt - Ithaca, NY

Sep 26

Sep 26

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

Price: $12-$15

Event Information

Whether they're tearing it up in a basement, rocking a festival crowd or hard at work in a studio, The Districts are a band that exists in the moment. The Pennsylvania four-piece channels its long-forged bonds into visceral, explosive rock and roll. You'll hear hints of Americana, moments of the blues and folk, but written into songs so expressive that those labels are transcended. Their second LP, "A Flourish and a Spoil," is out on Fat Possum Records in February of 2015. Founding members Rob Grote (guitar, vocals) Connor Jacobus (bass) and Braden Lawrence (drums) have been friends since childhood and formed The Districts in high school. You can hear that closeness in their effortless chemistry onstage and off, the way their songs build and grow, the way instrumental bits intertwine and the compelling command they have of whatever square footage they occupy behind microphones and a PA. The band self-recorded and self-released its "Kitchen Songs" EP in 2012, followed that summer by their full-length debut "Telephone" (also a self-release, and all the more impressive for it). By their senior year, the band had already begun to make inroads beyond their small Lancaster County hometown of Lititz, and were performing on the regular in Philadelphia, Delaware and New York ("4th and Roebling" from "Flourish" is named after the intersection in Brooklyn where they parked their car for their first New York gig at the now-defunct Big Snow Buffalo Lounge). In 2013, they were being played in regular rotation at WXPN in Philadelphia and were a featured performer at the station's XPoNential Music Festival. That fall they signed to Fat Possum, which released their self-titled EP in January of 2014; the five-song 10" contained two new songs -- "Rocking Chair" and "Lyla" -- along with three tracks from their self-releases. With the momentum behind the EP and their buzzed-about live show, The Districts had a tremendous showing in Austin for SXSW 2014, named "the band who owned SXSW" by the NME. They've since taken the show to Lollapalooza, Austin City Limits, Reading / Leeds, Outside Lands, Haldern Pop Festival and many more fests in the U.S. and Europe. That's not to say the band hasn't experienced its share of setbacks. In early summer of 2014, its van was broken into during a tour stop in St. Louis and all of its gear was stolen. Shortly after, founding guitarist Mark Larson left the band to pursue college, performing as a District for the last time at the 2014 XPoNential Music Festival (where they shared the stage with Band of Horses and Beck). But the band persevered, recruiting new guitarist Pat Cassidy and recording their second full length with producer John Congleton in the fall. "A Flourish and a Spoil" is built about those ideas of transition. As Rob puts it, it's a record about "change and loss, the fact that everything sours in time, but also the beauty that can be found in that." It's reflected in the cover art the band made in collaboration with photographer Joanna Ference: a halved grapefruit, dried and decaying, but still attached to a bright green stem. Sonically, "Flourish" is a vibrant, eclectic rock record, collecting sounds from toe-tapping fuzz-pop ("Peaches") to contemplative folk ("Suburban Smell") and driving, impressionistic soundscapes ("Young Blood" is well worth 9 minutes of your time) into a whirlwind 45 minute set. The Districts credit John Congleton with shaping their sound on this outing. While the band is used to writing and producing on its own, Congleton "gave us an objective ear that helped us find and refine what we were trying to accomplish with this album." Rob recalls that, toward the end of the recording process, he had a song stuck in his head: the old Doris Day tune "A Bushel and a Peck," which his mother used to sing to him as a childhood lullaby. "The title was born from that," he says. "'A Flourish and a Spoil' is our attempt to reconcile lullabies with reality." It also announces the arrival of The Districts as a captivating voice in contemporary rock: a young band crafting heartfelt music that's honest, raw, energetic and unforgettable.

Asbury Hall at Babeville - Buffalo, NY

Oct 2

Oct 2

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

Event Information

“At the top of her game…” (San Francisco Chronicle)


“Never been funnier…” (Boston Globe)


"Insightful, thought-provoking humor… (Chicago Tribune)


32 years ago Paula Poundstone climbed on a Greyhound bus and traveled across the country -- stopping in at open mic nights at comedy clubs as she went. A high school drop-out, she went on to become one of the great humorists of our time. You can hear her through your laughter as a regular panelist on NPR’s popular rascal of a weekly news quiz show, Wait Wait…Don’t Tell Me. She tours regularly, performing standup comedy across the country, causing Bob Zany with the Boston Globe to write: “Poundstone can regale an audience for several hours with her distinctive brand of wry, intelligent and witty comedy.” Audience members may put it a little less elegantly: “I peed my pants.” While there is no doubt that Poundstone is funny, the thing that separates her from the pack of comics working today and that has made her a legend among comics and audiences alike is her ability to be spontaneous with a crowd. Poundstone says: “No two shows I do are the same. It's not that I don't repeat material. I do. My shows, when they're good, and I like to think they often are, are like a cocktail party. When you first get there, you talk about how badly you got lost and how hard it was to find parking. Then you tell a story about your kids or what you just saw on the news. You meet some new people and ask them about themselves. Then, someone says, "Tell that story you used to tell," and then someone on the other side of the room spills a drink, and you mock them. No one ever applauds me when I leave a party, though. I think they high five.” Paula's interchanges with the audience are never mean or done at a person’s expense. She even manages to handle politics without provoking the pall of disapproval less artful comics have received. Paula’s touring schedule is rigorous. She performs an average of 75 dates per year, mostly in Performing Arts Centers and Theatres. For those who don’t have a chance to see her live, they can listen to her brilliance on her CD’s or read her in print: Her newest comedy CD, I HEART JOKES: Paula Tells Them in Boston was recorded during a performance at the historic Wilbur Theatre in the heart of the city and released on April Fool’s Day 2013. It follows her first CD, I HEART JOKES: Paula Tells Them in Maine (November 2007), recorded at the world-famous Stone Mt. Arts Center in none-other than, Maine! Both are available for sale thru Paula’s website at www.paulapoundstone.com, on Amazon, CDbaby, Itunes, and if you are there, at Paula’s shows! Paula is also an accomplished writer. Her first hard cover book, There is Nothing In This Book That I Meant To Say, with a forward by Mary Tyler Moore, was published in 2006 by Harmony Books, a division of Random House. It is still in release on audio (Highbridge) and in paperback. Paula is hard at work on her second book, this one for Algonquin Press. Wait Wait…Don’t Tell Me is now the most popular show on NPR, having reached #1 status in 2014. Listeners can test their knowledge against some of the best and brightest in the news and entertainment world while figuring out what's real news and what's made up. Paula quickly goes on record about how much she loves being part of the show saying: “I am a proud member of the endorphin production industry. They allow me to say whatever I want on Wait, Wait…Don't Tell Me. The panelists are unscripted, so it's perfect for me. I feel like I'm a batter in a batting cage. I get lobbed topics. Sometimes I just watch them go by, but every now and then I get a piece of one. If the others didn't cheat, it would be an almost perfect work experience.” The show is also heard internationally on NPR Worldwide and on the Internet via podcast. In May 2013 the show was Cinecast to movie theatres across the country.Paula was on the show, as was Steve Martin. Paula recently did commentary on CBS Sunday Morning. Her editorial pieces can be heard on NPR's All Things Considered. An avid reader, Paula signed on as the National Spokesperson for the American Library Association’s (ALA) United for Libraries in 2008 – a role she continues to this day! United for Libraries is a national citizen’s support group that works to raise funds and awareness for their local libraries. Said Paula, when she was chosen, “It’s funny that we think of libraries as quiet demure places where we are shushed by dusty, bun-balancing, bespectacled women. The truth is libraries are raucous clubhouses for free speech, controversy and community. Librarians have stood up to the Patriot Act, sat down with noisy toddlers and reached out to illiterate adults. Libraries can never be shushed.” As part of her duties, Paula recorded a public service announcement for United for Libraries and helps raise funds. For the last four years she has also been the headline panelist at the ALA’s annual conference for their “Laughs On Us” panel of writers. To quote Sally Reed, the ALA Nat'l Director: "...you'd have to come to one of these events to see how adored Paula is by librarians. We love her and it's never repetitive." Paula's incredible spontaneous humor is the perfect fit for the voracious appetite of the social networks: Follow her on: Twitter@twitter.com/paulapoundstone; Facebook: facebook.com/PaulaPoundstone. And enjoy her website: www.paulapoundstone.com Paula grew up in Sudbury, Massachusetts, and began performing at open-mic nights in 1979. Over the span of her career, she has amassed a list of awards and accolades that stretch the length of a great big tall guy’s arm. She not only shot through the glass ceiling, she never acknowledged it was there. She was never one to stereotype herself as a ‘female comedian’ or limit herself to comedy from a ‘female’ point of view. In the early 90’s she was the first woman to win the cable ACE for Best Standup Comedy Special and the first woman to be invited to perform standup at the prestigious White House Correspondents dinner where she joined the current President as part of the evening’s entertainment. Paula starred in a self-titled series for HBO in ’93 (for which she won her second Cable ACE Award for Best Program Interviewer) and moved the show to ABC which was short-lived, but applauded for its break from convention. Paula had her own comedy specials on HBO and BRAVO. In fact, she starred in several comedy specials on HBO, including “Paula Poundstone Goes to Harvard,” the only time the elite university has allowed their name to be used in the title of a television show. If it means anything to anyone, Paula is recognized as one of Comedy Central's 100 greatest stand-ups of all time. She won an American Comedy Award for Best Female Standup Comic, and in 2010 she was one of a select group voted into the Comedy Hall of Fame. Late-night America roared when Paula served as "official correspondent" for The Tonight Show during the 1992 Presidential race. This was followed by her extremely successful backstage commentary during the 1993 Emmy telecast. She has made numerous appearances on all the late night talk shows, including David Letterman, and a regular stint with Craig Ferguson. She has also appeared on The Today Show, Good Morning America, and guested several times on Garrison Keillor’s A Prairie Home Companion. In 2000, when a syndicated version of the popular game show To Tell The Truth came calling for Paula to be one of the panelists, she found another perfect showcase for her razor-sharp humor and spontaneous wit. Beginning in 1997, Paula voiced the character of Judge Stone on the acclaimed ABC-TV Saturday morning animated series Science Court (a.k.a. “Squigglevision”) for three years. In 1999 (the premiereseason) she added to her repertoire the voice of the Mom, ‘Paula’ in what is still considered a renownedcult show, Home Movies (UPN and The Cartoon Network). Paula guest starred on the CBS series Cybill, which led to a recurring role during the show’s final season, and also appeared on PBS favorites such as Sesame Street and Storytime. She won a local Emmy Award for her field pieces on the erudite “Life & Times” for PBS station KCET. She appeared on several network television specials including A Salute to The President from Fords Theatre on ABC when President Clinton was in office, and performed on every Comic Relief Special on HBO. These specials were heralded for the hundreds of thousands of dollars raised for the homeless and the lineup of stars. Paula has also enjoyed success as a Host of many events, including the Art Directors Guild Awards, an unprecedented 4 times, Logically Paula is almost always included in any compendium – be it film, television or print, noting comedic influences of the 20th/21st century. They include Why We Laugh Too: Women of Comedy (Lions Gate feature-length documentary, Showtime, 2013); We Killed: The Rise of Women in American Comedy (Sarah Crichton Books, 2012.) One of Paula’s quotes is even included in a new beautifully illustrated coffee table book on cats alongside quotes by notable authors and artists including W. H. Auden, Mark Twain, and Henry David Thoreau (Chronicle Books, 2015). Paula’s other writing credits include the back page column for Mother Jones from 1995-1998, the “Sunday Calendar” section for the Los Angeles Times, Entertainment Weekly, and Glamour magazine. In 2006 Paula authored a series of three math books with her high school Math teacher, Faye Ruopp: The Sticky Problem of Parallelogram Pancakes: And Other Skill-Building Math Activities, Grades 4-5; Venn Can We Be Friends?: And Other Skill-Building Math Activities, Grades 6-7; You Can't Keep Slope Down: And Other Skill-Building Math Activities, Grades 8-9. These are all available thru Amazon. Paula has three children, Toshia, Allison, and Thomas E. Poundstone. The family lives in Santa Monica, California.

State Theatre of Ithaca - Ithaca, NY

with Gill Landry

Oct 2

Oct 2

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

Event Information

Chris Wood had a scrap of a song — seemed like a chorus — scribbled in a notebook. He played it for his older brother, Oliver, who’d had a verse lying around he didn’t know what to do with. The two pieces, composed months apart, one in urban Atlanta and the other deep in the Catskills, dovetailed musically and lyrically: the verse about a man regretting chasing unattainable women, the high-lonesome, harmony-driven refrain of “When I die, I wanna be sent back to try, try again.” “Neon Tombstone” wasn’t the first song that Chris, a founding member of jazz trio Medeski Martin & Wood, and Oliver, formerly Tinsley Ellis’s guitarist, had written — since 2006, they’d released three studio albums of Americana as The Wood Brothers. But it was the first one they’d written like this. “This is how a song is supposed to come together,” Oliver remembers thinking. “There was some chance, some randomness, to it.” The experience marked a deeper level of collaboration for The Wood Brothers, a newfound fraternal synchronicity that’s captured on their latest album, ‘The Muse.’ Within the first few bars of opener “Wastin’ My Mind,” which could pass for a lost cut from “The Last Waltz,” it’s clear the brothers are operating on a different plane than when we last heard them, on 2011’s ‘Smoke Ring Halo.’ The components are similar: the dialed-in vocal harmonies, Oliver’s gritty acoustic guitar, Chris’s virtuosic upright bass, the warrior poet lyrics. But here there’s a glue — a yellowy carpenter’s glue, one imagines — holding it all together. The cohesion comes from the brothers having spent the last two years on the road with new full-time member Jano Rix, a drummer and ace-in-the-hole multi-instrumentalist, whereas they relied on session musician-friends to fill out previous albums. Jano’s additional harmonies give credence to the old trope that while two family members often harmonize preternaturally, it takes a third, non-related singer for the sound to really shine. And then there’s Jano’s work on his literally patented percussion instrument, the “shuitar,” a shitty acoustic guitar rigged up with tuna cans and other noisemakers, which, in his hands, becomes a veritable drum kit. Starting with debut ‘Ways Not To Lose,’ which NPR described as a collection of “gracious little songs [that] sound like they were born on a front porch during a beautiful sunset,” The Wood Brothers have made albums like you’re not supposed to anymore — recording mostly live, warts and all. But on ‘The Muse,’ they double down on the production values of a purer time. Whereas ‘Smoke Ring Halo’ was tracked with the musicians playing in separate rooms, here Chris, Oliver and Jano often circled around a tree of microphones, a couple feet apart from one another, and simply played the songs, with even the lead vocals being recorded on the spot. The arrangement is a producer’s nightmare — the different sounds bleed into the various mics, limiting mixing options and ruling out the possibility of fixing mistakes — but the band had two willing accomplices: legendary country musician Buddy Miller, who produced the album, and Nashville studio vet Mike Poole, who engineered. “I just love how Mike and Buddy really embraced that idea,” Oliver says. Miller, an award-winning producer, guitarist and solo artist, has performed and recorded with icons such as Emmylou Harris, Steve Earle, Lucinda Williams, Robert Plant and Alison Krauss. Oliver continues, “I hear little things that are out of tune or imperfect, and I love it. That’s what I like about old recordings – they just did it, and that’s what happened.” From early in their childhood in Boulder, CO., Chris and Oliver were steeped in American roots music. Their father, a molecular biologist, would perform classic songs at campfires and family gatherings, while their mother, a poet, instilled a passion for storytelling and turn of phrase. The brothers bonded over bluesmen like Jimmy Reed and Lightnin’ Hopkins, but their paths, musical and otherwise, would diverge. Oliver moved to Atlanta, where he played guitar in cover bands before earning a spot in Tinsley Ellis’s touring act. At Ellis’s behest, Oliver began to sing and then founded King Johnson, a hard-touring group that would release six albums of blues-inflected R&B, funk and country over the next 12 years. Chris, meanwhile, studied jazz bass at the New England Conservatory of Music, moved to New York City and, in the early ‘90s, formed Medeski Martin & Wood, which over the next two decades would become a cornerstone of contemporary jazz and abstract music. After pursuing separate musical careers for some 15 years, the brothers performed together at a show in North Carolina: Oliver sat in with MM&W following King Johnson’s opening set. “I realized we should be playing music together,” Chris recalls. Soon after, the pair recorded a batch of Oliver’s songs, channeling the shared musical heroes of their youth while seizing on their own individual strengths — Oliver’s classic songwriting, Chris’s forward-thinking musicianship. A demo landed them a record deal with Blue Note, who released ‘Ways Not To Lose’ in 2006. Follow-up ‘Loaded’ came in 2008; after covers EP ‘Up Above My Head’ the next year, the band moved to Zac Brown’s Southern Ground Artists for ‘Smoke Ring Halo’ and then 2012’s ‘Live, Volume One: Sky High’ and ‘Live, Volume Two: Nail and Tooth.’ On ‘The Muse,’ following the opening one-two of “Wastin’ My Mind” and “Neon Tombstone,” the album shuffles between bluesy, classic country and swampy funk, mining the brothers’ timeless influences (Robert Johnson, Willie Nelson, Charles Mingus) while sounding fresh enough to win over fans of today’s mainstream roots-music acts (The Avett Brothers, Mumford & Sons). The title track shows Oliver’s songwriting at its most tender and autobiographical to date, as he sings of his “finest work yet” — his newborn child — in his endearingly offbeat voice, which The New York Times calls “gripping.” Chris takes the vocal lead on “Sweet Maria” and “Losin’,” and capably so, while on his standup bass, he’s often playful, even rascally, imbuing the songs with humor with his warm, unpredictable notes. Jano, when not banging on his shuitar, adds refreshing flourishes of piano and melodica. ‘The Muse’ marks another milestone for The Wood Brothers: it’s the first full-length they’ve recorded at Southern Ground Studios in Nashville. In the way that Manhattan becomes its own character in an old Woody Allen movie, the live room at Southern Ground plays a key role on the album, making its warm presence felt throughout. (There’s even a little hiss from the analog tape machine.) The choice of location was practical, given Nashville’s rich history and network of musicians, but also symbolic: The Wood Brothers are now officially a Nashville-based band, with Oliver having relocated in 2012, and Chris recently following. It’s the first time the brothers have lived in the same city since they left their parents’ nest; both are eager, along with Nashville local Jano, to plumb the sense of collaboration they tapped into during the fateful “Neon Tombstone” writing session. As Oliver says of ‘The Muse,’ “This is the first record that really feels like a band record. It’s taken years for us to really feel like we can collaborate, and I think this is the pinnacle of it so far.”

