EVENTS

Water Street Music Hall - Rochester, NY

with American Aquarium

Sep 19

Sep 19

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

Price: $25

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

with Mister F

Sep 19

Sep 19

Doors open at 9:00 pm Starts at 10:00 pm Ages 16+ Only

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Since exploding on to the scene in 2010, The Manhattan Project has become one of the fastest growing live electronic duos in the northeast. TMP continues their sonic-boomtronic assault in 2013, blowing up clubs, amphitheaters, festival main stages, and after-parties across the country! Drawing influences from house, dub, drum n bass, techno, and lounge, The Manhattan Project brings sophistication to the dance floor with their original compositions, high energy beats and mind melting textures. Armed with an arsenal of keyboards, synths, electronic and acoustic percussion, they seamlessly merge analog and digital sounds to create a sonic style all their own.

High energy shows, spot-on covers, and clever live remixes of popular artists, movie themes, and the obscure, have gained TMP the reputation of a must-see live act!

Their music features the pulsating beats of a DJ, with the power and feel of a full band, as they gain loyal fans through word of mouth and incredible live shows. The Manhattan Project has shared the stage with Disco Biscuits, Lotus, Big Gigantic, Paper Diamond, Future Rock, Conspirator, Polish Ambassador, Archnemesis, Jimkata, Dopapod, Ozric Tentacles, Zoogma, BioDiesel and more!

Their new EP 'Atomic Bomb Party Vol. 3' was just released in April for free download to great reviews and is embraced by DJ and live music fans alike! The Manhattan Project features Shawn Drogan on drums and electronics, and Charlie Lindner on keyboards and synths.

Water Street Music Hall - Rochester, NY

with Rick Brantley

Sep 20

Sep 20

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

Price: $40-$50

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

with Del Paxton

SOLD OUT!

Sep 20

Sep 20

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $12-$15

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

What can we say about The Front Bottoms? We know we love them: a punk band that uses acoustic guitar, indie-rock dance grooves, Springsteen-y keyboard lines (this they might deny). It’s hook-filled… it’s anthemic… it’s confessional. Maybe Joni Mitchell by way of Green Day? They must have heard some Replacements along the way, and it seems like what Jonathan Richman and the Modern Lovers did for the Boston suburbs these guys are doing for Bergen County, NJ. But they still leave us scratching our heads. Just what the hell have the Front Bottoms alchemized?

“We like to keep it familiar so that it’s not too intimidating,” says singer-guitarist Brian Sella, “but we always make sure it’s not immediately recognizable.” It’s true, you just can’t quite put your finger on ‘em but Bar/None Records invites you to try to peg these guys with the release of their self-titled debut The Front Bottoms.

Brian Sella and drummer-bullhornist Mathew Uychich have known each other since they were 10 and 8 years old respectively and have been making music for a lot of that time. It shows in the rich hooks and clever rhythms and the effortless way they string riffs together into surprising song structures. Take a song like “Maps” - it opens with half a Sex Pistols riff before going into an orchestral flourish on keyboards. Then there’s a verse complete with a hillbilly hiccup in the vocal followed by an arpeggio guitar part and full-on raging synthetic strings that lurch into handclaps and an enigmatic chorus “one day you’ll be washing yourself with hand soap in a public bathroom,” And that’s in the first minute and a half of the song.

Lyrically Brian Sella fires off scattershot images that the listener can gather up and make sense of like working puzzle pieces on the floor. Romance, freedom, paranoia, partying and somehow getting clean all tumble together from song to song.

“I’m swinging like a fist fight concrete colored basement all right, let’s keep this as clean as clean as you like” (“Looking Like You Just Woke Up”)

“I’m a creature of a culture I created/ I’m the last one on the dance floor as the chandelier gives way and I am permanently preoccupied with your past.” (“Swimming Pool”)

“A lot of the kids we graduated with are homeless which puts them in shady situations with shady people….” (Flashlight”)

In “The Beers,” the narrator surveys said beverage “in coffee mugs, water bottles and soda cups” in the cinematic residue of a basement party. He recalls beefing up for a Jersey Shore summer of steroids “because you like a man with muscles and I like you.” In “Father,” the narrator dreams about beating his father with a baseball bat then tries to find solace in his girlfriend’s bed before musing about his ancestral bloodline, “You look good tonight, girlfriend. Can I sleep in your bed? / And when I crawl out in the morning can I stay inside your head? Cause you were high school and I was just more like real life…”

Matt and Brian started out playing a couple times a year for high school talent shows, learning a cover song and writing a crappy original each time. “I think we did Modest Mouse ‘Out of Gas’ one year and Green Day ‘Hitchin a Ride’ another year,” recalls Brian. This led to Brian’s mom presenting him with three hours of professional recording studio time for Christmas one year. “We went in and the guy showed us how to set up. He pressed ‘record’ and left the room. We recorded 12 songs without stopping.” And thus with enough original songs to play a full set, the Front Bottoms were officially born. Their first club date was an all-ages show at the Main Stage in Pompton Lakes, NJ. Most of the bands were teen punk bands. Casey Lee Morgan who was doing sound at the club befriended them, giving them some faint praise, telling them like they might not be very good but they were better than all the other bands that night. Eventually, Casey would record them in his basement studio. Much of the music on the Front Bottoms debut was recorded by Casey.

The Front Bottoms bounced around Bergen County, eventually branching out making connections in the DIY concert community that has included everything from punk flop houses, VFW halls and fire stations. That circuit got them from New England to Florida, starting in a Ford Escort eventually moving up to an 1989 Econoline van. Mathew’s brother (also named Brian) played keyboards for a while but left amicably after an onstage fistfight and the realization he preferred staying home making pot roasts to playing far flung punk squats. The image of “washing yourself with hand soap in a public bathroom” is the blessing and curse of the freedom and funkiness of life on the lo-fi road. More recently, Drew Villafuerte has been sitting in on bass and keyboards for select shows.

With the wonders of the internet and their obsessive gigging, they are now known from New Jersey to…Spain (?) where director Pablo Nieto found them online and asked to create a video for “Maps.” The video features Williamsburg, a farm (where Mathew sometimes works), and that aforementioned Econoline as well as some “loveable” hand puppets. Word of mouth and great reviews has them fielding calls from promoters all over the tri-state area.

New Jersey’s The Star-Ledger called them “one of the leading lights of the New Jersey pop underground. The group's amalgam of punk, guitar-folk, lo-fi experimentalism, imagist-inspired poetry (drawing heavily on Sella's upbringing in the Jersey suburbs) and playful humor (that betrays the singer's youth) has caught discriminating ears on both sides of the Hudson.”

They’ve played Bamboozle, opened for artists as varied as pop chanteuse Vanessa Carlton and Jersey cohorts Titus Andronicus.

“We kinda thought we were a punk band but then we’d play on bills with real punk bands and we’d be like ‘Whoa, were not punks,” says Mathew. “What the hell are we?”

We can’t wait to find out the convoluted answer to that question.

The Dock - Ithaca, NY

with King Buffalo

Sep 21

Sep 21

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

Price: $12-$15

Event Information

Nashville-based ALL THEM WITCHES impress in both their cohesiveness of sound and their obvious drive toward an individual approach. Their blend of blues rocking grooves and heavy psych-derived jamming comes through clearly, and has wasted no time in getting to the public’s ears thanks to two stunning albums.

Their debut LP, Our Mother Electricity was released in early 2012, making them the first American band to release an album through Germany’s Elektrohasch, heavy psyche innovator Stefan Koglek’s personal imprint. They soon became known for their engaging live shows. They quickly followed this up in July of 2013 with the Extra Pleasant EP, recorded direct to a four-track cassette tape with two microphones with their DIY aesthetic firmly established.

When their sophomore effort, Lightning At The Door, was informally released as a surprise to hungry fans in November of 2013, they quickly sold through their physical stock of discs, receiving more praise for their ability to balance dense, chugging tracks like “Swallowed by the Sea” with soulful, bluesy ones like “The Marriage of Coyote Woman.”

Not ones for taking a break, ATW recorded a live album in early March of 2014 to fully reflect the raw and unyielding nature of their stage show. ATM is not slowing down, and that’s just the way they like it. They’re hitting the road hard in the coming months, we’ll see if the road can take it.

State Theatre of Ithaca - Ithaca, NY

with Hospitality

Sep 24

Sep 24

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

Event Information

Jeff Tweedy is “one of the most daring songwriters of his generation” and his band Wilco is “vital, adventurous . . . breaking new stylistic ground with each ambitious and creatively restless album” -­­ Salon.com.

As the founding member and leader of the American rock band Wilco and before that the co-­­founder of the alt-­­country band Uncle Tupelo, Jeff Tweedy is one of contemporary American music’s most accomplished songwriters, musicians and performers. Since starting Wilco in 1994 Tweedy has written original songs for eight Wilco albums and collaborated with folk singer Billy Bragg to bring musical life to three albums-­­full of Woody Guthrie-­­penned lyrics in the Mermaid Avenue series.

His latest project is Tweedy, a musical collaboration with his 18-­­year-­­old son and drummer Spencer Tweedy. The father/son duo’s debut album is called Sukierae
and features 20 songs written by Jeff Tweedy. With Spencer on drums, Jeff
handles his usual guitars and vocals, as well as bass and keyboards. Musician Scott McCaughey (R.E.M., The Minus Five, The Baseball Project) lends additional keyboards and backing vocals on
Sukierae come courtesy of Jess Wolfe and Holly Laessig of the Brooklyn-­­band Lucius.

“When I set out to make this record, I imagined it being a solo thing, but not in the sense of one guy strumming an acoustic guitar and singing,” Jeff said. “Solo to me meant that I would do everything – write the songs, play all the instruments and sing. But Spencer's been with me from the very beginning demo sessions, playing drums and helping the songs take shape. In that sense, the record is kind of like a solo album performed by a duo."

Tweedy’s touring band includes Spencer on drums plus bassist Darin Grey, guitarist Jim
Elkington and keyboardist Liam Cunningham.

Also an accomplished and in-­­demand producer beyond the Wilco and Tweedy realm, Jeff has collaborated twice with soul and gospel legend Mavis Staples. First on her 2010 release You Are Not Alone, and on 2012’s One True Vine. Both albums were produced by Jeff and recorded at the Wilco loft and both have garnered widespread critical acclaim.