State Theatre of Ithaca - Ithaca, NY

Oct 3

Oct 3

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

Event Information

“At the top of her game…” (San Francisco Chronicle)


“Never been funnier…” (Boston Globe)


"Insightful, thought-provoking humor… (Chicago Tribune)


32 years ago Paula Poundstone climbed on a Greyhound bus and traveled across the country -- stopping in at open mic nights at comedy clubs as she went. A high school drop-out, she went on to become one of the great humorists of our time. You can hear her through your laughter as a regular panelist on NPR’s popular rascal of a weekly news quiz show, Wait Wait…Don’t Tell Me. She tours regularly, performing standup comedy across the country, causing Bob Zany with the Boston Globe to write: “Poundstone can regale an audience for several hours with her distinctive brand of wry, intelligent and witty comedy.” Audience members may put it a little less elegantly: “I peed my pants.” While there is no doubt that Poundstone is funny, the thing that separates her from the pack of comics working today and that has made her a legend among comics and audiences alike is her ability to be spontaneous with a crowd. Poundstone says: “No two shows I do are the same. It's not that I don't repeat material. I do. My shows, when they're good, and I like to think they often are, are like a cocktail party. When you first get there, you talk about how badly you got lost and how hard it was to find parking. Then you tell a story about your kids or what you just saw on the news. You meet some new people and ask them about themselves. Then, someone says, "Tell that story you used to tell," and then someone on the other side of the room spills a drink, and you mock them. No one ever applauds me when I leave a party, though. I think they high five.” Paula's interchanges with the audience are never mean or done at a person’s expense. She even manages to handle politics without provoking the pall of disapproval less artful comics have received. Paula’s touring schedule is rigorous. She performs an average of 75 dates per year, mostly in Performing Arts Centers and Theatres. For those who don’t have a chance to see her live, they can listen to her brilliance on her CD’s or read her in print: Her newest comedy CD, I HEART JOKES: Paula Tells Them in Boston was recorded during a performance at the historic Wilbur Theatre in the heart of the city and released on April Fool’s Day 2013. It follows her first CD, I HEART JOKES: Paula Tells Them in Maine (November 2007), recorded at the world-famous Stone Mt. Arts Center in none-other than, Maine! Both are available for sale thru Paula’s website at www.paulapoundstone.com, on Amazon, CDbaby, Itunes, and if you are there, at Paula’s shows! Paula is also an accomplished writer. Her first hard cover book, There is Nothing In This Book That I Meant To Say, with a forward by Mary Tyler Moore, was published in 2006 by Harmony Books, a division of Random House. It is still in release on audio (Highbridge) and in paperback. Paula is hard at work on her second book, this one for Algonquin Press. Wait Wait…Don’t Tell Me is now the most popular show on NPR, having reached #1 status in 2014. Listeners can test their knowledge against some of the best and brightest in the news and entertainment world while figuring out what's real news and what's made up. Paula quickly goes on record about how much she loves being part of the show saying: “I am a proud member of the endorphin production industry. They allow me to say whatever I want on Wait, Wait…Don't Tell Me. The panelists are unscripted, so it's perfect for me. I feel like I'm a batter in a batting cage. I get lobbed topics. Sometimes I just watch them go by, but every now and then I get a piece of one. If the others didn't cheat, it would be an almost perfect work experience.” The show is also heard internationally on NPR Worldwide and on the Internet via podcast. In May 2013 the show was Cinecast to movie theatres across the country.Paula was on the show, as was Steve Martin. Paula recently did commentary on CBS Sunday Morning. Her editorial pieces can be heard on NPR's All Things Considered. An avid reader, Paula signed on as the National Spokesperson for the American Library Association’s (ALA) United for Libraries in 2008 – a role she continues to this day! United for Libraries is a national citizen’s support group that works to raise funds and awareness for their local libraries. Said Paula, when she was chosen, “It’s funny that we think of libraries as quiet demure places where we are shushed by dusty, bun-balancing, bespectacled women. The truth is libraries are raucous clubhouses for free speech, controversy and community. Librarians have stood up to the Patriot Act, sat down with noisy toddlers and reached out to illiterate adults. Libraries can never be shushed.” As part of her duties, Paula recorded a public service announcement for United for Libraries and helps raise funds. For the last four years she has also been the headline panelist at the ALA’s annual conference for their “Laughs On Us” panel of writers. To quote Sally Reed, the ALA Nat'l Director: "...you'd have to come to one of these events to see how adored Paula is by librarians. We love her and it's never repetitive." Paula's incredible spontaneous humor is the perfect fit for the voracious appetite of the social networks: Follow her on: Twitter@twitter.com/paulapoundstone; Facebook: facebook.com/PaulaPoundstone. And enjoy her website: www.paulapoundstone.com Paula grew up in Sudbury, Massachusetts, and began performing at open-mic nights in 1979. Over the span of her career, she has amassed a list of awards and accolades that stretch the length of a great big tall guy’s arm. She not only shot through the glass ceiling, she never acknowledged it was there. She was never one to stereotype herself as a ‘female comedian’ or limit herself to comedy from a ‘female’ point of view. In the early 90’s she was the first woman to win the cable ACE for Best Standup Comedy Special and the first woman to be invited to perform standup at the prestigious White House Correspondents dinner where she joined the current President as part of the evening’s entertainment. Paula starred in a self-titled series for HBO in ’93 (for which she won her second Cable ACE Award for Best Program Interviewer) and moved the show to ABC which was short-lived, but applauded for its break from convention. Paula had her own comedy specials on HBO and BRAVO. In fact, she starred in several comedy specials on HBO, including “Paula Poundstone Goes to Harvard,” the only time the elite university has allowed their name to be used in the title of a television show. If it means anything to anyone, Paula is recognized as one of Comedy Central's 100 greatest stand-ups of all time. She won an American Comedy Award for Best Female Standup Comic, and in 2010 she was one of a select group voted into the Comedy Hall of Fame. Late-night America roared when Paula served as "official correspondent" for The Tonight Show during the 1992 Presidential race. This was followed by her extremely successful backstage commentary during the 1993 Emmy telecast. She has made numerous appearances on all the late night talk shows, including David Letterman, and a regular stint with Craig Ferguson. She has also appeared on The Today Show, Good Morning America, and guested several times on Garrison Keillor’s A Prairie Home Companion. In 2000, when a syndicated version of the popular game show To Tell The Truth came calling for Paula to be one of the panelists, she found another perfect showcase for her razor-sharp humor and spontaneous wit. Beginning in 1997, Paula voiced the character of Judge Stone on the acclaimed ABC-TV Saturday morning animated series Science Court (a.k.a. “Squigglevision”) for three years. In 1999 (the premiereseason) she added to her repertoire the voice of the Mom, ‘Paula’ in what is still considered a renownedcult show, Home Movies (UPN and The Cartoon Network). Paula guest starred on the CBS series Cybill, which led to a recurring role during the show’s final season, and also appeared on PBS favorites such as Sesame Street and Storytime. She won a local Emmy Award for her field pieces on the erudite “Life & Times” for PBS station KCET. She appeared on several network television specials including A Salute to The President from Fords Theatre on ABC when President Clinton was in office, and performed on every Comic Relief Special on HBO. These specials were heralded for the hundreds of thousands of dollars raised for the homeless and the lineup of stars. Paula has also enjoyed success as a Host of many events, including the Art Directors Guild Awards, an unprecedented 4 times, Logically Paula is almost always included in any compendium – be it film, television or print, noting comedic influences of the 20th/21st century. They include Why We Laugh Too: Women of Comedy (Lions Gate feature-length documentary, Showtime, 2013); We Killed: The Rise of Women in American Comedy (Sarah Crichton Books, 2012.) One of Paula’s quotes is even included in a new beautifully illustrated coffee table book on cats alongside quotes by notable authors and artists including W. H. Auden, Mark Twain, and Henry David Thoreau (Chronicle Books, 2015). Paula’s other writing credits include the back page column for Mother Jones from 1995-1998, the “Sunday Calendar” section for the Los Angeles Times, Entertainment Weekly, and Glamour magazine. In 2006 Paula authored a series of three math books with her high school Math teacher, Faye Ruopp: The Sticky Problem of Parallelogram Pancakes: And Other Skill-Building Math Activities, Grades 4-5; Venn Can We Be Friends?: And Other Skill-Building Math Activities, Grades 6-7; You Can't Keep Slope Down: And Other Skill-Building Math Activities, Grades 8-9. These are all available thru Amazon. Paula has three children, Toshia, Allison, and Thomas E. Poundstone. The family lives in Santa Monica, California.

The Haunt - Ithaca, NY

Oct 4

Oct 4

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

Price: $15

Event Information

The music of The Growlers is unmistakable. Sure, you can hone in on some influences baked into the work of this California-bred band. Heck, even they’d cop to a few, like Ricky Nelson and The Clash. But once those same RIYL tags have been filtered through the minds and hands and voices of this five-piece, there’s simply nothing else like it. The Growlers took the phrase “Beach Goth” as an apt descriptor of their music. Sunburned and salty, that term perfectly describes their distinctive melding of reverb heavy surf guitar and Bakersfield-style honky tonk with ‘80s post-punk. This is especially true of Chinese Fountain, The Growlers’ fifth full-length set to be released on September 23rd via Everloving Records. The 11 songs found on it are some of the strongest that they’ve committed to tape yet; a byproduct not only of eight years in the trenches together, but finely honing their gypsy folk dirges and psychedelic sea shanties to fans at close to 150 shows each year. The connection between vocalist Brooks Nielsen and guitarist Matt Taylor (the principal songwriters of the group) has only grown deeper. “The band played better than they’ve ever played,” says Nielsen. “We’ve got the process down now. There’s less screwing around to get the songs laid out and we weren’t waiting around for take after take. We knew it and we played without much time to spare.” That confidence bleeds through every track on Chinese Fountain, with the band assured enough to layer in shades of many new influences: the loping ska beat of “Dull Boy” and “Going Gets Tuff,” the playful disco beat behind the title track, or the Teardrop Explodes-like agitation of “Good Advice.” Not that the band left themselves much room to second-guess anything. The five spent about three weeks writing the tracks, and about half that time in the studio recording them. That may sound rushed, but it’s not as if you can hear any strain on the finished product; Chinese Fountain is as rock solid and watertight as anything in their still-growing discography. There’s evolution to be heard in Chinese Fountain as well, courtesy of some of Nielsen’s most pointed and poignant lyrics to date. He takes our obsession with the online world to task on the funky title track. When he drops the bomb that obliterates that most famous of Beatles’ claims with "The internet is bigger than Jesus or John Lennon” he re-contextualizes Marshall McLuhan's "the medium is the message" in the same breath. He urges positivity no matter the obstacles (“Going Gets Tuff”). Too, he reveals a tattered heart to the world on tracks like “Rare Hearts” and “Love Test.” “This is my chance to let it all out,” Nielsen says of these songs. “I kind of bottle things up and don’t really get emotional. But I think if I don’t open up, I’d be a really stale person.”

Academy of Music - Northampton, MA

with Caroline Rose

Oct 6

Oct 6

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

Event Information

The youngest of seven children, Patty Griffin grew up hearing her mother sing while doing housework and her grandmother's family sing on the front porch at night. In addition to listening intently to the Beatles, Griffin was fascinated by the music of Bruce Springsteen and Rickie Lee Jones. Although she acquired a $50 guitar and began writing songs at the age of 16, Griffin gave little thought to a career as a musician. After living in Florida for nearly two years, she moved to Boston and married, and while her husband encouraged her to perform, she spent most of her time waitressing. However, upon her divorce in 1992, Griffin found herself on her own and began to perform in Boston-area coffeehouses. She quickly attracted attention to her well-crafted songs and gutsy vocals. After Griffin's over-produced demo tape reached the ears of a talent scout, she was encouraged to re-record it with just her guitar and voice. Within six months, the redone demo resulted in Griffin being offered a recording contract with A&M. The tape was later released as Griffin's debut, Living With Ghosts, and inspired comparisons with recordings by Tori Amos and Alanis Morissette. Griffin's second album, Flaming Red, was released in 1998. Both records showcased the poetic lyricism, bluesy alto vocals, and melodic guitar picking that defined her style and brought her admiration. Four years later, Griffin appeared with a modest acoustic effort entitled 1,000 Kisses. While touring in support of the album in 2002, Griffin documented behind-the-scenes footage for a future DVD collection. A Kiss in Time, which appeared in October 2003, included coverage of the tour, interviews, and two full-length videos. A separate disc capturing Griffin's live stint at Nashville's Ryman Auditorium accompanied the package. Artists such as Lisa Germano, Emmylou Harris, and Buddy & Julie Miller joined Griffin for the recording of her fourth album, Impossible Dream, which appeared in April 2004. Almost three years later, Children Running Through was released. Griffin's sixth full-length outing, the gospel-infused Downtown Church, a collection of traditional and gospel materiel, was recorded in Nashville's Downtown Presbyterian Church, and arrived in January 2010. She wrote two selections for the album as well. That same year she appeared on Robert Plant's Band of Joy recording and tour. Griffin's next album of new original studio material, American Kid, appeared in early May of 2013; the album debuted at 36 on the Billboard Top 2000. That fall, her shelved 2000 album Silver Bell -- it got lost in record-label mergers of the time -- saw its long overdue release.

F.M. Kirby Center - Wilkes-Barre, PA

Oct 6

Oct 6

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

Event Information

Two veteran singer/songwriters join forces for a unique and intimate acoustic performance and deliver one of the most compelling and spontaneous concerts on the road.

A Grammy Award-winning singer, composer and actor, Lyle Lovett is one of music’s most vibrant and iconic performers. He has broadened the definition of American music, fusing elements of country, swing, jazz, folk, gospel and blues in a manner that defies convention and breaks down barriers. It is no surprise that the Americana Music Association awarded him its inaugural Trailblazer Award.

John Hiatt is a talented singer and guitarist best known for his prolific songwriting. His songs have been covered by musicians from Bonnie Raitt and the Neville Brothers to Iggy Pop and Three Dog Night. With 11 Grammy nominations and 24 albums to his name, he was inducted into the Nashville Songwriters Hall of Fame and won the Americana Music Association’s Lifetime Achievement Award in 2008.

The Hangar Theatre - Ithaca, NY

Oct 6

Oct 6

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

Event Information

Nick Lowe has made his mark as a producer (Elvis Costello-Graham Parker-Pretenders-The Damned), songwriter of at least three songs you know by heart, short-lived career as a pop star, and a lengthy term as a musicians’ musician. But in his current ‘second act’ as a silver-haired, tender-hearted but sharp-tongued singer-songwriter, he has no equal. Starting with 1995’s ‘The Impossible Bird’ through to 2011’s ‘The Old Magic,’ Nick has turned out a fantastic string of albums, each one devised in his West London home, and recorded with a core of musicians who possess the same veteran savvy. Lowe brings wit and understated excellence to every performance, leading Ben Ratliff of the New York Times to describe his live show as “elegant and nearly devastating.”

The Haunt - Ithaca, NY

Oct 8

Oct 8

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

Price: $18-$20

Event Information

Like their celestial namesake, Stars only come out at night. It’s been 14 years since the Montreal band debuted with an album of intimate synth-pop whispers titled Nightsongs, but really, any of the increasingly assertive and sonically elaborate records they’ve released since could be named that. Whether between the sheets or on the streets, the nighttime is when the most pivotal moments of your life play out: the drunken dusk-to-dawn hangs through which eternal friendships are forged; the knowing glance across the dancefloor that leads to exchanged phone numbers, that ominous 3 a.m. phone call from the hospital; the decision to turn a new leaf that can only come when you’ve spent five despairing hours staring at a ceiling fan. These are the worlds that Stars songs inhabit, to show us that, even in our most vulnerable and naked states, we are never truly alone.

Stars’ albums have always served as thermochromic barometers of their makers’ emotional well-being, be it the romantic upheaval of 2003’s Heart and 2004’s Set Yourself On Fire, the newsticker-triggered discontent of 2007’s In Our Bedroom After the War, the downcast elegies of 2010’s The Five Ghosts (a requiem for singer Torquil Campbell’s father, who passed away during the album’s creation), or the rejuvenation of 2012’s The North (recorded while inter-band couple Amy Millan and Evan Cranley were in the throes of new parenthood). However, as Millan admits, the band initially approached its new seventh album from a place of relative stability. “We’ve always had so many things defining every album, whether it was the band going through a difficult emotional turmoil, Torq’s father passing away, or us having children. And now it’s like: You know what? We’re pretty good. This is one of the best times of our lives.”

This time around, Stars decided to scratch the seven-album itch by shaping their own environment. After inheriting the Mile End rehearsal space vacated by the then-disbanding Handsome Furs, Stars refashioned the space—“basically a dirty apartment,” says Cranley—into a fully operational studio, where recording for No One Is Lost began last December with old friend Liam O’Neil (Metric, The Stills) behind the boards.

“It was initially quite painstaking,” says keyboardist Chris Seligman. “But we put love into our space and our space gave us love back.”

Campbell is also a parent, but his recording sojourns in Montreal allowed him to keep, shall we say, more traditional musician’s hours.

“I’m a nighttime guy, I don’t really like making records in the day,” says Campbell, who made the studio his home for the duration of his recording sessions. “I slept on the couch. I’ve never enjoyed making a record so much, because I always hated going home at the end of the day. This time, in Montreal, the studio was my home.”

Funnily enough, it was during one of Campbell’s studio sleepovers that the city itself became truly present: noise was bleeding in from the gay discotheque, The Royal Phoenix, located on the floor below them.

Says Campbell: “I went to sleep to the sound of Charli XCX every night—and I loved it.”

So rather than fight the funk, Stars rolled alongside, with the incessant 4/4 thump emanating from below serving as the metronomic template that would form the basis of No One Is Lost. You can hear that influence percolate in real time on the album’s monumental lead-off track “From the Night”—Stars’ most epic opening salvo since Set Yourself on Fire’s “Your Ex-Lover Is Dead”—with a near-subliminal pulse vibrating the floorboards beneath your feet before exploding into a kaleidoscopic, French-touched house jam. And that crowd noise you hear at the beginning? That’s Millan and Seligman walking into The Royal Phoenix during a Friday-night rager, field-recording gear in hand.

“The sub-bass throb coming from the club below our studio was undeniably and unavoidably influential,” affirms drummer Pat McGee. “It motivated us to out-throb the throb.”

But the Royal Phoenix proved to be more than just a musical inspiration; the bar essentially served as Stars’ home away from home, with the band coming to know the servers on a first-name basis, and even getting cocktails christened in their honour. And through observing the bacchanalia playing out every weekend in their de facto rec room, the thematic framework for the album came into focus.

“I always find it so moving and beautiful to watch people have their nights out. “ Campbell explains. “There’s something so heartbreaking about it: People have jobs that they have to get up for, jobs they hate, and they live for the weekend; they live for these moments. And they put everything they have into it: They put all their money into it, they put their emotion into it, they sacrifice their health for it, just to make a connection out there, and go home with someone and not be alone.”

During the writing of the new album, Stars were hit with another cruelly sobering reminder of just how precious our days here on this planet really are: the band’s long-time manager, Eoin O Leary, was diagnosed with cancer.

Fortunately, No One Is Lost translates all that anxiety into pure ecstasy, from the laser-cut new-waved precision of Millan’s “This Is the Last Time” to the soaring, Mozzerific chorus of Campbell’s “Trap Door” to the dreamy duet “Look Away.” And the titanic title track-closer—the sound of a dancefloor being swallowed whole by an ocean of sweat and swapped spit—feels like the moment Stars’ entire 15-year journey has been leading up to, a euphoric house banger that distills all the hope, fear, joy, sadness, and sex in the band’s songbook into a pair of unshakeable mantras: “put your hands up because everybody dies / put your hands up if you know you’re going to lose.”

“The fact Eoin got cancer is definitely sewn into the fabric of the album, lyrically and sonically,” Millan reveals. “Because you had to believe he was going to be okay. [Spoiler alert: he’s currently recovering from treatment quite nicely.] I think that’s where the title No One Is Lost comes from: We were the army standing behind him.”

Campbell, for his part, offers a somewhat more urgent interpretation:

“This record’s called No One Is Lost because that is a fucking lie. We are all lost, we are all going to lose this game and, as you get older, you lose people more and more. Eoin’s been facing down the Grim Reaper, and that was bringing us the fuck down. But we decided to go for it anyway, and so did he, and it was enormous act of blind hope to even think he would make it this far. So I wanted to call this record No One Is Lost because I just wanted to close my eyes and jump and hope that was true. Life is loss, love is loss. And loving people is about accepting that you’re going to have to say goodbye to them. And that’s why it’s fucking brave. It’s easy to hate, because you never have to let go of anything. It takes guts to be gentle and kind. That’s Stars’ ethos: this life is very heartbreaking and sad… so let’s get completely fucking arseholed and listen to some Dionne Warwick.”

Alas, Stars will need to find a new place to get arseholed: The day that the mastering of No One Is Lost was completed last July, word got out that The Royal Phoenix was closing, despite its undiminished popularity among local revellers. But then, this sudden turn of events was an oddly appropriate denouement for an album that evolved according to its own curious logic. After all, No One Is Lost is a record that began with Stars building a studio hideaway that allowed them to function as a self-contained unit free of external pressures, yet wound up being greatly shaped by its surrounding environment. And it’s a record that, at its core, was intended as a celebration of life but became a rallying cry for an ailing friend and, now, a eulogy to a beloved bar. But that’s the equally wonderful and terrifying thing about living for the night: you never know what the next one’s going to bring you. Each sundown marks not the end of the day, but the beginning of a new adventure into the unknown—and No One Is Lost is the radiant flash of pink neon that lights the way. So, go dance.

Berklee Performance Center - Boston, MA

Oct 9

Oct 9

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

Event Information

Arlo Guthrie was born with a guitar in one hand and a harmonica in the other, in Coney Island, Brooklyn, New York in 1947. He is the eldest son of America's most beloved singer/writer/philosopher Woody Guthrie and Marjorie Mazia Guthrie, a professional dancer with the Martha Graham Company and founder of The Committee to Combat Huntington's Disease.

For more than a decade, Arlo has toured worldwide with different shows: An America Scrapbook, beginning 1998 (with symphony orchestras), The Guthrie Family Legacy Tour, beginning 2006 (with various family members), Boys Night Out Tour, beginning 2008 (with his son, Abe Guthrie and Grandson, Krishna), The Lost World Tour, beginning 2008 (with a big band and The Burns Sisters), The Guthrie Family Rides Again Tour beginning in 2009 (with the entire family), The Journey On Tour beginning 2010 (Big band & The Burns sisters), The Guthrie Family Reunion Tour beginning 2012 (The whole family), Here Comes The Kid - The Woody Guthrie Centennial Tour beginning 2012), Here Come The Kid(s) beginning in 2013 (continuing the Woody Centennial). The Centennial celebration tour ends May 2014.

Interspersed between all the tours was the recurring "Arlo Guthrie Solo Reunion Tour - Together At Last," which was certainly the best named tour. The currant version of the solo tour runs from June 2014 - November 2014. After the solo tour Arlo will put "Alice's Restaurant" back on the setlist menu for "The Alice's Restaurant 50th Anniversary Tour", with will run from January 2015 through May 2016. If he survives the "Alice 50 Tour" he will go fishing.

He grew up surrounded by dancers and musicians: Pete Seeger, Ronnie Gilbert, Fred Hellerman and Lee Hays (The Weavers), Leadbelly, Cisco Houston, Ramblin' Jack Elliott, Sonny Terry and Brownie McGhee, all of whom were significant influences on Arlo's musical career. Guthrie gave his first public performance in 1961 at age 13 and quickly became involved in the music that was shaping the world. Over the next few years, Arlo inherited his father's friend Pete Seeger and the two toured together, between demonstrations, beginning in the late 60's. They continued doing over a dozen shows together almost every year for the next 40 years creating a legendary collaboration that continues to this day. The last Pete & Arlo show was in November 2012 at Carnegie Hall in New York City.

Arlo practically lived in the most famous venues of the "Folk Boom" era. In New York City he hung out at Gerdes Folk City, The Gaslight and The Bitter End. In Boston's Club 47, and in Philadelphia he made places like The 2nd Fret and The Main Point his home. He witnessed the transition from an earlier generation of ballad singers like Richard Dyer-Bennet and blues-men like Mississippi John Hurt, to a new era of singer-song writers such as Bob Dylan, Jim Croce, Joan Baez, and Phil Ochs. He grooved with the beat poets like Allen Ginsburg and Lord Buckley, and picked with players like Bill Monroe and Doc Watson. He learned something from everyone and developed his own style, becoming a distinctive, expressive voice in a crowded community of singer-songwriters and political-social commentators.

Arlo Guthrie's career exploded in 1967 with the release of "Alice's Restaurant", whose title song premiered at the Newport Folk Festival helped foster a new commitment among the '60s generation to social consciousness and activism. Arlo went on to star in the 1969 Hollywood film version of "Alice's Restaurant", directed by Arthur Penn. With songs like "Alice's Restaurant", too long for radio airplay; "Coming into Los Angeles", banned from many radio stations (but a favorite at the 1969 Woodstock Festival); and the definitive rendition of Steve Goodman's "City of New Orleans", Guthrie was no One-Hit-Wonder. An artist of international stature, he has never had a 'hit' in the usual sense. He has usually preferred to walk to his own beat rather than march in step to the drum of popular culture. Over the last five decades Guthrie has toured throughout North America, Europe, Asia, Africa and Australia winning a wide, popular following. In addition to his accomplishments as a musician, playing the piano, six and twelve-string guitar, harmonica and a dozen other instruments, Arlo is a natural-born storyteller, whose tales and anecdotes figure prominently in his performances.

In 1991 Arlo purchased the old Trinity Church. It was Thanksgiving 1965 that events took place at the church which inspired Arlo to write the song "Alice's Restaurant". Named for his parents, The Guthrie Center is a not-for-profit interfaith church foundation dedicated to providing a wide range of local and international services. Its outreach programs include everything from providing HIV/AIDS services to baking cookies with a local service organization; an HD walk-a-thon to raise awareness and money for a cure for Huntington's Disease, and offering a place simply to meditate. The Guthrie Foundation is a separate not-for-profit educational organization that addresses issues such as the environment, health care, cultural preservation and educational exchange. Arlo Guthrie, Rising Son Records and The Guthrie Center & Foundation are on the World Wide Web at http://www.risingsonrecords.com/

State Theatre of Ithaca - Ithaca, NY

Oct 9

Oct 9

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

Event Information

The youngest of seven children, Patty Griffin grew up hearing her mother sing while doing housework and her grandmother's family sing on the front porch at night. In addition to listening intently to the Beatles, Griffin was fascinated by the music of Bruce Springsteen and Rickie Lee Jones. Although she acquired a $50 guitar and began writing songs at the age of 16, Griffin gave little thought to a career as a musician. After living in Florida for nearly two years, she moved to Boston and married, and while her husband encouraged her to perform, she spent most of her time waitressing. However, upon her divorce in 1992, Griffin found herself on her own and began to perform in Boston-area coffeehouses. She quickly attracted attention to her well-crafted songs and gutsy vocals. After Griffin's over-produced demo tape reached the ears of a talent scout, she was encouraged to re-record it with just her guitar and voice. Within six months, the redone demo resulted in Griffin being offered a recording contract with A&M. The tape was later released as Griffin's debut, Living With Ghosts, and inspired comparisons with recordings by Tori Amos and Alanis Morissette. Griffin's second album, Flaming Red, was released in 1998. Both records showcased the poetic lyricism, bluesy alto vocals, and melodic guitar picking that defined her style and brought her admiration. Four years later, Griffin appeared with a modest acoustic effort entitled 1,000 Kisses. While touring in support of the album in 2002, Griffin documented behind-the-scenes footage for a future DVD collection. A Kiss in Time, which appeared in October 2003, included coverage of the tour, interviews, and two full-length videos. A separate disc capturing Griffin's live stint at Nashville's Ryman Auditorium accompanied the package. Artists such as Lisa Germano, Emmylou Harris, and Buddy & Julie Miller joined Griffin for the recording of her fourth album, Impossible Dream, which appeared in April 2004. Almost three years later, Children Running Through was released. Griffin's sixth full-length outing, the gospel-infused Downtown Church, a collection of traditional and gospel materiel, was recorded in Nashville's Downtown Presbyterian Church, and arrived in January 2010. She wrote two selections for the album as well. That same year she appeared on Robert Plant's Band of Joy recording and tour. Griffin's next album of new original studio material, American Kid, appeared in early May of 2013; the album debuted at 36 on the Billboard Top 2000. That fall, her shelved 2000 album Silver Bell -- it got lost in record-label mergers of the time -- saw its long overdue release.

The Dock - Ithaca, NY

Oct 9

Oct 9

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

Price: $10-$13

Event Information

Recently called one of “the Western Mass. indie scene’s brightest creative lights” by Pitchfork, Northampton, Massachusetts’ And The Kids recently released their debut full-length album, Turn to Each Other (Signature Sounds). Turn to Each Other is more than an album title: it’s a statement of fact for the band, whose bond — as musicians, friends and creative foils — is as tight as they come. The album features 11 tracks full of ringing guitars from Hannah Mohan, knotty rhythms from drummer Rebecca Lasaponaro and bold accents from synthesizers and percussion by Megan Miller. Together, they create “apocaplyptic pop”, a dizzying stop-start ride with lush, intricate soundscapes that frame Mohan’s lively lead vocals. NPR Music recently raved, “Guitarist Hannah Mohan’s striking vocals rival the vibrato and boldness of Siouxsie Sioux… [And The Kids] make music that’s both fearless and entertaining.” An ongoing struggle with border issues for Miller, a Canadian citizen, initiated the addition of bassist Taliana Katz to the touring ensemble. Katz made her debut as part of the band at their NPR Tiny Desk Concert and continues to carry the energy of the album to the stage.