“One True Vine sounds at once contemporary and true to Staples’ lengthy career and history… haunting, beautifully restrained…” -­­ The A.V. Club. “Guided by the brilliant production of Wilco’s Jeff Tweedy… mixes triumphant gospel and evocative blues, infusing each with hard-­­won wisdom” -­­NPR on You Are Not Alone. The album went on to win Best Americana Album in the 53rd Annual Grammy Awards.

Jeff Tweedy’s producer credits also include The Invisible Way by the Minneapolis trio
Low, Wassaic Way by folk-­­rock duo Sarah Lee Guthrie & Johnny Irion’s (co-­produced with Wilco’s Patrick Sansone). Additionally, he’s done production work with Austin’s psychedelic rockers White Denim.

A touring tour-­­de-­­force Tweedy and Wilco have played more than 1,500 concerts worldwide. Wilco also mans the helm at its own Solid Sound Festival at MASS MoCA in The Berkshires in Western Massachusetts – a three-­­day event blending music, comedy, world-­­class contemporary art and more.

State Theatre of Ithaca - Ithaca, NY

Sep 27

Sep 27

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

Event Information

Kathleen Madigan is one of the most respected comedians of her generation; over her 25 year career Madigan has performed on nearly every standup television show ever made: Leno, Letterman, Conan, Ferguson and so on. Her third hour-long special, Madigan Again, which iTunes named one of the Best Comedy Albums of 2013, premiered exclusively on Netflix to rave reviews and is available on CD, DVD and download. She's released 5 CDs and 3 DVDs and starred in 1 Netflix special, 1 Showtime special, 2 HBO specials, 3 Comedy Central specials and 3 CMT Salute to the Troops specials with Ron White. For more information go to www.KathleenMadigan.com and follow Kathleen on Twitter - @KathleenMadigan

The Haunt - Ithaca, NY

Sep 30

Sep 30

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$18

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Atlas, the new album by New Jersey’s Real Estate, arrives through Domino on March 3rd 2014. A triumph of highly evocative, perceptive songwriting and graceful, precise musicianship, Atlas carefully refines, and ultimately perfects, the brilliantly distinct artistic vision that made its predecessors Days and Real Estate so beloved.
The most collaborative Real Estate record to date, Atlas was written by Martin Courtney, Matt Mondanile, Alex Bleeker and Jackson Pollis while cruising through the Arizona desert and during a presser in Madrid, in a practice room in Greenpoint, Brooklyn and in an attic in the band’s hometown of Ridgewood, New Jersey. It was recorded in the summer of 2013 in Chicago with Tom Shick (Sean Lennon, Low, Cibo Matto) at Wilco’s loft studio where new member Matt Kallman (formerly of Girls) joined the fold on keyboards.
Over the course of five years of collaboration and friendship Courtney, Matt Mondanile and Alex Bleeker have honed a masterfully focused aesthetic feel and unique sense of atmosphere in their work, a kind of subtle American impressionism that belies their relatively small discography. Theirs is a subtly inimitable sound that achieves a unique timelessness in its assured identity. Nevertheless, Atlas does not represent a resting on the laurels of Days.
“We wanted to make a cleaner, more well-rehearsed record that reflected the way we’ve come together as a live band over the last few years”, explains Courtney. “Basically we wanted to make a better record than Days without changing the general structure of who we are as a band.”
The songs of Atlas still unfurl in iridescent, warm webs of Courtney and Mondanile’s guitar, they’re still anchored by Bleeker’s nimble bass and they’re still patient and deliberate – ebbing and flowing, frequently building to moments of euphoric release in a way that feels perfectly organic. Likewise the band’s searching, human songwriting still illuminates the quiet, important moments of life in exquisitely minimal language.
Intimate and spare, these ten new songs unfold as one impossibly warm, enveloping suite – conjuring quiet, late-night drives down wooded highways, rural rambles with friends (and maybe a love interest) on the sunniest afternoons of the year, and hazy summer evenings spent alone, thinking back to those times and the people who were with you for them. You can catch glints of Galaxie 500, Little Wings, Luna, Neu, Nick Drake, and Pavement, and also the art of Fairfield Porter, Milton Avery, and Albert York. It’s precise, taut and uniquely American, cut through with a melancholia that can feel variously heartbreaking and newly wise.
The record’s beautiful cover shows sections of a mural by a Polish artist named Stefan Knapp that hung for more than 30 years outside a department store in North Jersey that went under in the ‘90s. For a time it was regarded as the largest mural in the world. The band grew up a few minutes away and spent years driving by the abandoned building and its monumental painting. This vivid, nostalgic image, now lost, goes someway to explaining the concept of Atlas in the way it explores time, growth and change.
“I was trying to write more about where I was at in my life at the time”, explains Courtney, “which inevitably led to thinking about my future and where I would like to be. Thoughts of wishing to move away from the city and have a life for my family similar to the one I had growing up. It’s a little more uncomfortable writing about your present, a little more personal. The title of the record is meant to convey the idea of these songs as a personal road map for the future. I like to think of this record as an object that can be used and looked to for guidance and reassurance, at least for me personally.”

The Dock - Ithaca, NY

with People's Temple

Oct 4

Oct 4

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

Price: $12

Event Information

Hailing from Oxford, Mississippi, the lo-fi duo Bass Drum of Death make bluesy garage rock. On record, the band is singer/guitarist/bassist/drummer John Barrett, who began recording his rambunctious D.I.Y. rock in 2007. Live, the band also features drummer Colin Sneed. Bass Drum of Death released the EP Stain Stick Skin on Fat Possum in 2008. The full-length debut album GB City, featuring the single "Young Pros," followed in 2011. Barrett moved to Innovative Leisure for the project's sophomore follow-up, 2013's Bass Drum of Death.

The Haunt - Ithaca, NY

with Eternal Summers

Oct 5

Oct 5

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$20

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

It was the kind of bar where nobody nice goes on the kind of street where nobody nice lives, which is probably what made it so cheap, which is definitely what made We Are Scientists take meetings there. Not that Murray & Cain were cheap, but they could do math just fine. If they were sticking a quarter into a video game machine, they’d just as soon the thrills last for more than thirty seconds. Same with buying a lady dinner. Of course it had been a long time since video games or dinner with a lady cost a quarter, and anyway they weren’t looking for video games or ladies, except in the deep-down quiet way that men always are. They were looking for a producer.

Murray & Cain, they’re the guys who started We Are Scientists 13 years ago. Fresh out of college and bored by their day jobs, they figured rehearsing a rock & roll band would eat up the long slow evenings. Only it backfired, because the band panned out. Now nothing eats up their long slow days, except proving that a busted clock is wrong nearly all the time, and if you watch a pot long enough, eventually it boils.

They ordered two whiskies, no ice, filled to spilling. Those were for Cain. Murray took a squid-looking thing made of plastic tubes from his briefcase and handed five of the six tentacles to the bartender, who attached them to the five closest taps. Murray stuck the free end into his mouth and nodded, and the bartender opened the taps. That’s when Chris Coady stepped out of the gloom.

They’d met Coady six years prior. At the time he was a hotshot engineer who’d made his bona fides giving The Yeah Yeah Yeah’s and TV on the Radio their signature sound. Now he was one of the best mixers in the game, and had a producer’s résumé that reminded you of a perfect hundred dollar bill. It looked so good it had to be fake. Only Coady was for real — Beach House, Wavves, and The Smith Westerns could testify to that.

“Tequila, ice,” he said, reading aloud every word on the itty bitty drink menu in his head. “Beer fucks with my sinuses.”

They talked. Songs, gear, bands, plus dirty, slanderous gossip. Lots of agreement, with enough “you’re fucking crazy”s to keep things interesting. It started to sound like this was the crew for the job. Two months later, they were drinking the same thing, but they were doing it in one of New York City’s best small studios, the kind that doesn’t come cheap, but gives you a lot more than you paid for. By the end of the year they’d made a record that knew how to throw a punch, but was no slouch in the bedroom, either. A record that gave you the big, wide-angle view, then brought you in for a closer look. It was a We Are Scientists record, and it was a Chris Coady record, and everybody who’d listened to it was having a real hard time staying calm.

A little calm was required, though. It had been a couple years since the band were part of the major label world, with its conveyor belt efficiency — putting out the record would take time. So while the suits set to work finding the right label partner, the band did one of the the only nine or ten things they do really, really well: they recorded some more music. Just a little more music.

A couple of days in their pal Tim Wheeler’s studio with his wunderkind partner Claudius Mittendorfer, and five more songs were ready to go — chopped, locked, exported to lossless AAC. But what to do with them? Like greed pooling in the chest of a recently elected politician, it didn’t take long for a plan to form.

We Are Scientists released “Something About You/Let Me Win,” a double-A-side, in July. “Business Casual,” an EP featuring two tracks from 2014’s untitled album, is out October 15th on Dine Alone Records (North America), 100% (UK/Europe), and through Caroline Records elsewhere.

The Haunt - Ithaca, NY

with Bloodshot Bill

Oct 8

Oct 8

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $12-$15

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Jon Spencer and Matt Verta-Ray are...Heavy Trash!
On stage and in the studio, Jon Spencer, has destroyed and rebuilt American roots music with such ferocity and wild abandon it is hard to believe that there is anything left. The trail of musical destruction in the wake of his groovy hate-fuck combo Pussy Galore still smolders with the stench of avant punk trash and nasty garage ooze and grind, while his towering work with the Jon Spencer Blues explosion remains an indelible totem to his enormous mojo spirit and red-hot power of deliverance. He is Daddy Boss Hog! He is the Blues Exploder and Microphone Destroyer! A Gibson Brother! The man who shared a Chicken Dog with Rufus Thomas, got Soul with R.L. Burnside, and enjoyed a greasy Lap Dance with Andre Williams! He is The Man Who Loved too Much!!! And while the Blues Explosion is on a rock'n'roll holiday, Jon has not rested! He has not worked on his tan, he has not read the latest summer blockbuster!! NO!! Jon Spencer has chosen the righteous path, and got Way Out with his pal Matt Verta-Ray and the Heavy Trash!!!
Matt Verta-Ray grew up in the loving arms of left wing parents who would take him to folk and blues shows long before he sprouted sideburns. (His mother passed away in the '90s, still angry that Dylan had gone electric, despite the fact - Matt is quick to point out - that she owned tons of Sun rockabilly 78s, which he very gratefully still has.) In the late '70s, young Matt found himself one of only twelve people who went to see Bo Diddley at a Canadian fairground. After the show, Bo came out and preached to Matt for an hour about the dark secrets of rock'n'roll. And the rest, as they say, is history - from sitting on the edge of the stage with Bo, to thumping bass for Madder Rose, and then onto his hard-wired decontructionist rootsabilly band Speedball Baby, where he developed his slashing-dagger guitar style - to forming Heavy Trash with his friend Jon Spencer. Matt is also the mad scientist behind the jungle of tube amps and old-school echo machines that form the mutated nucleus of his analog cave, world-class recording studio NY Hed, where musicians come from all over the galaxy to get... Way Out!!!

The Haunt - Ithaca, NY

Oct 9

Oct 9

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$18

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

BoomBox consists of two versatile producers, DJs, songwriters, multi-instrumentalists and longtime friends Russ Randolph and Zion Rock Godchaux. Together they develop an electronic blend of vintage Rock and Blues made to move dance floors while incorporating their signature Backbeat, Psychedelia and Funky House sounds. Applying a multi-track platform, they are free to create their hybrid style on the fly with a rhythm that moves fans and opens them up to Godchaux and Randolph’s overall vision. Derived from the rich musical history of Muscle Shoals, AL, to the psychedelic rock and underground electronic scenes of the west coast, their unique approach can only be achieved by the blending of sound and culture.
BoomBox’s first release, Visions of Backbeat, contained the breakout song "Stereo" that built the foundation for their rapidly growing fan base. After years of steady touring and honing their sound, they released their sophomore effort, downriverelectric, and was hailed by critics as a progressive follow up effort. BoomBox are continuously working on new releases, using a blend of programming and live instrumentation with both members on drums, Randolph on keys, and Godchaux on guitar, bass and vocals.
Each live show is unique to the venue and the crowd, who are the driving force of the rhythmic BoomBox experience. “It’s all natural, it’s all in real time, and that’s why it’s Rock ‘n’ Roll”, says Godchaux. Traditional set lists are never created prior to shows, instead, BoomBox chooses the music based on the atmosphere, to create a one-of-akind experience for fans. Randolph adds, “We just want to go out with no game plan. That way it’s fresh for us, and we can follow the energy of the crowd. We’re down to get down, and we hope that people are down with us.”

The Dock - Ithaca, NY

Oct 9

Oct 9

Doors open at 8:00 pm Starts at 9:30 pm Ages 18+ Only

Price: $12-$15

Event Information

Oumar Konaté touched his classmates with passion for music. With an bucket, helmet, and drum he performed nightly outside the family’s front door in Gao, Mali conducting his first band. In high school, Konaté accompanied the Orchestra of Gao on its national tour. He went on to the National Institute of Arts and led the school orchestra at Mali’s 2008 Biennale. In 2009, he represented Mali at the UNESCO festival in Gambia. That same year, Konaté received his Diploma from the Institut Universitaire de Formation des Maitres where he continues to teach. One of the young African artists racing to prominence, in 2011 he became guitarist and arranger for «Tounkagouna», a monthly television variety show broadcast on ORTM, TV5, and other networks. In 2012, Konaté performed at Mali’s Festival au Desert and toured the US and Canada with Khaira Arby. In 2013 and 2014 Konaté toured Europe with Vieux Farka Toure. During May/June 2014 Oumartoured the US and got rave notices. He will be appearing across the US between September 11th through October 12th 2014.

Water Street Music Hall - Rochester, NY

with Fozzy, 3 Pill Morning

Oct 10

Oct 10

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

Price: $20-$25

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

Oct 11

Oct 11

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$20

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Cappadonna was one of the last members to join the Wu-Tang Clan. He had known the members since grade school in Staten Island, and he had even decided at the age of 15 that he could write and perform lyrics. It wasn't until 1995, however, that he made his recorded debut, appearing on Raekwon's Only Built 4 Cuban Linx album. With that album, he became an official member of the Wu-Tang Clan, and from there on out, he frequently appeared on Wu records. In 1996, he played a large role on Ghostface Killah's Ironman. During 1997, his Wu apprenticeship continued, as he rapped on the Clan's second album, Wu-Tang Forever.
The PillageCappadonna's solo debut, The Pillage, finally appeared in March 1998. Like any Wu project, the record featured RZA as the executive producer and cameos from a number of other Wu members, including Method Man, U-Cool, and Raekwon. As the sixth Wu solo project, the album was an instant success upon its release, debuting at number three on the charts. A sophomore effort, The Yin and the Yang, followed in early 2001. The largely autobiographical The Struggle was released in September 2003 on the independent Artists & Producers label. His 2013 effort Eyrth, Wynd & Fyre/Love Anger & Emotion was a double-disc effort on RBC with the second disc introducing his protégés, rappers Lounge Mode and Sav Killz.

The Haunt - Ithaca, NY

Oct 14

Oct 14

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$18

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Intertwined with evolution lies design. Nature casts blueprints for transition that resemble reinvention. Embryo, larva, pupa and imago mark the lifespan of the caterpillar, and nestled in the depths of metamorphosis lie dormant cells with an ancient memory of the future embedded within.

Like a caterpillar caught in an age of uncertain direction, a five-piece band is creating a path for themselves through their multi-faceted approach to the art of live music. Since banding together in 2006, Papadosio (including Anthony Thogmartin, Mike Healy, Rob McConnell, and Sam & Billy Brouse) has grown to become a tour de force in a music industry constantly undergoing dramatic changes, successes, and struggles. Nationally recognized for their tenacious touring schedule, independently produced albums and events, and bountiful discography of both studio and live recordings, the band and its fanbase continue to grow every year with the dedicated support of a community of attentive listeners around the globe.

Celebrated for their sprawling catalog of original material, unpredictable setlists and entrancing improvisations, Papadosio's live performance now headlines a host of events from theaters to festivals, both internationally and all across the United States. Inside every night's set, each band member meticulously collects and presents a world of sound that weaves together both digital and analog currents into a style of music reflective of the world we live in. Articulate melodies meet primal drums and bass, while oscillating pedals and vintage keys battle with future synths and modified scripts - conjuring images reminiscent of a space age musical exploring the essence of power in the presence of fragility, the meaning of light in the midst of darkness. Placed within this complex design of sound are original lyrics and a carefully crafted live visual mix and lighting design, that connect the music and the body to the mind and the soul - modern medicine for a struggling planet and divided race. Through this time-tested formula, the band, the lights, the vision and the crowd ignite and illuminate, reminding us that even if we don't know we are going, we can at least go there together.

Papadosio prepares to hit the road again this fall in search of a hidden genetic blueprint that may lead the way to the next stage of evolution with the Imaginal Cells Tour, a biologically inspired flight into light, media and sound taking place in over 35 cities across the United States this fall 2014.

Listen and learn more at papadosio.com.

The Haunt - Ithaca, NY

with The Primate Fiasco

Oct 16

Oct 16

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $12-$15

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Turkuaz is Brooklyn Power Funk. Their stage show combines influences from Sly and the Family Stone to Talking Heads into an explosive auditory and visual circus, a full-frontal assault on the senses. After multiple residencies at NYC�s Brooklyn Bowl, several blowout festival performances (Bear Creek, Mountain Jam, Strangecreek, Equifunk and Wormtown to name a few) and tours spanning the east and west coasts, Turkuaz has developed a reputation from NYC to San Francisco as the band that plays louder, faster, and harder than all the rest.

The Haunt - Ithaca, NY

Oct 18

Oct 18

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $10-$13

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Age policy: 16+ with ID / under 16 with a parent or guardian

The Cabin Project is an orchestral indie pop band from the Portland whose sound stems from anthemic choruses, three-part harmonies, loop pedals, and string sections. The songs are musically expansive, yet retain an intimacy similar to that of The National, Bon Iver, Feist, and Mates of State.

Born in an attic studio lined with Douglas Fir, the band started as a project of Katie Sawicki, a former-folksinger from Brooklyn who became inspired by electric guitars, keys, synthesizers, and balancing all three onstage. After moving to the Pacific Northwest in 2008, Sawicki sought out musicians to collaborate with, leading her to music partner Zanny Geffel, an orchestral drummer, rooted in jazz and percussion, with a preponderance for poetry and onstage mayhem. The band’s newest member is Rebekah Hanson, a PhD in viola recently turned onto delay and effects pedals, creating the band’s strings and bass section.

The Cabin Project released their second album, Heliotrope, this last October. The album came together after passing demos back and forth between coasts and collaborating with a variety of talented musicians from all over the country. The Cabin Project has worked hard to build the community of influences and collaborations that surround Heliotrope, and what results is a culminated sound that chimes earnest, reverent, and full of warmth. Their newest release, Sine, is an EP of songs taking the band’s indie rock sound to the next level.

The Haunt - Ithaca, NY

Oct 19

Oct 19

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

Price: $10-$13

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Ages and Ages is more than a band. It’s a collective of like-minded souls that believe in the power of music to change the world and elevate the spirit. Their music is bright and uplifting, with lyrics, penned by bandleader Tim Perry, that deliver serious introspective messages full of insight and consideration for others.

“When we made this album, we wanted a word to describe how we felt and what we were going through as individuals and a band,” Perry says, “so we made one up. ‘Divisionary’ signifies a group whose vision of ‘right’ is upsetting to the existing power structure. It includes a philosophical, spiritual, and physical ‘breaking off’ from the status quo. It also references the individual inner conflicts that arise as you struggle to make the right choices in life. Visionaries don’t always create conflict, but they challenge the establishment with new ideas and with the threat of change. Where there is change, there is usually resistance, controversy, division.

“The songs on our first album, Alright You Restless, described a group of people leaving a selfish, destructive society for a place safe from the madness. That was like starting a band, wanting to establish new rules and a language to put some distance between themselves and the noise outside. Those songs were optimistic, energetic and self-righteous because that’s how a group of people who broke off from society would feel. As the group faces the struggles of actually making their community work, reality sets in and things get more complicated. Divisionary details the second phase of the journey.”