State Theatre of Ithaca - Ithaca, NY

Oct 10

Oct 10

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

Event Information

THE MACHINE, America’s top Pink Floyd show, has forged a 25 year reputation of excellence, extending the legacy of Pink Floyd, while creating another legacy all their own. Over the years, The Machine has touched the hearts and souls of many, selling out theaters, large clubs and casinos across North and Central America, Europe and Asia. They have also appeared at renowned music festivals such as Bonnaroo, Riverbend, Gathering of the Vibes, Buffalo's Artpark, and Germany’s Rock of Ages.

The New York based band focuses on making every show an authentic Floydian experience for their fans. Known for performing a diverse mix of The Floyd’s extensive 16-album repertoire (complete with faithful renditions of popular hits as well as obscure gems), The Machine’s stellar musicianship, dramatic lighting and video, and their passionate delivery sets them above and beyond the rest.

In the classic tradition, The Machine explores collective improvisation paralleling and even rivaling that of an early 1970’s Pink Floyd mentality. Their use of expanded theatrical elements and elaborate stage displays continues in the spirit of the later Floyd lineups of the 1980’s. The band is also known for recreating entire albums as a part of their show, accepting requests from fans, and for taking an A to Z approach in which one song is played for every letter of the alphabet. Additionally, the quartet has been sharing the stage with full symphony orchestras, including the Atlanta, Detroit, Pittsburgh and San Diego Symphonies.

In 2004, Two Nights at the Keswick was released as a DVD/CD, archiving the band’s bi-annual residency at this historic Philadelphia venue. Their next release, Unplugged (2006) captures a special acoustic performance at B.B. King’s in NYC featuring rare Syd Barrett solo material and deep cuts from early Floyd albums. Live In Amsterdam, a stunning concert DVD filmed at the Pepsi Stage, was released in August of 2008.

The Dock - Ithaca, NY

General Admission Seated Event

Oct 11

Oct 11

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

Price: $15-$20

Event Information

Robbie Fulks is an alt country artist originally from Raleigh, North Carolina but is a longtime Chicago, Illinois resident. He has been active for many years and is still recording and performing music. Fulks is known for his disdain of mainstream modern country and the country music industry, as exemplified by his scorching rebuke of Nashville titled "Fuck This Town." His live performances feature improvised rearrangments of his original songs, off-the-cuff musical humor, and covers of songs by Michael Jackson and Cher, among others.Before beginning his solo career, Fulks joined the Bluegrass band Special Consensus. Here he showcased his unique guitar playing, and appeared on the Grammy-nominated album "Hole In My Heart" released in 1989. Fulks' solo debut, "Country Love Songs" was released on Bloodshot Records in 1996 to positive reviews. This album was followed by 1997's South Mouth, which cemented Fulks' retro-alternative image.As fans had grown used to Bloodshot's rough and sparse sound, many were shocked by the release of Fulks' third album, 1998's "Let's Kill Saturday Night," on Geffen Records. When Geffen disbanded shortly after the release of the record, Fulks found himself without a label, and did the logical thing, starting his own company, Boondoggle Records (distributed by Bloodshot), and releasing an album of previously unreleased material called "The Very Best of Robbie Fulks."2001 saw the release of both "Couples in Trouble," a dark, brooding, and decidedly non-country album, and, just 3 months later, "13 Hillbilly Giants," a collection of covers of classic country numbers both obscure and well known.

The Haunt - Ithaca, NY

with The Sidekicks & Yowler

Oct 13

Oct 13

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

Price: $13-$15

Event Information

Saintseneca’s powerful new album Such Things is the band’s most cohesive, catchy and accessible output, and a work that solidifies the group’s singer and songwriter Zac Little’s status as one of modern indie music’s most thoughtful and talented artists. The record arrives October 9th via Anti-. The first single, “Sleeper Hold” is a pulsating and infectious rock song that utilizes elements of punk, folk and straight up rock and roll, all centered around a soaring and beautifully anthemic chorus. Such Things is the anticipated follow up to Saintseneca’s acclaimed album Dark Arc, which Stereogum celebrated writing, “Dark Arc shines in all the ways Saintseneca always has — gorgeous harmonies, rampant strumming, glimpses of both humanity’s fragility and power — but it also finds the band branching out into fuller arrangements and wilder instrumentation. (Wilder, even, than the plastic trash can they used to beat on.) It’s what an underground folk band stepping into the spotlight should sound like.” Moving away from the cinematic, linear quality of Dark Arc, Little sought even higher ground for the new songs, and to incorporate the synapses and charges of his fellow members. “I was pushing myself with Such Things to try to explore the pop motif further, to try to use and bend that formula of having a groove, a beat, locking in and using that as scaffolding to build a song,” he says. “And even though it oftentimes might seem like this singular vision, at the core my creative strategy for the band is one that inherently involves other people. I think the best work I’ll make involves working that way.” Those disparate pieces and parts have come together, like so many molecules, to form a solid rock object called Such Things. You can hold it in your hands and hear it in your head, this culmination of tiny, beautiful moments and fluctuations of energy and information, compressed and etched into an LP sleeve and eternity and all tied up in a rock and roll record. “It’s definitely a new way of songs manifesting, and it feels like a step forward,” Little says. “I’m gonna push myself and try this thing I’ve wanted to try. I think it’s the best thing we’ve done so far, but then again I won’t write a song that I don’t think isn’t the best thing I’ve done. When I finish it I have to feel like it’s the best thing I’ve made. And if I don’t feel that way, it’s like, why bother?”

The 9th Ward - Buffalo, NY

with The Sidekicks & Yowler

Oct 14

Oct 14

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

Event Information

Saintseneca’s powerful new album Such Things is the band’s most cohesive, catchy and accessible output, and a work that solidifies the group’s singer and songwriter Zac Little’s status as one of modern indie music’s most thoughtful and talented artists. The record arrives October 9th via Anti-. The first single, “Sleeper Hold” is a pulsating and infectious rock song that utilizes elements of punk, folk and straight up rock and roll, all centered around a soaring and beautifully anthemic chorus. Such Things is the anticipated follow up to Saintseneca’s acclaimed album Dark Arc, which Stereogum celebrated writing, “Dark Arc shines in all the ways Saintseneca always has — gorgeous harmonies, rampant strumming, glimpses of both humanity’s fragility and power — but it also finds the band branching out into fuller arrangements and wilder instrumentation. (Wilder, even, than the plastic trash can they used to beat on.) It’s what an underground folk band stepping into the spotlight should sound like.” Moving away from the cinematic, linear quality of Dark Arc, Little sought even higher ground for the new songs, and to incorporate the synapses and charges of his fellow members. “I was pushing myself with Such Things to try to explore the pop motif further, to try to use and bend that formula of having a groove, a beat, locking in and using that as scaffolding to build a song,” he says. “And even though it oftentimes might seem like this singular vision, at the core my creative strategy for the band is one that inherently involves other people. I think the best work I’ll make involves working that way.” Those disparate pieces and parts have come together, like so many molecules, to form a solid rock object called Such Things. You can hold it in your hands and hear it in your head, this culmination of tiny, beautiful moments and fluctuations of energy and information, compressed and etched into an LP sleeve and eternity and all tied up in a rock and roll record. “It’s definitely a new way of songs manifesting, and it feels like a step forward,” Little says. “I’m gonna push myself and try this thing I’ve wanted to try. I think it’s the best thing we’ve done so far, but then again I won’t write a song that I don’t think isn’t the best thing I’ve done. When I finish it I have to feel like it’s the best thing I’ve made. And if I don’t feel that way, it’s like, why bother?”

State Theatre of Ithaca - Ithaca, NY

Oct 17

Oct 17

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

Event Information

Southside Johnny and the Asbury Jukes first achieved prominence in the mid-1970s, emerging from the same New Jersey Shore music scene as his now legendary contemporary and friend Bruce Springsteen. Southside’s first three albums, I Don’t Want To Go Home, This Time It’s for Real, and Hearts of Stone, were produced by band co-founder Steven Van Zandt (E Street Band, The Sopranos), and largely featured songs written by Van Zandt and/or Springsteen. The Van Zandt-written “I Don’t Want To Go Home” became Southside’s signature song, an evocative mixture of horn-based melodic riffs and sentimental lyrics. In 1982 Rolling Stone Magazine voted Hearts of Stone among the top 100 albums of the 1970s and 1980s. With their classic blend of hard-core R&B and street-level rock, molten grooves, soulful guitar licks and blistering horn section, Johnny and his Jukes continue to put their unique stamp on the Jersey Shore sound, while recalling the glory years of Otis Redding and similar Stax Records titans.

Memorial Auditorium - Burlington, VT

Oct 19

Oct 19

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

Event Information

Modest Mouse was formed in 1993 in Issaquah, Washington and over the last decade has become the indie rock standard and one of the few bands capable of treading the narrow path where massive popularity is possible without sacrificing their longtime fans. The band released their first full-length album, This Is A Long Drive For Someone With Nothing To Think About, on the Up label in 1996. With the release of their second album, The Lonesome Crowded West in 1997, the band’s status reached new heights with a legion of fans and critical acclaim. In 2000, Modest Mouse was signed to Epic Records and released their third album, The Moon & Antarctica. In 2004 came the release of their breakthrough album, Good News For People Who Love Bad News, which included the hit “Float On,” has sold over 1.5 million copies and earned the band two Grammy nominations The most recent Modest Mouse album, We Were Dead Before The Ship Even Sank, was released on March 20, 2007 and immediately entered the Billboard Top 200 chart at #1. On August 4th, 2009 Modest Mouse released a special EP, No One’s First, And You’re Next. This new EP contains eight songs, six of which were released as limited edition 7” vinyl singles. Also included on the EP is ‘King Rat’ which was a limited promo-only 7” single free with the purchase of We Were Dead Before The Ship Even Sank in 2007 and ‘I’ve Got It All (Most)’ which was the b-side to the ‘Float On’ single in 2004 and is currently out of print. No One’s First, And You’re Next debuted at #15 on the Billboard Top 200 and was the #2 Digital Album. Simultaneous to the EP release, Modest Mouse released the highly anticipated Heath Ledger directed video for ‘King Rat,” a track also included on the No One’s First, And You’re Next EP.

College Street Music Hall. - New Haven, CT

Oct 21

Oct 21

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

Event Information

Modest Mouse was formed in 1993 in Issaquah, Washington and over the last decade has become the indie rock standard and one of the few bands capable of treading the narrow path where massive popularity is possible without sacrificing their longtime fans. The band released their first full-length album, This Is A Long Drive For Someone With Nothing To Think About, on the Up label in 1996. With the release of their second album, The Lonesome Crowded West in 1997, the band’s status reached new heights with a legion of fans and critical acclaim. In 2000, Modest Mouse was signed to Epic Records and released their third album, The Moon & Antarctica. In 2004 came the release of their breakthrough album, Good News For People Who Love Bad News, which included the hit “Float On,” has sold over 1.5 million copies and earned the band two Grammy nominations The most recent Modest Mouse album, We Were Dead Before The Ship Even Sank, was released on March 20, 2007 and immediately entered the Billboard Top 200 chart at #1. On August 4th, 2009 Modest Mouse released a special EP, No One’s First, And You’re Next. This new EP contains eight songs, six of which were released as limited edition 7” vinyl singles. Also included on the EP is ‘King Rat’ which was a limited promo-only 7” single free with the purchase of We Were Dead Before The Ship Even Sank in 2007 and ‘I’ve Got It All (Most)’ which was the b-side to the ‘Float On’ single in 2004 and is currently out of print. No One’s First, And You’re Next debuted at #15 on the Billboard Top 200 and was the #2 Digital Album. Simultaneous to the EP release, Modest Mouse released the highly anticipated Heath Ledger directed video for ‘King Rat,” a track also included on the No One’s First, And You’re Next EP.

Water Street Music Hall - Rochester, NY

Oct 22

Oct 22

Doors open at 6:30 pm Starts at 7:30 pm Ages 16+ Only

Price: $16.50-$20

Event Information

Whether they’re just strutting their stuff or referencing a sexual position, the Front Bottoms have delivered a powerful new album with Back On Top. Their first for Fueled By Ramen is both full of departures and a continuation of the work they’ve been building on for years. Brian Sella (vocals, guitar) and Mat Uychich (drums) have put together a vibrant array of killer new songs with their band mates Tom “Two Slaps” Warren (bass) and Ciaran “C-­‐Dog” O’Donnell (guitar, horns, keyboards). The growth and confidence shows in the work of this unit of four. While there is plenty that is familiar from Mat’s powerhouse drumming to Brian’s acoustic guitar and a healthy dose of horns, there is also plenty that is new, including bigger rock sounds (“Motorcycle,” “West Virginia,” “The Plan (Fuck Jobs)”) and surprisingly melodic vocal parts. (“Cough It Out,” “HELP”). There’s even a guest turn from Jersey rapper GDP who takes their darker side to even darker places in the “Historic Cemetery.” Songs flow seamlessly into each other and the album just gets stronger as it moves along. Under the production ears of Joe Chiccarelli (Beck, The Strokes, Morrissey, White Stripes) the mixes are especially detailed; perfect for cheap earbuds or high end stereo equipment. The band worked with Joe for weeks on pre-­‐production, getting parts to lock in with each other. Mat said he enjoyed the wide range of drums and percussion options he was able to use at Sunset Sound in Los Angeles while Brian admitted being pushed into some new creative places. The album kicks off with “Motorcycle” and introduces some key lyrical themes -­‐ hitting the open road and self reflection. Are they looking inward while still embracing forward motion? Does the party continue while one uneasily checks the rearview mirror? Or as Brian puts it, “Sometimes you got to close your eyes to truly see the light.” In “Summer Shandy” Brian appears to embrace his public image while trying to dismantle it. The song features a slinky bottom heavy groove as he bemoans his “badboy blues” secretly doing pushups when he thinks no one is watching. "I was pretty pleased with the person I was pretending to be," says it all. Sella’s remarkable ability to mix a variety of emotions within any given set of lyrics is on display for Back On Top as he lets the doggerel out the backdoor to romp with the sacred, profane and funny. The afore mentioned “Cough it Out” has Brian singing an intricately layered chorus using a new melancholic vocal style that includes one of his most heart tugging lines, “I’ll defend you if I can/But whatever I did for you last year I cannot do again.” The song has a great DIY video to go with it made by Mat and Brian using GoPro cameras, bicycles and a turtle. The outskirts of Jersey City, NJ never looked so good as Mat tests the waters for a very unique bike ride. The Front Bottoms started making a name for themselves after the crash of ‘08 when American youth found themselves saddled with college loans, unemployment, part-­‐time minimum wage service jobs and the prospect of living at home or in shady situations on twin size mattresses. TFB hit a nerve with their first two albums on the Bar/None label-­‐-­‐the self-­‐titled debut combined two EPs: Slow Dance To Soft Rock and Grip and Tie (2011). They followed it with Talon Of the Hawk (2013) recorded in Austin TX by Chris “Frenchie” Smith. (Interesting side note: both producers chose an Elektro-­‐Voice 666 microphone for Brian’s vocals, independent of each other.) Mat and Brian started making homemade recordings as teenagers later re-­‐working the best of that material on the Grandma Rose EP (2014). They played all sorts of VFW halls and punk houses to get their chops together evolving into a heavy touring outfit that solidified a viral-­‐fueled fan base as they opened for everyone from Tenacious D to Weezer. NPR embraced them along with college radio and press outlets as varied as Alternative Press and Huffington Post. The band now has a loyal following all over the USA, across Europe, even down under in Australia. They’ve started the TFB Motorcycle Club to announce special secret shows, exclusive merch and club meet ups. It’s a no brainer -­‐ would you rather be in a fan club or a biker gang? Imagine the possibilities for lyrics emblazoned on the back of leather jackets. Back on Top is full throttle TFB -­‐ an album with the uncanny ability to tear at your heart while showing you the best time you ever remember having—and as the good times turn into instant nostalgia -­‐ feel the engines roar as the cycles head for the horizon.

The Dock - Ithaca, NY

with Jefferson Grizzard

General Admission Seated Event

Oct 22

Oct 22

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

Price: $15-$20

Event Information

The New York Times called Willie Nile "one of the most gifted singer-songwriters to emerge from the New York scene in years." His album “Streets Of New York” was hailed as “a platter for the ages” by UNCUT magazine. Rolling Stone listed “The Innocent Ones” as one of the “Top Ten Best Under-The-Radar Albums of 2011” and BBC Radio called it “THE rock ‘n’ roll album of the year.” His single from that album, “One Guitar,” was the “Top Pick of the Week” in USA Today. “The Innocent Ones” was chosen Rock Album of the Year by the Independent Music Awards. Bruce Springsteen, Pete Townshend, Bono, Lou Reed, Lucinda Williams, Jim Jarmusch, Adam Duritz and Little Steven are among those who have sung his praises. His new studio album, “American Ride,” debuted at #1 on the Billboard Heatseekers/Top New Artist Album chart. It appeared on dozens of year-end Top Ten lists for 2013 and was voted “Album Of The Year” at Twangville Magazine. Bono called it, “One of the great guides to unraveling the mystery that is the troubled beauty of America.” Music fans from around the world chose “American Ride” Rock Album of the Year in the 2014 Independent Music Awards public vote. This is his time! Willie has toured across the U.S. with The Who and has sung with Bruce Springsteen and The E Street Band numerous times. His live performances are legendary and he is cur- rently touring across the U.S. and Europe to support the new album.

The Dock - Ithaca, NY

General Admission Seated Event

Oct 23

Oct 23

Doors open at 6:30 pm Starts at 7:30 pm Ages 18+ Only

Price: $20

Event Information

This is a general admission seated event


Nels Cline is a major force as a guitarist and improviser, ever since he debuted on record in 1978 and as a leader in 1988. Named by Rolling Stone as one of 20 “new guitar gods” and one of the top 100 guitarists of all time, Cline has gained his widest fame as a member of acclaimed rock band Wilco since 2004. He’s known for a certain cranked-up experimental mayhem, the kind sometimes heard from his extraordinary trio the Nels Cline Singers, which released the well-received MACROSCOPE on Mack Avenue earlier in 2014. But throughout his career, Cline has undertaken projects, sometimes acoustic or semi-acoustic duos, highlighting an intimate and reflective approach that’s just as central to his artistry. With ROOM, Cline returns to Mack Avenue, creating a world of melodic beauty but also hard sonic edges and technical brilliance in the company of Julian Lage. At just 26, Lage has taken the world of jazz guitar by storm. The New York Times hails the “disarming spirit of generosity” in Lage’s music and notes the young guitarist’s “roots tangled up in jazz, folk, classical and country music.” In addition to his work with Mark O’Connor, the late Jim Hall, Anthony Wilson and a great many others, Lage leads his own groundbreaking groups as documented on the albums Gladwell and Sounding Point (the latter earning Lage a Grammy nomination). In a 2013 Q&A with JazzTimes, Lage described the Cline-Lage duo sound as “200 percent power,” and that’s exactly what comes through on ROOM: an inspired collection of originals and collaborative pieces that run the full range from intricately composed and complex to free and spontaneous. Cline builds on the strength of his previous duo work with the likes of Vinny Golia, Zeena Parkins, Elliott Sharp, Thurston Moore, Carla Bozulich, Marc Ribot and not least of all the late West Coast bassist Eric Von Essen, to which the gorgeous dual-acoustic showcase “Whispers from Eve” is dedicated. Lage, for his part, has worked in duo settings with David Grisman, Martin Taylor, John Abercrombie, Taylor Eigsti and others. Cline and Lage remain on acoustic guitars to end ROOM with “Calder,” a reference to the visionary sculptor Alexander Calder. “I have a Calder mobile that my mom sent me years ago when I moved back east,” Lage says. “It hangs in my apartment and I just love it. So though I wrote the tune first and the title came later, I felt like the presence of the mobile fit the mode of the piece well.” On ROOM one hears two guitar masters who span the generations, comfortable in every conceivable role, meeting the daunting challenges of these compositions while giving themselves over to the moment. In the JazzTimes Q&A, Cline credited the duo for revitalizing his playing overall: “I was burned out on touring, burned out on myself…. And when Julian and I started playing together it kicked my ass hard. At the same time it inspired me and refreshed my soul.” Lage replied, “Likewise.”

The Haunt - Ithaca, NY

with Banditos

Oct 23

Oct 23

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

Price: $16.50-$20

Event Information

Age policy: 18+ with ID / under 18 with a parent or guardian

The Dock - Ithaca, NY

General Admission Seated Event

Oct 24

Oct 24

Doors open at 7:00 pm Starts at 8:00 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.

Academy of Music - Northampton, MA

Oct 29

Oct 29

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

Event Information

Joe Jackson will be releasing a new album Fast Forward on Oct 2nd and touring the US this fall - playing new and old material, solo and with a new band. The US tour will hit the Academy of Music in Northampton on October 29th. Along with songs from the new project, the show will include songs from his entire career, including his most popular albums (Look Sharp, Night and Day). Jackson will be "his own opening act," starting the show with a short solo piano/vocal set before bringing on the full band. The show will also include a surprising cover version or two, which will change from night to night. For this tour Jackson has reunited with longtime bassist Graham Maby, and added two distinguished and eclectic New York-based musicians, guitarist Teddy Kumpel and drummer Doug Yowell. "We're all strong singers," says Jackson, "and along with that and Teddy's diversity and mastery of effects, and Doug's use of electronic as well as live percussion, we'll sound like a lot more than four people. This tour is going to be a lot of fun - I can't wait." Fast Forward was produced and arranged by Jackson, and features four sets of four songs recorded in four different cities – New York, New Orleans, Berlin and Amsterdam – each with a different set of incredible supporting musicians. You can listen to "A Little Smile" (a track from the Amsterdam sessions) on the JoeJackson.com homepage right now.

Center for the Arts of Homer - Homer, NY

Oct 31

Oct 31

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

Event Information

Caravan of Thieves might be the most fun you’ve had at a concert.


Driving gypsy-jazz rhythms, acoustic guitars, upright bass, and violin lay the foundation for mesmerizing vocal harmonies and fantastic stories. It’s theatrical and humorous. It’s musical and intense. It entertains, dazzles, and defies classification, while welcoming the audience to join the band throughout the performance in momentary fits of claps, snaps, and sing-alongs. If Django Reinhardt, the cast of Stomp, and the Beatles all had a party at Tim Burton’s house, Caravan of Thieves would be the band they would hire.


The music of the Caravan of Thieves ranges from classic gypsy jazz with jump-blues-style vocals and dazzling guitar and violin instrumentals to a swing cover of a tune by the Talking Heads to a note-perfect rendition of Queen’s “Bohemian Rhapsody.”

Center for the Arts of Homer - Homer, NY

Nov 7

Nov 7

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

Event Information

The universe of guitar knows no boundaries for The California Guitar Trio. Since 1991, the group has enthralled listeners with a singular sound that fearlessly crisscrosses genres. The trio’s questing spirit drives it to explore the intersections between rock, jazz, classical, and world music. It even throws in the occasional surf or spaghetti Western tune for good measure. Comprised of Bert Lams, Hideyo Moriya and Paul Richards, the group has established a unique, personal connection with audiences. In addition to dazzling musicianship and interplay, The California Guitar Trio's (CGT) shows are full of captivating stories and humor that enable concertgoers to feel like they're part of the music, not just spectators. In fact, the group’s goal is to transcend their instruments, so people focus on the music first, and its considerable technical prowess a distant second.

State Theatre of Ithaca - Ithaca, NY

Nov 7

Nov 7

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

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!

State Theatre of Ithaca - Ithaca, NY

Nov 8

Nov 8

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

Event Information

The work of Scott Bradlee & Postmodern Jukebox has been viewed on the ensemble’s YouTube channel well over a hundred million times. Most of those doing the viewing, however, are not fully aware of the method to Bradlee’s madness.
On the surface, the method is video – clips of full-band performances (that’s Bradlee on piano) shot in the bandleader’s living room with a single stationary camera. The madness: pop hits of the present performed à la pop hits of the past. Miley Cyrus’ “We Can’t Stop” assayed as a doo- wop number; Macklemore and Ryan Lewis’ “Thrift Shop” tricked out in flapper jazz; Sam Smith’s “Stay With Me” rendered a 1940s big-band standard.
In fact, Bradlee’s method runs deeper. He’s educating his audience about 20th-century song styles; he’s commenting on the elasticity of the pop form; he’s confounding cultural context; he’s uniting generations; he’s breaking the rules. He’s manifesting postmodernist ideas in his approach to production and business as well as music. But as far as the fans are concerned, it’s just fun (and sometimes funny). Bradlee himself will tell you, simply, “I reimagine a song in another style because I want to hear it that way.”
Clearly, so does everyone else, as evidenced by PMJ’s presence on concert stages (stateside and abroad) and Billboard’s Jazz Albums chart, where its self-released 2014 opus
“Historical Misappropriation” landed in the Top 10 alongside
John Coltrane’s “Offering: Live at Temple University” and “All Rise: A Joyful Elegy for Fats Waller.”
This proximity of Bradlee’s outfit to Waller is particularly fitting; the former, a self-taught jazz pianist, considers the latter, an innovator of the Harlem stride style who helped lay the groundwork for modern jazz piano, a key influence, as is Jellyroll Morton, James P. Johnson and Art Tatum.
Which isn’t to discount the importance to Bradlee’s development of Michael Jackson’s “Bad,” the vinyl incarnation of which was, he says, “the first album I ever loved.” That was when he was six, growing up in Pattenburg, New Jersey, where he moved at four from Nesconset, New York. He took piano lessons, but they didn’t take. Then, at age 12, Bradlee heard “Rhapsody in Blue” and was forever changed. “I got the sheet music and taught myself how to play it,” he recalls. “I started wondering, ‘Where does this come from? What else sounds like this?’”
Asked what appealed to him about the popular music of the 1920s, ragtime especially, he says, “I could play it fast and loud. It was brash. And it had contempt for rules, which really appealed to me.”
Bradlee began his career as a jazz pianist during high school with a standing gig at a local eatery; he began his career as a pop-cultural provocateur during high school with a “this might be cool” ragtime medley of classic rock songs. “Not much has changed,” he says of the lyrical content of pop music. “In the 1920s, in the ’60s and ’70s, today – it’s still about love and drinking and dancing.”
He pursued Jazz Studies at the University of Hartford, then moved to New York to become a starving artist. He booked gigs, but as he puts it, “Jazz pianists are a dime a dozen in New York City.” So he moved to Astoria to save on rent and, in 2009, started making videos. “There was this niche on YouTube where people were doing experimental, interesting, funny things with music,” he notes. “It was another way to reach an audience.”
Bradlee’s first video was straight-up jazz. He didn’t have much footage of himself, however, so he decided to try a video experiment of his own: a ragtime medley of ’80s pop. He managed to amass 100 views. But through one of those viewers, Neil Gaiman discovered him. The author tweeted Bradlee’s flying fingers to his millions-strong Twitter following. Within a week, Bradlee reports, “more people had seen that video than had
seen me play live my entire life.”
Things went viral from there, affording Bradlee and the coalescing Postmodern Jukebox a receptive online crowd. Among Scott Bradlee & Postmodern Jukebox’s subsequent hits are a New Orleans-flavored take on Guns N’ Roses’ “Sweet Child o’ Mine” – 4+ million views; the “grandpa-style” reiteration of “Thrift Shop” – 6+ million views; and “We Can’t Stop” – 11.6 million views. Media coverage, including the likes of “Good Morning America” and NPR, ensued.
How does he come up with this stuff? “A lot of pop songs are constructed of elements that lend themselves to a certain feel,” he points out. “The simple progression of the bass line in ‘Blurred Lines,’ for instance, reminded me of bluegrass. ‘Sweet Child’ sounds like an old blues song – the structure, the way the chorus repeats ...” With Cyrus, it was more an instance of tongue-in- cheeky cultural criticism: “She’d gained all that notoriety from her 2013 VMA appearance. I had to recast her song for the ’50s, which everyone thinks of as this squeaky-clean era.”
Then there were the gifts from the pop-music gods, like Meghan Trainor’s #1 hit “All About That Bass.” Bradlee knew a musiciansinger named Kate Davis. “I’d wanted to do something with Kate for a while,” he reveals, “but I was waiting for the right song to come along.” Check the PMJ video for “All About That Bass” and you’ll find Davis singing – and playing stand-up bass. If you do click there, you’ll be in good company: 10 million views and counting.
The mashup of Davis and Trainor is some good old-fashioned A&R. The repertoire Bradlee selects for PMJ’s vocal artists has furnished a platform for some very talented but previously littleknown performers. And it’s not just the eyeballs afforded by YouTube; Bradlee provides an intuitive musical context for the singular gifts of these singers that allows them to be seen in a new light – it’s as if he’s somehow cracked the code to their essential appeal.
Take Puddles. “Last week, a seven-foot clown dropped by my apartment to sing an epic cover of Lorde’s ‘Royals.’ NBD,” Bradlee blogged in November of 2013. Puddles the Clown (née Michael Geier), frontman for Puddles Pity Party, is possessed of a dramatic baritone that has thrilled cabaret-goers for years – but it wasn’t until Bradlee asked Puddles to cover “Royals” in his signature style that he clicked with a mainstream audience. The reinterpretation of Lorde’s chart-topper, just one of Puddles’ collaborations with PMJ, has been viewed more than nine million times.
Discovering talent and knowing what to do with it is fundamental to the business of music. Bradlee is something of a postmodernist here, too, having achieved renown doing everything himself, mostly online, “with no budget” (i.e. using the recording equipment he’d had since college). His adherence to the DIY ethos also suggests the decidedly postmodern form of punk rock. “I was a struggling jazz pianist sitting in my basement apartment in Queens,” he attests, “but I just figured it out and made it happen.”
That said, punk rock is likely not top of mind for those attending a Scott Bradlee & Postmodern Jukebox show. The scene is more reminiscent of a speakeasy, with swells in vintage threads swilling Prohibition-era cocktails. “It’s a variety show, a musical revue featuring special guests,” Bradlee illuminates. “Coming to a PMJ show is like time-traveling back to Old Hollywood – it’s an experience.” Creating that for audiences appears to be PMJ’s ultimate mission.