Alright You Restless was made in eight days of feverish creativity. Divisionary evolved over months of experimentation at Portland’s Jackpot Studios with veteran producer Tony Lash (Elliott Smith, The Dandy Warhols, Eric Matthews), as well as the home studio of Ages bass player Rob Oberdorfer. During the process, the band suffered the loss of a number of close family members and dear friends, so the songs became a kind of road map for anyone attempting to avoid darkness, without becoming consumed by anger in the face of life’s difficulties. “There were also great things happening,” Perry adds. “One of us had a child, another got married. Life was tipping both ends of the scale; there were a lot of changes going on.”

Perry spent ten days on a silent meditation retreat, formulating the direction of Divisonary, and his calm, centered vision is at the core of the music. The intricate harmonies, celebratory choral vocals, churchical piano and organ, inventive counter melodies, bright acoustic guitars, and exciting, interlocking rhythms set off aural fireworks to frame the grounded emotions conveyed in the lyrics.

The title track, “Divisonary (Do The Right Thing),” is a secular gospel song with inspirational harmonies, sanctified piano and smooth violin adding muscle to a simple refrain: “Do the right thing, do the right thing….don’t you know you’re not the only one suffering.” A stomping, exuberant bass drum pushes the giddy pop vocals of “I See More,” as it reassures listeners that, “It’s all OK, I’ll be on your side.” The jaunty folk pop of “Big Idea” holds a flickering candle up to the darkness with intricate handclapping, gentle harmonies and the candid admission that, “All of my ins are on the outside. And I want you all to notice, cuz I have no will to hide.”

On “Over It,” acoustic guitars played in open tunings dance across a complex musical landscape to Eastern melodies and counter melodies, leading to the group declaring over a swaying 6/8, “I have no remorse for the way that I am anymore. No, I feel no shame.” The band’s funky hand clapping folk rock rhythms move “The Weight Below” as Perry and the band belt out a soaring chorus to release the feelings that cause stress and suffering. “And the weight that we left behind, we’re all better off without it, and it ain’t even worth our time, so I ain’t gonna worry about it.” The complex structure of “Light Goes Out,” bounces along on a stomping bass line, bright, piano shenanigans and the band’s joyously dislocated vocals: “I kept up with the verses in my head, running right along beside ‘em all day. At some point, well I found myself wondering if I was even running or just running away.”

The harmonies and intricate instrumental interplay on Divisionary are carefully crafted, but never sound forced, with complex arrangements that are naturalistic, invigorating and free. The clash between the band’s stirring folkadelic sounds and emotionally thorny subject matter makes for a bracing listen, “as if the internal conflict is happening in real time,” Perry says.

“We live in a country where a substantial amount of the population would rather discard science than admit climate change is happening. A culture which, more and more, considers higher education to be some kind of liberal indoctrination. A culture that does not value critical thinking and a power elite that perpetuates misinformation, apathy, and ignorance because it preserves the status quo. I don’t blame people for feeling daunted, apathetic, powerless, and overwhelmed, but I believe that facing the darkness is a necessary step in overcoming it.”

“Ultimately I think the band all feels hopeful and blessed,” Perry concludes. “These songs reflect that optimism, but they don’t do so lightly or try to dodge the struggles we’re dealing with individually and as a band. It was an exceptionally long, hard road this time around but in the end, we’re all really proud and excited to share this record.”

Ages and Ages is: Rob Oberdorfer – Bass, vocals Tim Perry – guitar, vocals John McDonald – guitar, vocals Levi Cecil – drums, vocals Becca Shultz – keys, vocals Annie Bethancourt – percussion, vocals Sarah Riddle – percussion, vocals

The Dock - Ithaca, NY

Oct 19

Oct 19

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

Price: $12-$15

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Throughout history, individuals have been playing with the delicate balance between polarities. Often, the combination of two opposites makes for a harmony previously unknown, a sum greater than its parts. Motopony is the embodiment of this notion – a band built on a bedrock of contrasts and the gorgeous alchemy of seemingly conflicted sounds, and the feelings mapped over them. Guided by soulful machines Daniel Blue and Buddy Ross along with guitarists Brantley Cady and Mike Notter and drummer Forrest Mauvais, there is a warm efficiency to the hard-soul/glitch-folk contained on the quartet’s self-titled debut.

But then, that was always the idea for lead singer and songwriter Daniel Blue. “A lot of people run from machines into nature, and a lot of people run from nature into machines. Somewhere in there, there has to be a balance,” explains Blue. The origins of Motopony certainly reflect this duality. The band’s beginnings are intrinsically tied to Blue’s – they both begin at the bottom of a waterfall, then traipse through the southwestern states before sweeping up into the Pacific northwest. It was there that Blue picked up the guitar at age 27, after years of expressing himself through the design label he began years previously, but has since put on hiatus to pursue music. The impetus to pick up the guitar was less a choice than a necessity, and it’s remained that way ever since. “I freaked out. I was alone in my warehouse where I made clothes and had parties. I grabbed this guitar I’d bought ten years earlier, and started playing this song.” Blue’s foray into music happened to be the five-year anniversary of his mother’s death, and the nascent stages of Blue’s songwriting were consumed by this loss – his grief the lens through which everything refracted.

In the intervening four years, the depth of Blue’s songwriting has deepened and grown, and is only complemented by Ross’s tempered arrangements. Motopony’s debut is steeped in thought and burnished by longing – for another person, a lost time, an unnamed cause. Romantic relationships are the engine of the four-time-engaged (but never married) Blue’s art, but there is a great deal else on the album. Blue’s twang on lead single “King of Diamonds” seamlessly weaves through Ross’ disarming pace, drums chugging and xylophone tones brightly harmonizing with Blue’s voice as he tells the story of searching for something he realizes he already has. The anxiously beautiful picking on “Wake Up” gives way to an honest look at the state of the world and one’s self in it. Despite its darker tone, Blue considers it a “callout of darkness,” not into it. The stark and solemn tone sets the track apart from its warmer counterparts, as Blue’s universally relatable anxieties unfurl across the song. Another stand-out track is “Seer” – a composition that recounts of the mythology of Motopony, a type of theme song that tells the tale of Blue’s origins. Piano lines spike the bridge as Blue’s tunings wind around his voice, which dwells in a register that demands attention. Blue’s vocals delive rboth boasts and character flaws with the same swagger, before taking aim at an unknown you. Motopony does quiet and plaintive as well as loud and raucous, as on the hushed acoustics of “Wait for Me,” a heart-rending vision with a fair amount of confession. Eerie, atmospheric sounds echo in the background as a searing string ushers gorgeous female backing vocals that drift in and out throughout the song.

But before Motopony could create their stunning debut, they had to meet. A fateful dinner party in the spring of 2009 would bring together the much-needed other piece of Motopony: multi-instrumentalist and co-producer Buddy Ross. After orbiting each other in the music scene for years, the two were brought together at a songwriter’s dinner in Tacoma, WA. “I had never heard him sing before,” says Ross. “He was a unique character – I didn’t expect him to sound the way he did. I was taken aback by it.” Blue had been impressed with Ross years earlier when they’d intersected while working on someone else’s album. “It was clear he was a genius,” says Blue. A month later, the partnership was formed, and Blue began sending Ross the first set of songs that would eventually comprise the Motopony debut. Blue’s bizarre tunings – three E-strings, spaced out in an odd pattern – were the perfect marriage to Ross’s modern, anchoring cadences. Ross was initially reluctant to form a band, but was ultimately swayed by the strength of the music. “The songs are really captivating – and there’s so much space for me to fill it up with what I do,” explains Ross. With pre-production done at a remove, Blue began trekking to Seattle a few times a week for practice, and ultimately moved there to make the band work.

While the band may count Seattle as their home now, a natural current runs deeply through the band’s music, and Ross and Blue contend they would not sound the way they do were it not for their Pacific Northwest roots. “We’re not place specific, but I do think our music is born out of eight months of rain in a year and the love of nature because it’s so damn green. There are lots of open spaces. I really love our place, and I think that shows up in what I’m trying to do.” When Blue talks about the nature Motopony holds dear, he might as well be talking about his music. “A lot of the harmony I see in nature is that strange juxtaposition of worlds that don’t seem like they should collide, that effortlessly seem to be happening in tandem and you can’t take out one piece. You can’t run from it.”

The Haunt - Ithaca, NY

Oct 23

Oct 23

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$18

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Age policy: 16+ with ID / under 16 with a parent or guardian

The phenomenon known as Sublime, arguably the most energetic, original and uniquely eclectic band to emerge from any scene, anywhere, ended with the untimely death of lead singer, guitarist and songwriter Brad Nowell in May of 1996. But encompassing the sense of place and purpose long associated with Sublime’s music, Badfish, a Tribute to Sublime continues to channel the spirit of Sublime with a fury not felt for some time. What separates Badfish from other tribute bands is that they have replicated Sublime’s essence, developing a scene and dedicated following most commonly reserved for label-driven, mainstream acts. Badfish make their mark on the audience by playing with the spirit of Sublime. They perform not as Sublime would have, or did, but as Badfish does!

The Hangar Theatre - Ithaca, NY

Oct 24

Oct 24

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

Price: $30-$35

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The Bad Plus has spent almost fifteen years redefining what a piano-bass-drums trio can and should be. They’ve reached audiences of all demographic stripes with an uncompromising body of original music (plus some ingenious, genre-jumping covers) and dedicated touring around the globe. On their eighth studio album, Made Possible, bassist Reid Anderson, pianist Ethan Iverson and drummer David King take their distinctive musical M.O. to captivating new heights, proving once again that the rules of musical convention are made to be broken.

“This band contains some of the most punk energy I’ve ever seen or felt as a musician — it just doesn’t need to do it so obviously,” King says. “That’s our statement. It’s a complex emotion.”