Stanley Center for the Arts - Utica, NY

Nov 8

Nov 8

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

Event Information

GORDON LIGHTFOOT PROUDLY ANNOUNCES: "50 YEARS ON THE CAREFREE HIGHWAY TOUR"


After 50 active years of hit song making and international album sales well into the multi-millions, it's safe to say that esteemed singer-songwriter and musician Gordon Lightfoot resides with some very exclusive company atop the list of all-time greats. His song catalog is incredibly vast and includes such immortals as “Early Morning Rain,” “If You Could Read My Mind,” “Carefree Highway,” “Sundown,” “(That's What You Get) For Lovin Me,” “The Wreck Of The Edmund Fitzgerald," "Cold On The Shoulder", "Canadian Railroad Trilogy," "Ribbon Of Darkness," "Beautiful," "Song For A Winter's Night", "Shadows", "Rainy Day People", "Did She Mention My Name" and "Summertime Dream to name just a few. But this year is special for the legendary artist who has announced plans for a cross-country USA tour entitled "Gordon Lightfoot - 50 Years On The Carefree Highway". The tour will feature his well known hits as well as some deep album cuts for the die-hard fans. All of which are woven together with some of Lightfoot's own behind the scenes stories and personal anecdotes about his historic 50year musical career. The event is sure to be a great thrill for live audiences and anyone who enjoys hearing great music and seeing a living legend in person. Gordon Lightfoot has recorded 20 albums and has five Grammy nominations. His songs have been aired regularly for 50 years, earning him Radio Singles Chart Positions in North America achieved by few others. Lightfoot's radio hits in the USA have earned Five #1s, Five Top 10s and Thirteen Top 40 hits. In Canada he has earned Sixteen #1s, Eighteen Top 10s and Twenty One Top 40 hits. Aside from his success in writing, singing and performing his own music, Lightfoot's songs have been recorded and performed by some of the greatest of all time including: Bob Dylan, Elvis Presley, Johnny Cash, Hank Williams, Jr., Marty Robbins, Jerry Lee Lewis, Judy Collins, Eric Clapton, Johnny Mathis, Anne Murray, Olivia Newton-John, Sarah McLachlan, Barbra Streisand, Peter Paul & Mary, Harry Belafonte, Jane’s Addiction, Richie Havens, Glen Campbell, Toby Keith, Alison Krauss and George Hamilton IV. In June of 2012 Lightfoot's legacy was further enhanced when he was inducted into the Songwriters Hall Of Fame. Lightfoot was honored for his role in defining the folk-pop sound of the 1960s and '70s. There are fewer than 400 inductees who make up the impressive roster enshrined in the Songwriters Hall of Fame including: Burt Bacharach, John Fogerty, Bob Dylan, Carole King, Paul Simon, Billy Joel, Elton John, Brian Wilson, James Taylor, James Brown, Bruce Springsteen, Jim Croce, Phil Collins, Loretta Lynn, Van Morrison, Kris Kristofferson, Dolly Parton, Diane Warren, Garth Brooks, and Leonard Cohen. In his native Canada, Lightfoot has been decorated with the highest honors bestowed to a civilian including the Governor's General Award and the Companion to the Order of Canada honor of merit. He has also won 17 Juno Awards - Canada's equivalent to the Grammy Awards. Gordon is a member of Canada's Walk of Fame and The Canadian Songwriters Hall of Fame. In 2007, Canada Post honored him by issuing an official Gordon Lightfoot postage stamp. Lightfoot is also in the Canadian Music Hall of Fame and the Canadian Country Music Hall of Fame. Gordon Lightfoot is an indelible part of the Canadian national spirit and regarded as perhaps the most prolific and greatest Canadian singer-songwriter of all time. "Lightfoot became a mentor for a long time. I think he probably still is to this day. I can't think of any Gordon Lightfoot song I don't like. Every time I hear a song of his, I wish it would last forever. " - Bob Dylan "Gordon Lightfoot has created some of the most beautiful and lasting music of our time. He is Bob Dylan's favorite singer/songwriter - high praise from the best of us, applauded by the rest of us." - Kris Kristofferson "I've always been trying to write songs like Lightfoot. A song of mine like 'Come Monday' is a direct result of me trying to write a Gordon Lightfoot song." - Jimmy Buffett "Canadian Railroad Trilogy is an extremely fine piece of songwriting. " - Johnny Cash

The Dock - Ithaca, NY

General Admission Seated Event

Nov 8

Nov 8

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

Price: $10-$13

Event Information

Age policy: 18+ with ID / under 18 with a parent or guardian

State Theatre of Ithaca - Ithaca, NY

Nov 11

Nov 11

Doors open at 7:15 pm Starts at 8:15 pm All ages

Event Information

Arlo Guthrie was born with a guitar in one hand and a harmonica in the other, in Coney Island, Brooklyn, New York in 1947. He is the eldest son of America's most beloved singer/writer/philosopher Woody Guthrie and Marjorie Mazia Guthrie, a professional dancer with the Martha Graham Company and founder of The Committee to Combat Huntington's Disease. For more than a decade, Arlo has toured worldwide with different shows: An America Scrapbook, beginning 1998 (with symphony orchestras), The Guthrie Family Legacy Tour, beginning 2006 (with various family members), Boys Night Out Tour, beginning 2008 (with his son, Abe Guthrie and Grandson, Krishna), The Lost World Tour, beginning 2008 (with a big band and The Burns Sisters), The Guthrie Family Rides Again Tour beginning in 2009 (with the entire family), The Journey On Tour beginning 2010 (Big band & The Burns sisters), The Guthrie Family Reunion Tour beginning 2012 (The whole family), Here Comes The Kid - The Woody Guthrie Centennial Tour beginning 2012), Here Come The Kid(s) beginning in 2013 (continuing the Woody Centennial). The Centennial celebration tour ends May 2014. Interspersed between all the tours was the recurring "Arlo Guthrie Solo Reunion Tour - Together At Last," which was certainly the best named tour. The currant version of the solo tour runs from June 2014 - November 2014. After the solo tour Arlo will put "Alice's Restaurant" back on the setlist menu for "The Alice's Restaurant 50th Anniversary Tour", with will run from January 2015 through May 2016. If he survives the "Alice 50 Tour" he will go fishing. He grew up surrounded by dancers and musicians: Pete Seeger, Ronnie Gilbert, Fred Hellerman and Lee Hays (The Weavers), Leadbelly, Cisco Houston, Ramblin' Jack Elliott, Sonny Terry and Brownie McGhee, all of whom were significant influences on Arlo's musical career. Guthrie gave his first public performance in 1961 at age 13 and quickly became involved in the music that was shaping the world. Over the next few years, Arlo inherited his father's friend Pete Seeger and the two toured together, between demonstrations, beginning in the late 60's. They continued doing over a dozen shows together almost every year for the next 40 years creating a legendary collaboration that continues to this day. The last Pete & Arlo show was in November 2012 at Carnegie Hall in New York City. Arlo practically lived in the most famous venues of the "Folk Boom" era. In New York City he hung out at Gerdes Folk City, The Gaslight and The Bitter End. In Boston's Club 47, and in Philadelphia he made places like The 2nd Fret and The Main Point his home. He witnessed the transition from an earlier generation of ballad singers like Richard Dyer-Bennet and blues-men like Mississippi John Hurt, to a new era of singer-song writers such as Bob Dylan, Jim Croce, Joan Baez, and Phil Ochs. He grooved with the beat poets like Allen Ginsburg and Lord Buckley, and picked with players like Bill Monroe and Doc Watson. He learned something from everyone and developed his own style, becoming a distinctive, expressive voice in a crowded community of singer-songwriters and political-social commentators. Arlo Guthrie's career exploded in 1967 with the release of "Alice's Restaurant", whose title song premiered at the Newport Folk Festival helped foster a new commitment among the '60s generation to social consciousness and activism. Arlo went on to star in the 1969 Hollywood film version of "Alice's Restaurant", directed by Arthur Penn. With songs like "Alice's Restaurant", too long for radio airplay; "Coming into Los Angeles", banned from many radio stations (but a favorite at the 1969 Woodstock Festival); and the definitive rendition of Steve Goodman's "City of New Orleans", Guthrie was no One-Hit-Wonder. An artist of international stature, he has never had a 'hit' in the usual sense. He has usually preferred to walk to his own beat rather than march in step to the drum of popular culture. Over the last five decades Guthrie has toured throughout North America, Europe, Asia, Africa and Australia winning a wide, popular following. In addition to his accomplishments as a musician, playing the piano, six and twelve-string guitar, harmonica and a dozen other instruments, Arlo is a natural-born storyteller, whose tales and anecdotes figure prominently in his performances. In 1991 Arlo purchased the old Trinity Church. It was Thanksgiving 1965 that events took place at the church which inspired Arlo to write the song "Alice's Restaurant". Named for his parents, The Guthrie Center is a not-for-profit interfaith church foundation dedicated to providing a wide range of local and international services. Its outreach programs include everything from providing HIV/AIDS services to baking cookies with a local service organization; an HD walk-a-thon to raise awareness and money for a cure for Huntington's Disease, and offering a place simply to meditate. The Guthrie Foundation is a separate not-for-profit educational organization that addresses issues such as the environment, health care, cultural preservation and educational exchange. Arlo Guthrie, Rising Son Records and The Guthrie Center & Foundation are on the World Wide Web at http://www.risingsonrecords.com/

State Theatre of Ithaca - Ithaca, NY

Nov 13

Nov 13

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

Event Information

Bo Burnham has announced a second leg to his extremely successful 2015 MAKE HAPPY TOUR. Following on the heels of a sold out spring tour, this leg will hit 31 cities and kicks off September 29th at Keswick Theatre in Philadelphia, PA. Bo Burnham became the youngest person to ever record a half-hour Comedy Central special at the age of 18. He has released two hour-long specials since then: Words, Words, Words in 2010 and what. in 2013. The latter, what., was released on Netflix and YouTube simultaneously, and has since received over 8 million views on YouTube alone. Bo recently created and starred in the MTV series Zach Stone is Gonna Be Famous and wrote a book of poetry, EGGHEAD, which became a New York Times Bestseller. Bo's live shows are a unique blend of stand-up, music, and theatre.

The Smith Opera House - Geneva , NY

Nov 13

Nov 13

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.

State Theatre of Ithaca - Ithaca, NY

Nov 14

Nov 14

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

Event Information

GORDON LIGHTFOOT
PROUDLY ANNOUNCES:

"50 YEARS ON THE CAREFREE HIGHWAY TOUR"

After 50 active years of hit song making and international album sales well into the multi-millions, it's safe to say that esteemed singer-songwriter and musician Gordon Lightfoot resides with some very exclusive company atop the list of all-time greats. His song catalog is incredibly vast and includes such immortals as “Early Morning Rain,” “If You Could Read My Mind,” “Carefree Highway,” “Sundown,” “(That's What You Get) For Lovin Me,” “The Wreck Of The Edmund Fitzgerald," "Cold On The Shoulder", "Canadian Railroad Trilogy," "Ribbon Of Darkness," "Beautiful," "Song For A Winter's Night", "Shadows", "Rainy Day People", "Did She Mention My Name" and "Summertime Dream to name just a few.

But this year is special for the legendary artist who has announced plans for a cross-country USA tour entitled "Gordon Lightfoot - 50 Years On The Carefree Highway". The tour will feature his well known hits as well as some deep album cuts for the die-hard fans. All of which are woven together with some of Lightfoot's own behind the scenes stories and personal anecdotes about his historic 50year musical career. The event is sure to be a great thrill for live audiences and anyone who enjoys hearing great music and seeing a living legend in person.

Gordon Lightfoot has recorded 20 albums and has five Grammy nominations. His songs have been aired regularly for 50 years, earning him Radio Singles Chart Positions in North America achieved by few others. Lightfoot's radio hits in the USA have earned Five #1s, Five Top 10s and Thirteen Top 40 hits. In Canada he has earned Sixteen #1s, Eighteen Top 10s and Twenty One Top 40 hits.

Aside from his success in writing, singing and performing his own music, Lightfoot's songs have been recorded and performed by some of the greatest of all time including: Bob Dylan, Elvis Presley, Johnny
Cash, Hank Williams, Jr., Marty Robbins, Jerry Lee Lewis, Judy Collins, Eric Clapton, Johnny Mathis, Anne Murray, Olivia Newton-John, Sarah McLachlan, Barbra Streisand, Peter Paul & Mary, Harry Belafonte, Jane’s Addiction, Richie Havens, Glen Campbell, Toby Keith, Alison Krauss and George Hamilton IV.

In June of 2012 Lightfoot's legacy was further enhanced when he was inducted into the Songwriters Hall Of Fame. Lightfoot was honored for his role in defining the folk-pop sound of the 1960s and '70s. There are fewer than 400 inductees who make up the impressive roster enshrined in the Songwriters Hall of Fame including: Burt Bacharach, John Fogerty, Bob Dylan, Carole King, Paul Simon, Billy Joel, Elton John, Brian Wilson, James Taylor, James Brown, Bruce Springsteen, Jim Croce, Phil Collins, Loretta Lynn, Van Morrison, Kris Kristofferson, Dolly Parton, Diane Warren, Garth Brooks, and Leonard Cohen.

In his native Canada, Lightfoot has been decorated with the highest honors bestowed to a civilian including the Governor's General Award and the Companion to the Order of Canada honor of merit. He has also won 17 Juno Awards - Canada's equivalent to the Grammy Awards. Gordon is a member of Canada's Walk of
Fame and The Canadian Songwriters Hall of Fame. In 2007, Canada Post honored him by issuing an official
Gordon Lightfoot postage stamp. Lightfoot is also in the Canadian Music Hall of Fame and the Canadian Country Music Hall of Fame. Gordon Lightfoot is an indelible part of the Canadian national spirit and regarded as perhaps the most prolific and greatest Canadian singer-songwriter of all time.


"Lightfoot became a mentor for a long time. I think he probably still is to this day. I can't think of any Gordon Lightfoot song I don't like. Every time I hear a song of his, I wish it would last forever. "
- Bob Dylan

"Gordon Lightfoot has created some of the most beautiful and lasting music of our time. He is Bob Dylan's favorite singer/songwriter - high praise from the best of us, applauded by the rest of us."
- Kris Kristofferson

"I've always been trying to write songs like Lightfoot. A song of mine like 'Come
Monday' is a direct result of me trying to write a Gordon Lightfoot song."
- Jimmy Buffett

"Canadian Railroad Trilogy is an extremely fine piece of songwriting. "
- Johnny Cash

Asbury Hall at Babeville - Buffalo, NY

Nov 14

Nov 14

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.

Capital Center for the Arts - Concord, NH

Nov 15

Nov 15

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

Event Information

GORDON LIGHTFOOT
PROUDLY ANNOUNCES:

"50 YEARS ON THE CAREFREE HIGHWAY TOUR"

After 50 active years of hit song making and international album sales well into the multi-millions, it's safe to say that esteemed singer-songwriter and musician Gordon Lightfoot resides with some very exclusive company atop the list of all-time greats. His song catalog is incredibly vast and includes such immortals as “Early Morning Rain,” “If You Could Read My Mind,” “Carefree Highway,” “Sundown,” “(That's What You Get) For Lovin Me,” “The Wreck Of The Edmund Fitzgerald," "Cold On The Shoulder", "Canadian Railroad Trilogy," "Ribbon Of Darkness," "Beautiful," "Song For A Winter's Night", "Shadows", "Rainy Day People", "Did She Mention My Name" and "Summertime Dream to name just a few.

But this year is special for the legendary artist who has announced plans for a cross-country USA tour entitled "Gordon Lightfoot - 50 Years On The Carefree Highway". The tour will feature his well known hits as well as some deep album cuts for the die-hard fans. All of which are woven together with some of Lightfoot's own behind the scenes stories and personal anecdotes about his historic 50year musical career. The event is sure to be a great thrill for live audiences and anyone who enjoys hearing great music and seeing a living legend in person.

Gordon Lightfoot has recorded 20 albums and has five Grammy nominations. His songs have been aired regularly for 50 years, earning him Radio Singles Chart Positions in North America achieved by few others. Lightfoot's radio hits in the USA have earned Five #1s, Five Top 10s and Thirteen Top 40 hits. In Canada he has earned Sixteen #1s, Eighteen Top 10s and Twenty One Top 40 hits.

Aside from his success in writing, singing and performing his own music, Lightfoot's songs have been recorded and performed by some of the greatest of all time including: Bob Dylan, Elvis Presley, Johnny
Cash, Hank Williams, Jr., Marty Robbins, Jerry Lee Lewis, Judy Collins, Eric Clapton, Johnny Mathis, Anne Murray, Olivia Newton-John, Sarah McLachlan, Barbra Streisand, Peter Paul & Mary, Harry Belafonte, Jane’s Addiction, Richie Havens, Glen Campbell, Toby Keith, Alison Krauss and George Hamilton IV.

In June of 2012 Lightfoot's legacy was further enhanced when he was inducted into the Songwriters Hall Of Fame. Lightfoot was honored for his role in defining the folk-pop sound of the 1960s and '70s. There are fewer than 400 inductees who make up the impressive roster enshrined in the Songwriters Hall of Fame including: Burt Bacharach, John Fogerty, Bob Dylan, Carole King, Paul Simon, Billy Joel, Elton John, Brian Wilson, James Taylor, James Brown, Bruce Springsteen, Jim Croce, Phil Collins, Loretta Lynn, Van Morrison, Kris Kristofferson, Dolly Parton, Diane Warren, Garth Brooks, and Leonard Cohen.