Made Possible marks a palpable departure for The Bad Plus on a few fronts. Layers of synth and electronic drum sounds can be heard prowling amid the trio’s signature acoustic palette. Also, whereas the group’s new material typically gets a thorough road test before being recorded, these songs were brought in with looser expectations and even more potent possibilities. And for the first time since 2005’s Suspicious Activity?, the band chose to record far away from its Minnesota motherland, holing up instead at a remote studio in upstate New York.
The resulting nine tracks — eight originals plus a loving nod to the late Paul Motian (“Victoria”) — showcase everything this groundbreaking trio is capable of: pulse-pounding anthems, bright-eyed melancholia, bold juxtapositions, tunefully mathy contortions and a masterful sense of song. “Seven Minute Mind” and “Wolf Out” are streaked with heady minimalism. “For My Eyes Only” and the epic “In Stitches” highlight the group’s vulnerable, ambitiously emotive core. “Re-Elect That” honors and extends the rich bloodline of American avant jazz, while “I Want to Feel Good Part Two” offers an irresistible two-beat that’s equally suitable for a postmodernist time capsule or a church picnic. As ever, the sum effect is a welcome demolition of what listeners might expect from an instrumental trio.

Per Iverson, “It’s the sound of getting together in your garage and all committing, no matter what, seeing what you can make up today.”

Throughout its career, The Bad Plus has held fast to a band ethos (deeply collaborative with no “leader”) and a belief in what its members like to call avant-garde populism (progressive, musically sophisticated ideas without the highbrow trappings). Made Possible is a vivid and convincing document of this passionate stance, loaded with genre-defying music that is at once complex, heartfelt and instantly engaging.

Water Street Music Hall - Rochester, NY

Oct 25

Oct 25

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

Price: $17-$22

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

Oct 26

Oct 26

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $10-$13

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Diarrhea Planet is a six-piece rock and roll band from Nashville, TN. Their sound has often been described as The Ramones holding Van Halen hostage with an arsenal of fireworks and explosives. Diarrhea Planet's four guitarists provide enough riffs to make Jack Black squeal like a schoolgirl, while lead singer Hodan delivers enough hooks to straighten the curl out of Justin Timberlake's hair. In a world of unintelligible lo-fi recording, reverb drenched vocals, and tuneless guitars, Diarrhea Planet aims to put the backbone back into rock and roll.

The Haunt - Ithaca, NY

Oct 28

Oct 28

Doors open at 7:30 pm Starts at 8:30 pm Ages 16+ Only

Price: $15-$68

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Aaron Carter became an international pop sensation at the age of 10 and went on to release several hit singles and multiplatinum albums as well as appear in film, television and on Broadway. Carter recently finished a successful North American tour performing songs he made famous during the past 15 years. He is currently recording a new album and preparing for his next tour.

Carter, now 26, began his career at the age of 7 singing lead for the band Dead End. Two years later in 1997 he made his first solo appearance when he opened for brother Nick Carter’s band the Backstreet Boys in Berlin, Germany. Within months Carter was signed to a record label and released his first hit single, “Crush On You,” followed by his first album, “Aaron Carter” which achieved gold status in several countries around the world.

After signing with Jive Records the following year, Carter released his next album, “Aaron’s Party” in 2000, which was an instant success and went triple platinum selling more than 3 million copies. “Oh Aaron” was released in 2001, which also went platinum, followed by the double platinum album “Another Earthquake” in 2002. His collection album, “Most Requested Hits,” was released in 2003, followed by “Come Get It: The Very Best of Aaron Carter” in 2006.

One of the top pop acts of his time, Carter regularly toured around the world performing for millions of adoring fans. His best-known singles include “I Want Candy,” “Aaron’s Party,” “That’s How I Beat Shaq,” “Oh Aaron” and “I’m All About You.” Carter was also the featured opening act for the world tour of Britney Spears.

In 2013 Carter kicked-off the “After Party Tour,” his first tour in eight years, which was initially scheduled for 80 shows across North America but quickly grew to more than 150 dates after strong initial ticket sales.

Carter’s television credits include “Lizzie McGuire,” “Sabrina, The Teenage Witch,” “7th Heaven,” “Family Affair” and “Figure it Out.” Films include “Ella Enchanted,” “Fat Albert,” “PopStar” and “Supercross.” He has performed on soundtracks for motion pictures such as “The Princess Diaries,” “A Cinderella Story” and “Jimmy Neutron: Boy Genius.” On Broadway, Carter appeared in “Seussical,” the Dr. Seuss themed musical, and more recently completed a 400-performance stint in “The Fantastiks,” the longest-running musical inthe world. A new generation of fans got introduced to Carter when he joined the cast of the hit ABC primetime series “Dancing With The Stars.” Carter and his partner, Karina Smirnoff, finished in fifth place in the competition.

Carter has won multiple awards, including the Teen Choice Award, Kids’ Choice Award and Radio Disney Music Award and is in the Guinness Book of World Records for being the youngest singer to have four consecutive top ten singles in the U.K. He has performed live around the world to crowds of more than 1 million fans, was a featured performer for the “Michael Jackson: 30th Anniversary Celebration” and has performed at the Macy’s Thanksgiving Day Parade, the Billboard Music Awards, the People’s Choice Awards and the American Music Awards.

Born in Tampa, Fla., Carter currently lives in Los Angeles.

The Haunt - Ithaca, NY

with Ballyhoo! & Gonzo With Beyond I Sight

Oct 30

Oct 30

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

Price: $15-$18

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

From San Diego, California, award­winning reggae group Tribal Seeds have become known for their spiritually driven, refreshing rock vibe they have infused with the roots style of reggae music. Originally started by two brothers, Steven Rene Jacobo (lyrics, vocals, guitar) and Tony­Ray Jacobo (producer, keyboards, back up vocals). Tribal Seeds now boasts six members, including: Carlos Verdugo (drums), Victor Navarro (bass), E.N Young (keyboards, back up vocals) & Ryan Gonzo (guitar, back up vocals).
Tribal Seeds’ unmatched musical talent and authentic sound has brought them to the forefront of the reggae rock genre, as their art form has reached people of all ages across the United States, and worldwide. The band’s debut, self titled album “Tribal Seeds” was released in 2008 with their second album “The Harvest” following, June of 2009. iTunes named both albums “Best Of” in the
Reggae genre, for their respected years. Their debut album helped garner them the “Best World Music” title at the San Diego Music Awards in 2008, and “The Harvest,” which contained fourteen new and original songs, debuted at the number 5 spot on the Billboard Reggae Charts. The tracks, written and produced by Tribal Seeds, were recorded and mixed by Alan Sanderson at Signature Sound Studios in San Diego, and mastered by Erik Lobson at Universal Mastering.
On July 19, 2011, Tribal Seeds gave listeners a brand new EP entitled “Soundwaves,” which peaked at number 2 on the Billboard Reggae Charts. The band notes that the album was inspired by their life experiences, being on tour, and their desire to inspire youth to raise their voices and seek a higher consciousness. More music is in the works and is schedule to be released in 2013. Already, the band has released three new singles, “Run The Show”, “Did Wrong” & “Night & Day” which are available for download.
Tribal Seeds have toured throughout the United States, and have also performed in Mexico,
Guam & Aruba. They have shared the stage with artists such as Dave Mathews Band, Jack
White, Red Hot Chili Peppers, Jane’s Addiction, Skrillex, MGMT, Cee Lo Green, Jason Mraz,
Matisyahu, Sublime with Rome, Taking Back Sunday, O.A.R., Pretty Lights, Steel Pulse, The Wailers, Pepper, Collie Buddz, Julian Marley, Stephen Marley, Gregory Isaacs, SOJA, Rebelution, and many more.

State Theatre of Ithaca - Ithaca, NY

Nov 2

Nov 2

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

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“It took life for us to get to this point – Everybody was so free.
From the first notes, it sounded like an explosion of sound; we went where the songs took us with a singularity of purpose.
We came in to make music as grown-ups, to make music as men.”
– Raul Malo, lead singer of The Mavericks

The Mavericks are back. The country-steeped garage band with a Cuban American lead singer that had emerged from Miami in 1989 with their sultry debut that was equal parts innocence, intensity, and vintage influences has reunited in 2012 after an eight-year hiatus. Time has a way of melting when you’re busy living life – and two decades have passed since their polyrhythmic brand of post-modern country has given the world “All You Ever Do Is Bring Me Down,” “Here Comes The Rain,” and “Dance The Night Away.”

With their new album, time melts once again, and the band that defied definitions, blurred genres, and made everybody feel good is back. The “most interesting band in the world” has captured the infectious energy and robust sound from their live shows on their new Valory Music release In Time. Songs like “Dance In The Moonlight,” the Orbison-esque “Born To Be Blue,” the horn-punctuated retro noir “Back In Your Arms Again,” and the Tejano-esque “All Over Again” show that the Mavericks have once again found the way to make genre-defying soul music.

The Haunt - Ithaca, NY

with Bambu & DJ Last Word

Nov 7

Nov 7

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$20

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

Fully recharged and inspired by his eye-opening first trip to Mecca, the 2011 uprisings in the Middle East, and the world wide Occupy movements, Brother Ali is prepared to unveil his fourth full-length offering Mourning in America and Dreaming in Color. Created during a self-imposed two-month exile in Seattle and helmed by platinum-selling producer Jake One (50 Cent, T.I., Wiz Khalifa), the album presents a scathing yet honest critique of America and its many flaws while simultaneously presenting a hopeful outlook of its possibilities. Preceded by the release of free music downloads with accompanying music videos such as “Shine On," "Writer’s Block,” and “Not A Day Goes By," Mourning in America and Dreaming in Color is the pièce de résistance.

In an age of hip-hop where the paradigm of swag over substance reigns supreme, few emcees are willing to use their platform to tackle the hot-button topics and pressing social maladies of our time - but it’s apparent that Minneapolis-based hip-hop artist Brother Ali is one of those few. Over the course of 14 tracks with assists from esteemed author/ professor Dr. Cornel West, revered Southern hip-hop icon Bun B, and Def Poetry Jam poet Amir Sulaiman, the album brazenly holds a mirror to the idiosyncrasies of American life while simultaneously painting a vibrant portrait of its wondrous potential. Actualizing hip-hop’s full range of motion as a gage for the times, Mourning In America and Dreaming In Color asserts itself as the definitive soundtrack of a disenchanted, disenfranchised, and wildly optimistic citizenry during a landmark period in American history. In a moment of artistic preemptive strike, Brother Ali recognized this prime opportunity to examine and address the underpinnings of the burgeoning stance of mass opposition:

“This is not just a new album, but a new chapter. There’s a kind of democratic reawakening in people at this point in time. I was really looking to take these topics and really hit them hard. To try to open ears and hearts and invite people to take some action and feel empowered. To be engaged and take some agency and responsibility for what’s going on in the world.”