In his native Canada, Lightfoot has been decorated with the highest honors bestowed to a civilian including the Governor's General Award and the Companion to the Order of Canada honor of merit. He has also won 17 Juno Awards - Canada's equivalent to the Grammy Awards. Gordon is a member of Canada's Walk of
Fame and The Canadian Songwriters Hall of Fame. In 2007, Canada Post honored him by issuing an official
Gordon Lightfoot postage stamp. Lightfoot is also in the Canadian Music Hall of Fame and the Canadian Country Music Hall of Fame. Gordon Lightfoot is an indelible part of the Canadian national spirit and regarded as perhaps the most prolific and greatest Canadian singer-songwriter of all time.


"Lightfoot became a mentor for a long time. I think he probably still is to this day. I can't think of any Gordon Lightfoot song I don't like. Every time I hear a song of his, I wish it would last forever. "
- Bob Dylan

"Gordon Lightfoot has created some of the most beautiful and lasting music of our time. He is Bob Dylan's favorite singer/songwriter - high praise from the best of us, applauded by the rest of us."
- Kris Kristofferson

"I've always been trying to write songs like Lightfoot. A song of mine like 'Come
Monday' is a direct result of me trying to write a Gordon Lightfoot song."
- Jimmy Buffett

"Canadian Railroad Trilogy is an extremely fine piece of songwriting. "
- Johnny Cash

The Hangar Theatre - Ithaca, NY

Nov 17

Nov 17

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

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Colin Hay is familiar to millions as the frontman, songwriter, and vocalist of pop sensation Men at Work (“Down Under,” “Overkill,” “Who Can it Be Now?”). Hay is justifiably proud of his place in pop history, but since moving to Los Angeles in 1989, he’s made 11 critically-acclaimed solo albums, including the highly successful Man at Work, and has recently announced the release of his new album Next Year People on Compass Records.

Next Year People is the work of an artist who is a true master of his craft. The album is full of quizzical, curious, and cynical yet open-hearted songs with catchy melodic hooks that underscore deeply insightful lyrics.

The album was produced by Hay and mixed by Chad Fischer (Chasing Mavericks, Ice Age 3, Lisa Loeb) and includes contributions from two young Cuban musicians, San Miguel Perez and Yosmel Montejo, both of whom recently emigrated from Havana, as well Larry Goldings on piano, Jeff Babko (Jimmy Kimmel) on B3, and Colin's wife, vocalist Cecilia Noel.

Over the past 15 years Hay has reinvented himself as a solo artist, regularly selling out theaters and listening rooms across the US and around the world and introducing himself to a new generation of fans in the process. “I started off playing acoustic; it’s my natural game, if you will,” he concludes. “It’s the point I started from and may well be the point I end with. It’s always what I return to.”

The frequent use of Hay’s music in TV and film—including hit shows such as Scrubs (on which he has made several cameo appearances) Army Wives and Modern Family, the hit soundtrack to the film Garden State and the recently released Words and Pictures—has proven the timeless appeal of his songs.

State Theatre of Ithaca - Ithaca, NY

Nov 20

Nov 20

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

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“I told Swift that our last two records took a year each to make,” laughs Guster’s Ryan Miller. “He told me he’d never spent more than nine days on an album.” The band and producer got together anyway and the result is Evermotion, an album of raw acid-soaked chamber pop, and a stylistic departure that no one saw coming. Guster sought out Shins keyboardist/Black Keys bassist Richard Swift based on his work with Damien Jurado and Foxygen, giving themselves over to the full experience of recording at Swift’s Cottage Grove, Oregon studio for three weeks in January 2014. “It wasn’t hard to figure out where we overlapped with Swift,” adds percussionist/drummer Brian Rosenworcel. “It was just a matter of trusting ourselves to go big and commit. Richard is the type of artist that’s always standing back and taking in the whole canvas.” With a new looseness and swagger, Guster pushes the acoustic guitars into the background, instead exploring deeper drum grooves, keyboard textures and atmospheric noise -- a language they shared easily with Swift. The band that emerged from this session sounds like one that is no longer evolving, but has evolved into something else entirely. "Richard helped us figure out what was important about recording," says guitarist Adam Gardner. "We had just one microphone over the drum kit, used whole takes, didn't obsess over vocals or really edit things at all -- it's a raw version of our band, mistakes and all, that feels more relevant. He helped us tremendously with the big picture." Evermotion’s first single, the infectious “Simple Machine,” has been hailed by TIME magazine for its “frantic beats and crawling synthesizers.” The chiming lullaby of “Long Night” with its aching Ryan Miller falsetto, the shimmering “Endlessly,” the distorted steel drums and Bacharach melody of “Doin’ It by Myself,” the a cappella Beach Boys harmonies in the gently breezy “Lazy Love,” the dream-pop of “Expectation,” the British Invasion beat of “Gangway,” the woozy trombones and whistling of “Never Coming Down” and the Beatle-esque psychedelia of “It Is Just What It Is” shows Guster is still learning new tricks. Since forming at Tufts University in 1992, Guster has become one of the leading indie/alternative bands, releasing seven critically acclaimed albums in 20 years, starting with Parachute in 1995. Evermotion (to be released on their own Ocho Mule label through Nettwerk Records) is the follow-up to 2010’s Easy Wonderful, which earned the band its highest-ever chart debut on the Billboard 200 at #22, while reaching #2 on both the SoundScan Alternative and iTunes charts. On Evermotion, Guster’s acoustic roots are buried deep beneath the surface, almost impossible to detect, even though every song has, at its heart, an indelible melody and more than its share of tight, lethal hooks that catch and hold. The 2010 addition of multi-instrumentalist Luke Reynolds to the core group of founding members Miller, Gardner and Rosenworcel, added immeasurably to Guster’s expanding musical palette. Evermotion marks the first time that Reynolds joined for the preproduction and writing process, which took place in Rosenworcel's Brooklyn basement over 2012 and 2013. Reynolds' stamp is clear and his passion is all over the record, from his guitar melodies on "Lazy Love" to his fuzz bass on "Doin' It By Myself." Guster’s songs remain packed with hummable choruses and dense lyrical detail amid the muscular guitar riffs, clanging percussion and deceptively dark lyrics. The new album features adventurous turns on slide guitars, brassy trumpets and even a glockenspiel, with sax and trombone accompaniment by Jon Natchez, whose stints with the War on Drugs, Beirut, Passion Pit and others have led NPR to call him “indie rock’s most valuable sideman.” From the start of the album, it's clear that this is a renewed band with a bolstered purpose, a band on their own vector. Evermotion introduces you to a Guster that is free, not calculated, seasoned but loose, confident in re-shaping their legacy.

The Haunt - Ithaca, NY

Nov 20

Nov 20

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

Price: $25-$30

Event Information

There are certain things one just isn’t bold enough to ever expect… [one] such moment was seeing ska legends/pioneers English Beat… I’ve sent countless evenings at ska shows while growing up, but this was the perfect first/biggest ska show of 2010. – BEYOND RACE MAGAZINE


The English Beat’s influence was incalculable… - Allentown Morning Call


"... [Dave] Wakeling and his crew played 90 minutes worth of hits, deep cuts, some General Public chestnuts and a few new songs… every song was met with recognition and applause." – River Front Times


"[The English Beat are] more popular now than ever." – San Francisco Chronicle


[Dave Wakeling] has assembled an incredible band and is playing his hits with the same raucous enthusiasm that made The English Beat one of the biggest acts of the New Wave Era… Every time they play, The Brew [San Luis Obispo, CA] is packed to the gills with an audience bouncing in unison." – SLO New Times


"People were spilling out the doors by the time [English Beat] went on stage and the palpable joy was in the air when they started… With lyrics about unity, peace, love and partying, and a beat that’s guaranteed to get you out of your seat, their music will always be dancetastic." – The New York Examiner


[The English Beat continues to take] on 2 tone, ska, reggae and new wave, still dishing out on issues of strife and discontentment at times, but always with a happy, danceable tune… drawing large audiences and still has a growing fan base" – San Gabriel Valley Tribune


"[Dave Wakeling of The English Beat] is a musician who seems to genuinely enjoy performing, and even those new to the Beat couldn’t help but get swept up in the infectious brand of "happy" music, as one put it." – Napa Valley Register


"In 2010, [The English Beat] remains on fire, opening their set with a rousing cover of The Staple Singers classic I’ll Take You There. If the excitement wasn’t at a fevered pitch by then, their second song I Confess brought the entire Gibson Amphitheatre to their collective feet. The song still sounds as fresh and lively today as it did when KROQ was granting it massive airplay back in 1982. Another cover followed, a skankin’ version of Tears Of A Clown, originally by Smokey Robinson and The Miracles." – Highwire Daze


"As always, the English Beat's sound is a driving blend of ska, punk, rock and reggae that's made for dancing." – Daily Local News

Center for the Arts of Homer - Homer, NY

Nov 28

Nov 28

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

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There’s something about musical bloodlines that cannot be denied. Amy Helm is the daughter of The Band’s Levon Helm and singer/songwriter Libby Titus, and a lifetime of growing up around some of the finest American music ever recorded is evident. Her talent takes up where her daddy’s leaves off – her voice is an exquisite instrument and she is an accomplished drummer and mandolin player. She is a founding member of the roots band, Ollabelle, which has three acclaimed albums to its credit. Along with her late father, she brought to fruition the Midnight Rambles at the family farm in upstate New York, a tradition of loose and inspired jam sessions that continue to this day. Helm’s own folk-rock repertoire is soulful and deep and will feature her original songs as well as folk and rock songs that are steeped in her heart. Levon passed the torch and we’re happy to report it’s still on fire.

State Theatre of Ithaca - Ithaca, NY

Dec 3

Dec 3

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

Event Information

The Hurry and The Harm “I just wanted to make an honest record.” So says Dallas Green, otherwise known as City and Colour. He’s not really talking about confessionals (though that might happen, too) but truthfully incarnated music: organic songwriting, natural process and sincere moments captured in the studio. Captured—not manipulated. For his fourth LP, The Hurry and The Harm, Green not only wanted to present an honest album, but an honest version of himself. To do so, he had to leave some things behind, confront others and let the rest simmer. Green wasn’t quite prepared to make another album so soon. On tour to support his last album, Little Hell (2011), he couldn’t quite shake the feeling that something was unbalanced, uneasy. “I was being pulled in two different directions,” Green recalls. He was mentally near the end of the road with his former band, Alexisonfire, but couldn’t yet share the news with his fans. “I wanted to be in one place, but I didn’t want to let my friends down.” He started reading poetry— specifically the Kentucky-born author Wendell Berry, and his work “The Peace of Wild Things.” “I come into the peace of wild things, who do not tax their lives with forethought of grief. I come into the presence of still water,” it goes. Those lines made Green “excited about words again,” and comforted him in a time when things didn’t seem too peaceful. The songs came—quickly, even. It’s no surprise, really. City and Colour’s music is exactly that: peace, in wild things. There’s a calm, dulcet tone to the songs, the melodies crafted to provide restlessness amidst a sonically complex journey that both soothes and rustles. The record’s first leaked track, “Of Space and Time,” showcases Green’s voice as it dangles in his own special kind of falsetto, set to a chugging drumbeat and subtle strum. “I’m roaming through the hills all alone,” he sings. “I’m trying to find my direction home.” Maybe he didn’t know it at the time, but home is City and Colour—it’s not simply a “solo” project from an otherwise accounted-for band member, but is Green, his primary entity, and his honesty. The Hurry and The Harm is the first City and Colour album recorded outside of Canada—Green took his process this time to Nashville, Tennessee’s Blackbird Studios. “I’ve never gone anywhere else to make a record,” Green recalls. “I think it worked out, and it was a wonderful experience.” He recruited an excellent team of players to round out the songs, including Jack Lawrence on bass (The Raconteurs, The Dead Weather), Bo Koster on keys (My Morning Jacket), Spencer Cullum (Caitlin Rose) on pedal steel and both Matt Chamberlain (Pearl Jam, Fiona Apple) and James Gadson (Bill Withers, BB King) on drums. Green once again found great kinship in producer Alex Newport, who has worked with such varied and dynamic artists as At The Drive-In, Death Cab for Cutie, Bloc Party and The Mars Votla (and more notably with Green on Little Hell). The resulting album is a journey through a state of mind, exploring everything from Green’s struggles to leave his previous band (“Of Space and Time”) to his distaste for gossip media (“Commentators”). Musically, the artful evolution can be felt in the crushing, sweeping rush of the first single, “Thirst,” with its aggressive vamp and both acid instrumentals and tongue: “after I’m gone / once I finally leave / you will be left alone to the wolves and the thieves.” There is a longing in the words but a certain direction in the songs, such as on “Two Coins” which balances a quiet folkiness with an unexpected guitar solo, searching through the play in his voice and the introspection of the ironically upbeat strums of “Harder Than Stone.” “Lyrically, now that I look back at the record as a whole, there are a lot of songs that deal with me searching for something,” he says. “And I know now that I wrote those songs near the end of Alexisonfire.” “I don’t have a lot of faith in myself, so it is hard for me to have a lot of faith in something I have created,” Green says. “But I’ve never been happier or prouder about something that I have done.” Green began recording as City and Colour in 2005, with Sometimes, followed by 2008’s Bring Me Your Love and 2011’s Little Hell and has experienced huge success both on the charts and the road. All three previous studio albums have achieved platinum status in Canada, while Little Hell is also now Gold in Australia. Additionally, Little Hell debuted at #1 on Canada’s Top 200 Chart, #28 in the U.S., #2 in Australia and top 40 in the U.K. Moreover, almost every show in 2011 and 2012 sold out (including the famed Royal Albert Hall, a two night stay at the Roundhouse in London and New York’s Terminal 5). In support of The Hurry and The Harm, City and Colour will once again embark on a wide-ranging set of dates across North American and the world. The tour will feature a brand new touring band including Jack Lawrence (The Raconteurs, Dead Weather) on bass, Dante Schwebel (Hacienda, Dan Auerbach) on guitar, Doug MacGregor (Constantines) on drums and Matt Kelly on pedal steel guitar and keys. Playing guitar since age eight and crafting songs since his teenage years, Green has always known he wanted to write music and sing: mostly for himself, to find peace and clarity amongst the chaos. He thinks it’s kismet that others happen to like to listen. “At the end of the day, when I write a song, it has to make me happy,” he says. “I have to want to sing it again. And then the hope after that is that somebody else will like it.” And they do, because it’s the peace of wild things.

State Theatre of Ithaca - Ithaca, NY

Dec 4

Dec 4

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

Event Information

In celebration of the 10th anniversary of his breakthrough album, Live at Stubb’s, Matisyahu has taken a new look at the music that first made his reputation in Live at Stubb’s III: A 10-Year Journey. In two stripped-back sit-down shows in March of 2015, Matisyahu performed new arrangements of his early reggae hits from the original album, along with a selection of later favorites up through Akeda. This tour reconnects Matisyahu with long-time musical collaborators and friends from his early touring days, including Live at Stubb's guitarist Aaron Dugan. Matisyahu and his band will present an evening of stripped-back arrangements highlighting the music that launched his career while taking fans of all ages on a journey through the evolution of Live at Stubb’s to his most recent release Akeda.