Melding the zeitgeist of classic works such as Ice Cube’s critical 1991 album Death Certificate and Marvin Gaye’s 1971 sociopolitical opus What’s Goin’ On with his keen observations on topics such as race, the Occupy movement, and the hypocrisy of war, Brother Ali has crafted a fresh lyrical approach and dynamic new sound - the result is a stunning collection of hard-hitting lyrics and beats.

The state of the union address commences with “Letter To My Countrymen,” a spirited appeal to fellow Americans with a tailor made guest vocal from Cornel West. Brother Ali speaks on the institution of poverty on “Only Life I Know” while the quasi-autobiographical “Stop The Press” addresses his albinism, the death of his father, and his remarkable yet challenging journey through hip-hop. “Mourning In America,” in part the album’s title track, offers a brutally honest look at America’s convoluted and hypocritical relationship to murder. Featuring a searing verse from poet Amir Sulaiman, “Gather Round” is a battle cry to the masses to take an ardent interest in the social ills plaguing society. Brother Ali puts underemployment and hyper consumerism in the face of socioeconomic turmoil on blast on “Work Everyday.” “Need A Knot,” featuring the voice of Bun B, finds Brother Ali skillfully veiling a series of odd jobs in analogies of illegal hustles. “Namesake” is the seldom-told tale of a pre-fame Muhammad Ali – one of America’s most dynamic personas whom Brother Ali is also named after. The set ends with the outro “Singing This Song,” a track that showcases another one of Brother Ali’s passions – speaking engagements. The song features highlights of Ali's riveting public address at a mass demonstration demanding justice for Trayvon Martin.

Mourning in America and Dreaming in Color, in all its sonic and lyrical glory, promises to be both the voice of a burgeoning new critical American consciousness and the beacon of hope for those that hold fast to its ideals and potential.

State Theatre of Ithaca - Ithaca, NY

Nov 8

Nov 8

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

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Jenny Lewis returns with her new album, The Voyager, on July 29th. The Los Angeles artist’s first solo LP since 2008’s Acid Tongue, The Voyager is Lewis’s most deeply personal, and her most musically robust. Featuring production work from Ryan Adams, Beck, as well as Lewis and her longtime collaborator Johnathan Rice, The Voyager finds Lewis at her sharp-witted best, singing about her recent life with honesty and incisiveness. And then there’s her voice, which was already a force to be reckoned with, but sounds even richer, more nuanced, more powerful. Lewis says The Voyager was the hardest album she has ever made, documenting her struggle to cope following the death of her estranged father in 2010 and the subsequent break-up of her band, Rilo Kiley. In the three years she worked on it, there were moments she thought she’d never finish. But, more than ever before, she knew she had to. The story is best told in Lewis’s own words:
Making The Voyager got me through one of the most difficult periods of my life. After Rilo Kiley broke up and a few really intense personal things happened, I completely melted down. It nearly destroyed me. I had such severe insomnia that, at one point, I didn’t sleep for 5 straight nights. Many of the songs on The Voyager came out of the need to occupy my mind in the moments when I just couldn’t shut down.
I asked for help from a lot of places. The first song on the album, “Head Under Water,” is about some of that. I really did get hypnotized. I tried everything. I got acupuncture. I did neurofeedback. I did massage therapy. I looked in the phonebook for a healer in Studio City and I met this woman who barely touched me for an hour and then wrote on index cards about what I was going through. All this just to try and get to sleep! I was ready to call the psychic hotline, “Tell me when this fucking thing is gonna be over.”
I recorded through my father’s death and terrible insomnia and all of the related fall-out. I just kept recording. Some of it was good and some of it wasn’t, but it took my mind off what was going on. Over the course of a couple years, I recorded dozens of demos, often trying multiple versions of the same song. I knew I had to finish it. And every single one of my friends helped me get there. This record took an entire village of musicians, including Ryan Adams, Beck, Johnathan Rice, Farmer Dave Scher, Blake Mills, Benmont Tench, Jason Boesel, Nathaniel Walcott, Alex Greenwald, Lou Barlow, First Aid Kit, the Watson Twins, Z. Berg, and Becky Stark, among others.
“Just One Of The Guys” was one of the tunes I’d tried a few different ways before I finally recorded it with Beck, at his home studio in Malibu. He ended up producing the song and contributing backing vocals. The whole experience was super laid-back — walking on the beach, talking about movies and the Rolling Stones and French pop music. It was just very mellow and lovely. But that was on the eve of my meltdown, and I didn’t go back again for a year.
I took a break from recording last spring and summer to tour with The Postal Service, for the tenth anniversary of our album, Give Up. It felt so good to play those songs. Every night I got crazy chills. I’d look down and the hair on my arm would be standing on end during “The District Sleeps Alone Tonight.” After having been a front-person for most of my career, it was an amazing time to just be there on the side, to support Ben and Jimmy. It was a great path back to myself, in a way. But the whole time I was out there, I was thinking, “This is wonderful, but I need to be playing my songs. I need to finish up this album once and for all.”
I was searching for a spirit guide. With everything that was going on in my life these past few years, I wanted to try ceding control. It can be a relief, at a certain point in your creative life. You let in a bit of criticism and it frees you up. And Ryan Adams and his partner Mike Viola were the final piece of the puzzle. Ryan and I didn’t know each other very well before this album — we had hardly even listened to one another’s music, to be honest. But I’d heard he built this awesome studio, Pax Am, at Sunset Sound, so I hit him up and asked if I could come in and record something. We put together a band — Ryan on guitar, Griffin Goldsmith from Dawes on drums, Gus Seyffert on bass, Mike on guitar and piano — and booked time for the very next day after I got back from the Postal Service tour.
I had this song, “She’s Not Me,” and I wasn’t really happy with any of the versions of it I’d tried. We ended up doing it in a different key, with a different tempo, with a part cut out. The biggest change was doing it live. There’s just something palpable about a group of people playing music live in a room together. The session was so fluid: I taught the band the changes, we did two takes, and that was it. I thought, “Well, that was awesome,” but Ryan wouldn’t let us listen back to it. The entire two weeks we were in the studio, we never listened to playback of anything, we just moved onto the next song.
Some of his methods infuriated me at the time, but I thrive in that environment — having some conflict to resolve, or having to prove myself. I was showing Ryan that I had something to say, and he knew how to annoy me into that perfect spot. We would get into these philosophical arguments about how to make records. Every time I wanted to put a harmony on a song, Ryan would ask me, “Do you come from a musical theater background?” His argument was that great songs, with great stories, don’t need background vocals. He would say, “Morrissey doesn’t use background vocals.” And I would yell: “Well, I do!”
I trusted the vision, and Ryan ended up being the person to get me over the fear of finishing something I’d been working on for so long. He found me when I was in a weird, tough spot, and he really helped me. And then we got to know each other as friends: You’re singing these songs and you’re weeping in front of your new bro who’s producing your record, and it’s heavy.
While I was in it, I couldn’t see my way out. But eventually, I started feeling better and the insomnia passed. I can sleep again, but I’m certainly a different person now. This record was the hardest one I’ve ever made. I truly thought I was never going to finish it, but I did. The Voyager tells that story: the longest night of my life and the journey to finally getting some rest.

The Haunt - Ithaca, NY

Nov 8

Nov 8

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $15-$20

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Age policy: 16+ with ID / under 16 with a parent or guardian

If you’ve been paying attention, you’ll know that Kings And Queens is a synthesis of every aspect of John Brown’s Body’s storied career. It’s as if, after close to two decades of existence, this pioneering band has finally crafted their ultimate statement, tying together styles they’ve dabbled in, paid respect to, created, or pushed forward into one tightly woven mosaic. JBB’s Future Roots is now present tense.

John Brown’s Body formed (in Boston in the mid 1990s) at a time when there wasn’t what you’d call a U.S. reggae scene. The American bands that played reggae were regional at best, touring little, and many were primarily cover bands of the best known Jamaican reggae. JBB was one of a handful of groups that began touring nationally and created distinctly American reggae, steeped in traditional vibes but incorporating elements from other genres. Whereas most groups tackled typical reggae themes –religion and marijuana – JBB acted more like an indie band, writing songs that used the vocabulary of reggae to express their own experiences. Over time, this style has become the norm. The U.S. scene has grown tremendously – to the point of having two bands debut records in the Billboard Top 20 in 2012 – and many in the genre point to John Brown’s Body as a key influence.

However, this is not your typical story of an influential band doing what they did 20 years ago now trying to cash in on the movement they helped foment. Because a funny thing happened along the way for John Brown’s Body – they evolved and grew, taking their music ever forward, and have continued to influence the scene as much today – some might even say more so today – than they did at the start. The band’s relentless touring schedule helped pave the way for the nationwide scene, showing other bands that it was okay to be from the Northeast and still be comfortable playing in California, Hawaii, Colorado or Iowa. Early on, members of the band formed their own record label to highlight their local scene, which has since become the norm in many pockets of the scene. JBB delved deeply into dub effects from the start, incorporating elements of electronic music well before that became standard for today’s bands. Yet, JBB is somehow still utterly unique within the scene, even after two decades at work, which brings us back to the record at hand.

Musically and lyrically, lead singer/songwriter Elliot Martin has crafted a work that seems both self-reflective and visionary. A song like “Old John Brown” is obviously open to interpretation that Martin is commenting on both the man for whom the band is named after, as well as the legacy of the band itself. Musically, the song evokes riddims Burning Spear used in the 1970s, which has been an undercurrent influence on the group since the beginning, but has rarely surfaced as obviously as it does here since the band’s earliest breakthrough records.