The Dock - Ithaca, NY

with Stone Cold Miracle

Dec 5

Dec 5

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

Price: $12-$15

Event Information

“fiery brass- and gospel-infused funk” - LA Times “…stick-to-your-ribs style rock…” - Wall Street Journal “Sister Sparrow, Arleigh Kincheloe’s nom de disque, is a soul queen with a voice strong and raspy enough to compete with riffing horns and clipped funk beats.” - Washington Post “…frontwoman Arleigh Kincheloe has one of the biggest voices in the soul-funk business. Prepare to be blown away.” - Baltimore Sun “What do you get when you cross Amy Winehouse and Tina Turner with Mick Jagger…?” - Glamour ”Arleigh Kincheloe…presides over eight musicians with smoldering intensity, and her body language is as sly and stirring as her bluesy voice” - New Yorker What It’s All About: Sister Sparrow & The Dirty Birds is an eight-piece powerhouse that puts a modern spin on classic soul. The band is led by Arleigh Kincheloe (Sister Sparrow), whose astoundingly powerful voice and sly demeanor make for a spellbinding presence onstage. She is backed by the mighty force of The Dirty Birds, a flock of seven men who masterfully lay down thundering grooves and soaring melodies. While each of the Birds are capable of lighting up the stage with jaw-dropping displays of musicianship, it’s clear they’re focused on delivering the band’s infectious music as a single entity. Simply put, the band’s live show is explosive. The Latest 2012 was a breakout year for the eight piece soul/rock outfit Sister Sparrow & The Dirty Birds. The band closed out the year with two nights of opening for Gov’t Mule, which included a night at the famed Beacon Theatre in New York. They played more than 150 shows in 35 states for the second year in a row, and their high-energy show is in high demand after scorching sets at festivals as Bonnaroo, Mountain Jam’s main stage, the Voodoo Experience, and the Clearwater Jazz Holiday, where they opened for The Avett Brothers. The year included a number of accolades for the band – selling out the Independent in San Francisco with Rebirth Brass Band, opening for Fitz and the Tantrums, Counting Crows, Trombone Shorty & Orleans Avenue, and a three week run with Allen Stone that culminated in an Austin City Limits late night set. In February, they played a Midnight Ramble at Levon Helm’s studios, where they shared the stage with Warren Haynes (Allman Brothers, Gov’t Mule) and Donald Fagen (Steely Dan). Band History The band’s journey is steeped in family and life-long friendships. Dynamic singer and front-woman Sister Sparrow first began penning tunes in the alleyways and back roads between New York City and the Catskill Mountains as a teenager. Though already aided and abetted by her harmonica-shredding brother Jackson, it was clear to her that a large, powerful band was needed to do justice to the songs she was crafting. The brother and sister team called upon their cousin Bram, a California-bred drummer of considerable prowess, to help them assemble a super-band of epic proportions. Bram brought in childhood friends J.J. Byars (alto saxophone) and Ryan Snow (trombone), and Ryan called upon baritone saxophonist and close friend Johnny Butler. The trumpet chair changed hands until March 2011, when the addition of trumpeter Phil Rodriguez solidified the unstoppable force of the virtuosic Dirty Birds’ horns. The rhythm section was filled out by guitarist Sasha Brown and bassist Aidan Carroll, a thundering tandem that proved to be the perfect engineers of the hard-driving, bare-knuckle grooves that propel this ferocious group. The band first got together in September 2008. It was evident from the start that the deep connections among its members translated directly to the music they made together. While Sister Sparrow is the principal songwriter and unifying voice of the band, the entire band has always worked collaboratively on arrangements. The result is musical creativity and diversity seldom seen in groups of this size and character. By the middle of 2009, Sister Sparrow & The Dirty Birds were packing New York’s Rockwood Music Hall every Saturday night, holding down a five-month-long residency that built them a reputation for being one of the funkiest, tightest groups in the city. With the strength of their live show in mind, the band recorded its debut album (released in November 2010) at a single twelve hour session at New York’s famed Avatar Studios. When the band embarked on their first tour at the end of April 2011, they set out with the mission of taking the country by storm. By the end of the year, they had driven over 50,000 miles to play 150 shows in 28 states. They exploded onto the scene, opening for Dr. John, Sharon Jones and the Dap Kings, and the Soul Rebels Brass Band, and appeared at such festivals as Gathering of the Vibes, Bear Creek, and late night at Jazz Fest in New Orleans. The band is building a following the old-fashioned way – and the demand for their infectious music has kept them on a relentless tour schedule across the country. Fueled by the band’s boundless energy, every show turns into a wild dance party, and the Dirty Birds are establishing a rabid following of fans eager to receive a potent dose of good times, delivered by the band night after night. Sister Sparrow’s commanding stage presence alone is more than enough to dazzle audiences, but the magic doesn’t end with her: the band’s palpable camaraderie, undeniable talent and passion for music makes for a contagious combination that is taking the country by storm. Sister Sparrow & The Dirty Birds’ blend of seductive soul and dirty blues-rock reminds audiences why they love live music. Band Members: Arleigh Kincheloe – vocals Jackson Kincheloe – harmonica Bram Kincheloe – drums Sasha Brown – guitar Josh Myers – bass Phil Rodriguez – trumpet Ryan Snow – trombone Brian Graham – baritone sax More From the Press: “They may be from Brooklyn, but the fiery brass- and gospel-infused funk emanating from Sister Sparrow and the Dirty Birds is rooted in Memphis soul. Their rhythmic wheelhouse combines big-city grit and down-home sweetness with a little bit of Americana twang.” – LA Times “If you’ve had a hankering to get down and dirty with some funky old soul, then this nonet, featuring powerhouse vocalist Arleigh Kincheloe and Berklee grad Sasha Brown on guitar, may have just what you need” - Boston Globe “‘Band On The Verge’… the nine-person, horn-driven band prove that they can swagger as well as skank—and get bluesy and torchy when they need to.” – Relix “a seriously funky collective capable of bringing elements of deep soul, New Orleans funk, Stax/Memphis stylings and earthy R&B together in a manner that makes the sentient mammal want to shake it” - Buffalo News “…rollicking blend of soul, funk and backwoods Americana rock ’n’ roll, which draws even indifferent hipsters onto the dance floor.” - New York Daily News “’Make It Rain’, Sister Sparrow & the Dirty Birds
Funky horns and Arleigh Kincheloe’s sultry, sassy vocals propel this track from new ‘Pound of Dirt.’” – The Playlist: USA Today “The forefront of soul/funk bands to be recognized” - MusicMarauders.com “…this nine-piece soul-rock crew does red-hot and brassy ‘60’s soul with a scraggly blues edge.” – M Music & Musicians Magazine

Asbury Hall at Babeville - Buffalo, NY

Dec 10

Dec 10

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

Event Information

“We sound possessed on these songs,” says guitarist/vocalist Carrie Brownstein about Sleater-Kinney’s eighth studio album, No Cities To Love. “Willing it all—the entire weight of the band and what it means to us—back into existence.” The new record is the first in 10 years from the acclaimed trio—Brownstein, vocalist/guitarist Corin Tucker, and drummer Janet Weiss—who came crashing out of the ‘90s Pacific Northwest riot grrrl scene, setting a new bar for punk’s political insight and emotional impact. Formed in Olympia, WA in 1994, Sleater-Kinney were hailed as “America’s best rock band” by Greil Marcus in Time Magazine, and put out seven searing albums in 10 years before going on indefinite hiatus in 2006. But the new album isn’t about reminiscing, it’s about reinvention—the ignition of an unparalleled chemistry to create new sounds and tell new stories. “I always considered Corin and Carrie to be musical soulmates in the tradition of the greats,” says Weiss, whose drums fuel the fire of Tucker and Brownstein’s vocal and guitar interplay. “Something about taking a break brought them closer, desperate to reach together again for their true expression.” The result is a record that grapples with love, power and redemption without restraint. “The three of us want the same thing,” says Weiss. “We want the songs to be daunting.” Produced by long-time Sleater-Kinney collaborator John Goodmanson, who helmed many of the band’s earlier albums including 1997 breakout set Dig Me Out, No Cities To Love is indeed formidable from the first beat. Lead track “Price Tag” is a pounding anthem about greed and the human cost of capitalism, establishing both the album’s melodic drive and its themes of power and powerlessness—giving voice, as Tucker says, to those who “struggle to be heard against the dominant culture or status quo.” “Bury Our Friends” has Tucker and Brownstein joining vocal forces, locking arms to defeat a pressing fear of insignificance. It’s also emblematic of the band’s give and take, and commitment to working and reworking each song until it’s as strong as it can be. “‘Bury Our Friends’ was written in the 11th hour,” says Tucker. “Carrie had her great chime-y guitar riff, but we had gone around in circles with how to make that part into a cohesive song. I think Carrie finally cracked the chorus idea and yelled, ‘Sing with me!’” “A New Wave” similarly went through many iterations during the writing process, with five or six potential choruses, before crystallizing. It enters with an insistent guitar riff, and a battle between acceptance and defiance—“Every day I throw a little party,” howls Brownstein, “but a fit would be more fitting.” The album’s meditative title track was inspired by the trend of atomic tourism and its function as a metaphor for someone enthralled and impressed by power. “That form of power, that presence, is not only destructive it’s also hollowed-out, past its prime,” says Brownstein. “The character in that song has made a ritual out of seeking structures and people in which to find strength, yet they keep coming up empty.” Sleater-Kinney’s decade apart made room for family and other fruitful collaborations, as well as an understanding of what the band’s singular chemistry demands. “Creativity is about where you want your blood to flow, because in order to do something meaningful and powerful there has to be life inside of it,” says Brownstein. “Sleater-Kinney isn’t something you can do half-assed or half-heartedly. We have to really want it. This band requires a certain desperation, a direness. We have to be willing to push because the entity that is this band will push right back.” “The core of this record is our relationship to each other, to the music, and how all of us still felt strongly enough to about those to sweat it out in the basement and to try and reinvent our band,” adds Tucker. With No Cities To Love,” we went for the jugular.”

The Haunt - Ithaca, NY

Dec 31

Dec 31

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

Price: $20-$25

Event Information

The energy of rock n’ roll is impossible to categorize – mercurial, specific to its beholder and profoundly reflective. From the Binghamton, New York music scene comes Driftwood, a band with a rock n’ roll soul and a folk art mind. Carving out a name for themselves with electrifying live performances, they bring one of the most unique, raw sounds to the Americana/roots music scene. Incorporating upright bass, banjo, acoustic guitar and violin, the ghost of traditional American folk music lives in their palette. But the melodies, the harmonies and the lyrics are something else entirely. “We started off playing rock in high school. Then studying jazz and classical music in college. Then we dove headfirst into folk and bluegrass. At some point I guess we kind of met in the middle”, says guitarist/songwriter Dan Forsyth. Drawing on aspects of everything from 0ld-time recordings to 1960’s R&B, the music is crafted to serve the songs. With fast-growing audiences singing along at live shows, it’s easy to tell the primary focus is on song. “We recognized early on that one of our strongest points was songwriting. The greatest songs transcend genre and time and this was one of the motivating ideas behind the band at the start”, says banjo player/songwriter Joe Kollar. Trading lead vocals between Forsyth, Kollar and violinist Claire Byrne, the group’s stage dynamics are as captivating as the songs. “I give so much of myself when I play because I deem it necessary in order to do the music justice”, says Byrne, whose violin-shredding performances galvanize fans. Songs or shredding, “There’s a reason people won’t let them off the stage”, says Jess Novak from The Syracuse New Times. Coming from a town not often recognized for music but predominantly for industry, being the home of Twilight Zone author Rod Serling and donning the title of the “Carousel Capital of the World”, it’s easy to wonder how this not-so-traditional string band came out of the Binghamton music scene. “What people don’t often realize is that bands like Old Crow Medicine Show, The Horseflies and The Highwoods String Band came out of this same area and had a huge influence on us”, says Forsyth. “We played a lot of old-time in the beginning and it was a huge part of our band learning to play music together”. Formed in 2005, the band spent four years playing just about anywhere they could. “We just wanted to be able to play for any crowd and turn heads”, says banjo player Joe Kollar. “We played everywhere. Coffee houses, bars, churches, rock clubs, Bluegrass festivals and the streets…a lot on the streets. We didn’t make any money, but what we learned was invaluable”. After the release of their Debut CD “Rally Day” in 2009, the band has spent most of the last 4 years on the road. With club and festival appearances alongside of artists such as Bela Fleck, Old Crow Medicine Show, Rusted Root, Del McCoury, Brett Dennen, The Wailers, Railroad Earth, Robert Randolph, Rubblebucket, Leon Russell, Emmylou Harris and Donna the Buffalo, Driftwood is making serious waves on the East Coast scene. In the last three years they’ve played over 475 shows. With the release of their second CD “A Rock & Roll Heart” in 2011, the band landed spins on a slew of great radio shows and stations such as WFUV’s Sunday Breakfast with John Platt (New York, NY); KZSU (Stanford, CA), WCBE (Columbus, OH), WNRN (Charlottesville, VA), WUNC (Chapel Hill), NC and WDVX (Knoxville, TN). In November 2012, Driftwood started work on their third and latest CD. Despite a grueling tour schedule and very little time at home, the recordings were finished in the summer of 2013. The self-titled new disc was recorded in a church outside of Ithaca, NY with Grammy-winning engineer Robby Hunter. It is set to be released on December 3rd, 2013.

State Theatre of Ithaca - Ithaca, NY

Jan 29

Jan 29

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

Event Information

Get The Led Out is a group of professional musicians who are passionate about their love of the music of Led Zeppelin. It's been their mission to bring the studio recordings of "the mighty Zep" to life on the big concert stage. This is not an impersonator act but rather a group of musicians who were fans first, striving to do justice to one of the greatest bands in rock history!

State Theatre of Ithaca - Ithaca, NY

Feb 20

Feb 20

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

Event Information

“It is brilliant and quietly addictive” – The London Guardian

“New York’s hottest and hippest literary ticket” – The Wall Street Journal

The Moth is an acclaimed not-for-profit organization dedicated to the art and craft of storytelling. It is a celebration of both the raconteur, who breathes fire into true tales of ordinary life, and the storytelling novice, who has lived through something extraordinary and yearns to share it. At the center of each performance is, of course, the story – and The Moth’s directors work with each storyteller to find, shape and present it.

Since its launch in 1997, The Moth has presented thousands of stories, told live and without notes, to standing-room-only crowds worldwide.

Moth shows are renowned for the great range of human experience they showcase. Each show starts with a theme, and the storytellers explore it, often in unexpected ways. Since each story is true and every voice authentic, the shows dance between documentary and theater, creating a unique, intimate, and often enlightening experience for the audience.

Moth stories dissolve socio-economic barriers, expose vulnerabilities, and quietly suggest ways to overcome challenges and see with new eyes.

The Moth Mainstage is our flagship program and features stories by luminaries in the arts and sciences, newsmakers and news breakers, and everyday heroes (and even a few reformed villains!). Each show features five storytellers who develop and shape their stories with The Moth’s directors. Beyond a mere theatrical experience, The Moth is an ever-growing community where entertainment, enlightenment and festivity merge.

The Moth Mainstage is a staple of the literary and art scenes in New York City and Los Angeles, but also tours throughout the United States and abroad. On the road, favorite storytellers from past Moth shows share the stage with local voices.

The Dock - Ithaca, NY

General Admission Seated Event

Mar 12

Mar 12

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

Price: $20-$25

Event Information

Thirty-five years after Steve Forbert’s first release, Alive on Arrival, the muse of a true romantic continues to burn. Over With You, his 14th studio album, points out the lyrical brilliance of Forbert, an expert in capturing the essence of human interaction since bursting onto the global music scene in 1978. Forbert says, “The album’s very personal, mainly about the friction in relationships…as in mine.” His debut album, Alive On Arrival, now considered a classic, was recently featured in the book Please Allow Me To Introduce Myself. Originally from Meridian, Miss., he traveled to New York in 1976 and played for spare change in Grand Central Station while seeking work in the local folk venues. The crowds at CBGB’s accepted his performances as much as the audiences in traditional clubs and theaters. He vaulted to international prominence with his second album, Jackrabbit Slim, which went gold behind the hit single, “Romeo’s Tune”, and his tribute to Jimmie Rodgers, Any Old Time, was nominated for a Grammy Award in 2004. “I didn’t invent folk-rock or country rock, I was keeping a particular American tradition alive,” Forbert says. Forbert’s lengthy discography has established him as an American treasure.

- Upcoming Highlights -

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- Spotlight Artists -

- Just Announced -

Sep 23

State Theatre of Ithaca - Ithaca, NY

with William Tyler

Oct 2

State Theatre of Ithaca - Ithaca, NY

with Gill Landry

Oct 9

State Theatre of Ithaca - Ithaca, NY

Oct 17

State Theatre of Ithaca - Ithaca, NY

Oct 19

Memorial Auditorium - Burlington, VT

Oct 21

College Street Music Hall. - New Haven, CT

Oct 22

Water Street Music Hall - Rochester, NY

Oct 24

The Dock - Ithaca, NY

- Social Updates -

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P.O. BOX 736
Ithaca, NY 14851