The group’s last full-length record, Amplify (#1 on the Billboard Reggae chart in 2008), was extremely forward-thinking, steeped in electronic effects. Last Fall’s JBB IN DUB EP (#1 on iTunes’ Reggae Chart) stripped things down to the bedrock elements of reggae. Kings And Queens utilizes the best aspects of both these records, while bringing back much more of the classic JBB sound into the mix and production. This is reinforced by working with engineer Matt Saccuccimorano, who worked on some of the band’s earliest successful albums, and the involvement on numerous songs by former guitarist/keyboardist Nate “Silas” Richardson. Bassist Nate Edgar continues to astonish with his nimble and muscular bass lines. The bass and drums have always been at the center of Martin’s songwriting, but in Edgar and founding drummer Tommy Benedetti, he has found his most spectacular partners-in-crime. Martin has crafted his strongest batch of songs ever, coupled with startling horn lines written by the JBB Horns. Saying the JBB Horns are an influential bunch is no small talk, considering past alums have gone on to play for Slightly Stoopid as well as form the eclectically amazing band Rubblebucket.

The most obvious touch point for the band’s sound has always been classic UK reggae, especially the work of Aswad, Steel Pulse and Dennis Bovell, and that unmistakable influence permeates every track, most noticeably in the heavy drum and bass and complicated horn lines. As it was in that scene, JBB’s songs are more focused on sufferation, urban realities and overcoming, with songs like “Plantation,” “Empty Hands,” and “The Battle” sparking protest over haunting minor chords. This is not beach resort reggae. This is reality. However, the record is by no means all gloom and doom! Songs like “Shine Bright” and the love song “Fall On Deep” both add lightness, and even in his darkest metaphors, Martin can find hope and positivity (listen to the chorus of “Plantation” for evidence of that).
Kings And Queens is bookended by three songs (“Step Inside” and “Invitation” at the start and “Searchlight” at the end) that invite listeners into the live arena where this band has excelled from the beginning. Evoking sound systems from the music’s origins in 1960s Jamaica as well as JBB’s own powerful live show, these songs remind all listeners about the strength in numbers found in the reggae community, especially at live shows and festivals, and how John Brown’s Body has long been one of the greatest live acts in the genre.

This record shows that John Brown’s Body continues to lead from the front of the pack. They look forward by looking back and find a way to invite JBB fans from all eras into their packed and sweaty tent. As the opening song says, “So many people / Step inside, step inside / Come one and all / Got to make the dancehall tight.”

State Theatre of Ithaca - Ithaca, NY

with Big Data

Nov 9

Nov 9

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

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Brimming with imagination, energy and genre-smashing scope, Fitz and The Tantrums defied the odds to become an indisputable phenomenon, a chart-topping, show-stopping modern pop combo unlike any other. The Los Angeles-based sextet– comprised of Fitz (vocals), Noelle Scaggs (vocals/tambourine), James King (saxophone, flute), Jeremy Ruzumna (keyboards), John Wicks (drums, percussion) and Joseph Karnes (bass) – played its first show in December 2008 at Hollywood’s Hotel Café. After the self-released 2009 EP Songs for a Breakup, Vol. 1, Fitz and The Tantrums found themselves appearing on KCRW’s “Morning Becomes Eclectic,” touring with Maroon 5 and recording their full-length debut, Pickin’ Up the Pieces. The album, which was awarded three-and-a-half stars by Rolling Stone, spent 73 weeks on Billboard’s Heatseekers chart, peaking at No. 1. The band was named a “You Oughta Know” artist by VH1 and views for the video for the hit single “MoneyGrabber” surpassed three million. For their 2013 Elektra Records debut, More Than Just A Dream, Fitz and The Tantrums worked with producer Tony Hoffer (Beck, M83, Phoenix) and ramped up the timeless song craft and sonic force that made them a worldwide sensation.

State Theatre of Ithaca - Ithaca, NY

Nov 10

Nov 10

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

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The bluegrass-based jam band the String Cheese Incident is comprised of mandolinist/violinist Michael Kang, guitarist Bill Nershi, bassist Keith Moseley, pianist Kyle Hollingsworth, and percussionists Jason Hann and Michael Travis. Formed in Boulder, Colorado, in 1993, the group's self-described "sacrilegious mix of bluegrass, calypso, salsa, Afro-pop, funk, rock, and jazz" quickly built up a following on the local club circuit, and within six months of their formation they earned an invitation to open the legendary Telluride Bluegrass Festival.

Born on the Wrong Planet They initially gigged simply in exchange for free lift tickets at ski resorts throughout the western U.S., but as the String Cheese Incident's popularity grew they began taking their music more seriously, soon averaging upwards of 170 live dates each year and eventually setting up their own record label, Sci Fidelity. Their debut LP, Born on the Wrong Planet, appeared in 1997, followed later that year by A String Cheese Incident Live. The group resurfaced in 1998 with 'Round the Wheel, followed by the live Carnival '99. It's About Time and Outside Inside arrived in 2001, followed by a deluge of live recordings chronicling the band's massive 2003 tour. They released another studio album called Untying the Not that same year, followed by another string of live albums. One Step Closer, which was produced by Malcolm Burn (Emmylou Harris, Kaki King) in their hometown of Boulder, Colorado, arrived in 2005.

The following year they announced they'd be taking a break from touring after a busy schedule of shows and summer festivals. However, unable to stay away from the stage for too long, the band booked a handful of shows in 2007, including appearances at Bonnaroo and the 10,000 Lakes Festival, while in 2008 they appeared at the Rothbury Music Festival with their various solo and side projects. The band returned to Rothbury for their only appearance together in 2009, and then announced a summer tour in 2010. A relentless schedule of shows continued in 2011/2012, before they entered the studio in 2013 to lay down some of their extensively road-tested songs. Their fifth studio album, Song in My Head, issued in 2014.

The Haunt - Ithaca, NY

Nov 14

Nov 14

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $12-$15

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Age policy: 16+ with ID / under 16 with a parent or guardian

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

Nov 15

Nov 15

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

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AUTHENTIC ROCK TORCHBEARERS GOV'T MULE RETURN WITH EPIC, STAR-STUDDED NEW STUDIO RECORDING SHOUT!
Double album is first release in four years and features ELVIS COSTELLO, DR. JOHN, BEN HARPER, TOOTS HIBBERT, GLENN HUGHES, JIM JAMES, MYLES KENNEDY, DAVE MATTHEWS, GRACE POTTER, VINTAGE TROUBLE'S TY TAYLOR AND STEVE WINWOOD

Few bands have a reputation for making music as consistently honest, organic and daring as Gov't Mule. Now the enduring group fronted by visionary singer-guitarist Warren Haynes returns with their first album in four years - their Blue Note Records debut Shout!, a breath-taking, exploratory double-disc set to be released on September 24.

"This album puts a spotlight on the songs and the way that we interpret them, which hinges on the unique chemistry we've developed as a band," explains Haynes, who along with Mule co-founder and drummer Matt Abts, multi-instrumentalist Danny Louis and bassist Jorgen Carlsson charted Shout!'s adventurous contours.

Shout!'s second disc shines a beam on a guest list of famed interpreters Elvis Costello, Dr. John, Ben Harper, Toots Hibbert, Glenn Hughes, Jim James, Myles Kennedy, Dave Matthews, Grace Potter, Vintage Trouble's Ty Taylor and Steve Winwood, who each delivered an alternate vocal performance of one of the first disc's new Gov't Mule tunes.

"No one's done this before, which is exciting," says Haynes, "but it's even more exciting actually listening to these artists sing our songs. Their performances bring new ideas, energy and sometimes even different meanings to every number."

Plus Shout! offers some of the most extraordinary playing in Gov't Mule's rich, sonically colorful history. And the album's incredible scope ranges from the suite-like epic "Bring On The Music" to the snarling punk rock anthem "Funny Little Tragedy" to the soul-reggae testifier "Scared To Live."

The inventive and incendiary musical performances throughout both discs spring from the jazz-like philosophy and creative language the Mule's members have developed together. They're the rare rock ‘n' roll group with an improvisational heartbeat, which allows all four musicians to expand on the songs' themes in non-formulaic ways. That quality distinguishes the finest jazz, blues and rock recordings of the '50s and '60s, but is largely absent in modern music.

On Shout! it's audible from the ground up - starting with the Technicolor propulsion of the Abts-Carlsson rhythm section. Their flexible interplay in the studio and on stage, where both musicians amp up their already aggressive, freewheeling approach to providing the sonic foundation of the band, is essential to Gov't Mule's reputation as a living, breathing ensemble. Drummer Abts has the courage and the chops to extrapolate with the other band members, pushing, pulling and accenting his rhythms as each performance evolves. And while Carlsson's bass always keeps its essential snarl, he's among the few players in modern rock that varies his tone and approach to best serve each song.

Although Louis' primary role in Gov't Mule is keyboardist, his guitar playing has expanded to the point where he often plays the instrument for a third of the band's live sets. On Shout! he steps even further into the role of Haynes' six-string foil, with their contrasting styles frequently adding yet another dimension to the album.

Several numbers were cut with Haynes and Louis simultaneously on guitar, including the romantic "Captured," which shares a shimmering ebb and flow with classic Neil Young & Crazy Horse.

Louis even takes the brash, ringing fret board solo on the Clash-inspired "Funny Little Tragedy." And he steps up his contributions as a background singer, adding vocal support to five songs.

And Haynes, of course, remains one of the most formidable guitarists and vocalists of the modern era, effortlessly cross-pollinating genres and unfurling solos that broil with passion in his distinctive, signature style.

No wonder fans of the Grammy nominated band have come to expect nothing less than the virtuosity, intelligence and breadth that propels Shout!.

Here's how Blue Note Records president Don Was, who's also a Grammy winning producer and performer, sums up Gov't Mule's place in contemporary music: "The Mule holds a unique and lofty berth. They have roots that run real deep - drawing from the entire history of rock ‘n' roll going all the way back to Robert Johnson and the Delta. Yet, despite their mastery of past idioms, they have managed to rearrange those elements into a whole new thing. So while the music they make is quite contemporary, I dare say they have deeper roots than other bands that are creating new music.

"According to the Blue Note manifesto written by our founder Alfred Lion back in 1939, our label is dedicated to the recording of ‘authentic music.' I don't know how much more authentic you can be than Gov't Mule! It's an honor to release their records on the Blue Note label. On this new album, they've elevated their songwriting, playing and production values to a whole new plateau. It's gonna blow people's minds!"

Add the word "again," because Gov't Mule have been blowing minds since their eponymous 1994 debut. That album found the band boldly transfusing new blood into old-school psychedelic blues-rock at a time when the genre was largely ignored. Gov't Mule's stylistic grasp has grown inexhaustibly since.

Fighting the trend in a declining music industry, the band's fan base, too, has steadily expanded over the course of 15 studio and live releases and thousands of performances - at first in small clubs and theaters, then at halls and major international festivals.

Today, Gov't Mule have become a human encyclopedia of great American music even while adding to that cannon. And through it all Haynes has served as not only the group's captain, but as a beacon of creativity and excellence that inspires fans and fellow musicians.

Parallel to his nearly two decades in the Mule, Haynes has been the six-string mainstay and a vocalist for the Allman Brothers Band and the Dead, and performed or recorded with a diverse array of other artists. In 2011 he made his second in-studio solo album, the aptly titled Man In Motion, which paid tribute to his blues roots and found Haynes experimenting with different guitar tones and effects not traditionally associated with Gov't Mule.

Shout! came to life in a Connecticut studio where the band initially regrouped to reignite their collective flame, and ended up cutting the bulk of the album, with Haynes, his bandmates and longtime Mule collaborator Gordie Johnson producing various cuts. Three songs - the reggae-based "World Boss," the psychedelic dreamscape "Whisper In Your Soul" and the blues-rocker "Done Got Wise" - were recorded at Jorgen Carlsson's Rogers Boat Studios in California, with Carlsson and studio co-owner Steve Holroyd engineering.

Paying tribute to the band's musical heroes became part of Shout!'s creative game plan. Haynes explains that the brawny "Bring On the Music" was written to celebrate the 40th anniversary of the break-up of the classic British blues-rock band Free.

Every note of "Bring On The Music" evokes Free's memorable style - especially Haynes' channeling of the band's fiery Les Paul guitar playing of the group's leader Paul Kossoff.

Another sinewy number, "How Could You Stoop So Low," is a nod to the 40th anniversary of the release of Sly & the Family Stone's influential album Fresh and was co-written by Haynes and Louis, whose rhythm guitar riff is the song's spine. The four-piece Mule was able to recreate Sly's nine-piece sound with the addition of backing singers Alecia Chakour and Nigel Hall from Haynes' solo-project band, and Louis' heavily funky keyboard lines.

Dr. John's grizzly, incantatory turn on the alternate version of the tune was the first guest vocal recorded, although the idea of assembling a cast of great singers to color the songs differently was indirectly inspired by Haynes' friend Elvis Costello. Early in the project Haynes wrote the snarling "Funny Little Tragedy," which reminded him of Costello's early music, and called Costello to ask him about the vocal mics used for his first albums. After the conversation, Haynes started thinking about how the song would sound if Costello sang it. As a result, he couldn't get Costello's voice out of his head and began thinking about pairing other vocalists with the set's other songs.

So Haynes made a list of Shout!'s titles and his top choices for singers, and their responses were overwhelming - a tribute to Haynes' and Gov't Mule's standing among their peers.

"Everyone in the band has such a wide variety of musical points of reference that a song can start in any style - from rock to blues to funk to R&B to reggae - and end up going to a completely different place.

"On Shout! every performance of each song stands on its own, but always sounds like us," he adds. "Even if it's a part of us that most people have never heard before."

In reflection, Haynes offers that Gov't Mule's journey has been full of surprises. "There's no way I could have anticipated the way we'd grow when we started," Haynes remarks. "Everyone in Gov't Mule brings their own personality to the music, and we're always looking for opportunities to expand and excite ourselves. Shout! is proof of that, as well as an album I could never have predicted we'd make even five years ago."

In 2000, when founding bassist Allen Woody passed away, Haynes and Abts discussed the possibility of putting Gov't Mule out to pasture. Instead the band went on to become part of the tradition they had always intended to honor.

"That," says Haynes, "is something we could only have dreamed to achieve and never expected in a million years."

The Dock - Ithaca, NY

Nov 15

Nov 15

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

Price: $10-$13

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After twelve years playing solo and in country bands in post-grunge Seattle, Anna Coogan moved to Ithaca, NY in 2011. After seeing the Johnny Dowd Band perform during her first month in town, Anna traded in her acoustic guitar for a 1979 Stratocaster and submerged herself in Ithaca’s thriving experimental rock scene. Willie B, a fellow Bostonian and Dowd’s longtime drummer, joined Anna in early 2013 for a show supporting Taj Mahal at the State Theater in Ithaca, along with musical powerhouse JD Foster (Calexico, Patty Griffin, Marc Ribot) on bass. Scheduling conflicts prevent Foster from joining them further, and Anna and Willie began to shift towards performing as a duo with Willie holding down the rhythm section.

Willie, best known for incorporating bass pedals into his drum set up and playing drums and bass at the same time, has spent years on the road with Johnny Dowd, Jamie Lidell, and Neko Case, including six weeks on the road with Lidell supporting Elton John. Anna, who trained classically in Austria and worked for years as a fisheries biologist, has been building a career as an alternate-folk singer on stages across the world for most of the last decade. She was noted by the Times of London as a must-see touring act of the 2013 UK festival season and has performed live on the BBC, KEXP, and Germany’s largest radio station, WDR 4. Her music has been described as "absolutely gorgeous" by the BBC and given 4 Stars by the Daily Telegraph.

Anna and Willie reunited with Foster in the waning months of 2013, to create “The Birth of the Stars” an album of nine original songs co-written with Foster, to be released around the world in October 2014. They continue to write and record and will be releasing more music in early 2015.

The Hangar Theatre - Ithaca, NY

Nov 16

Nov 16

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

Price: $35-$40

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Please join us in support of a local food bank by bringing a donation of canned food to the concert. There will be collection baskets at the entrances.



George Winston grew up mainly in Montana, and also spent his later formative years in Mississippi and Florida. During this time, his favorite music was instrumental rock and instrumental R&B, including Floyd Cramer, the Ventures, Booker T & The MG’s, Jimmy Smith, and many more. Inspired by R&B, jazz, Blues and rock (especially the Doors), George began playing organ in 1967. In 1971 he switched to the acoustic piano after hearing recordings from the 1920s and the 1930s by the legendary stride pianists Thomas “Fats” Waller and the late Teddy Wilson. In addition to working on stride piano, he also at this time came up with this own style of melodic instrumental music on solo piano, called folk piano. In 1972, he recorded his first solo piano album, BALLADS AND BLUES 1972, for the late guitarist John Fahey’s Takoma label.

His latest solo piano release is LOVE WILL COME – THE MUSIC OF VINCE GUARALDI, VOL. 2 (released 2/2/10), which features compositions by the late jazz pianist, including pieces from the Peanuts® TV specials.

Since 1980 George has released ten other solo piano albums: AUTUMN (1980), WINTER INTO SPRING (1982), DECEMBER (1982), SUMMER (1991), FOREST (1994), LINUS & LUCY-THE MUSIC OF VINCE GUARALDI (1996), which features compositions by the late jazz pianist, including Cast Your Fate to the Wind and pieces from the Peanuts® TV specials; PLAINS (1999), which was inspired by his Eastern Montana upbringing, NIGHT DIVIDES THE DAY - THE MUSIC OF THE DOORS (2002), and MONTANA - A LOVE STORY (2004) and GULF COAST BLUES & IMPRESSIONS – A HURRICANE RELIEF BENEFIT (2006).

Also, in 2001 George released REMEMBRANCE - A MEMORIAL BENEFIT, a six song CD of piano, guitar and harmonica solos, to benefit those affected by 9/11. He has also worked with the late George Levenson of Informed Democracy (www.informeddemocracy.com) on three projects: a solo guitar soundtrack for SADAKO AND THE THOUSAND PAPER CRANES, and soundtracks of piano, guitar and, harmonica solos for PUMPKIN CIRCLE, and BREAD COMES TO LIFE. In 1984 he also did the solo piano soundtrack for the children’s story THE VELVETEEN RABBIT for Rabbit Ears Productions.

George is presently concentrating mainly on live performances, and most of the time he is touring playing solo piano concerts (the Summer Show or the Winter Show), solo guitar concerts, solo harmonica concerts, and solo piano dances (with R&B and slow dance songs).

He is also studying the playing of the great New Orleans pianists Henry Butler, James Booker, Professor Longhair, Dr. John, and Jon Cleary, and he is also working on interpreting pieces on solo piano by his favorite composers, including Vince Guaraldi, Professor Longhair, the Doors, Frank Zappa, Randy Newman, Sam Cooke, Curtis Mayfield, Laura Nyro, Al Kooper, Dr. John, Henry Butler, James Booker, Jon Cleary, Ralph Towner, Arthur Lee, Milt Jackson, John Hartford, Oliver Schroer, Taj Mahal, Philip Aaberg, and others, to play at concerts, and at his solo piano dances.

George is also working on solo guitar and is recording the masters of the Hawaiian Slack Key guitar for an extensive series of albums for Dancing Cat Records (www.dancingcat.com). Slack Key is the name for the beautiful solo fingerstyle guitar tradition, unique to Hawaii, which began in the early 1800s and predated the steel guitar by over half a century. He is also recording his main inspirations for his harmonica playing, Sam Hinton, Rick Epping, and Curt Bouterse.

George Winston plays Steinway Pianos

Water Street Music Hall - Rochester, NY

Nov 16

Nov 16

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

Price: $20-$25

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16+ w/ ID

State Theatre of Ithaca - Ithaca, NY

Nov 17

Nov 17

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

Event Information

Performing to critical acclaim worldwide for nearly 15 years and over 2000 shows, Dark Star Orchestra continues the Grateful Dead concert experience. Their shows are built off the Dead’s extensive catalog and the talent of these 7 fine musicians. On any given night the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra’s members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.

Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about thta contagious energy... in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.

Dark Star Orchestra has performed throughout the United States and Europe. They continue to grow their fan base by playing at larger venues for two and even three night stands as well as performing at major music festivals including Bonnaroo, All Good Festival, Gathering of the Vibes, Mountain Jam, Summer Camp, Wakarusa and 10,000 Lakes. In addition, Dark Star Orchestra hosts its own annual gathering, Dark Star Jubilee, where they headline three nights and are joined by a mix of established and up and coming national touring acts.

Fans and critics haven’t been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from five original Grateful Dead members Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin’ Jack Elliot and many more.

"For us it's a chance to recreate some of the magic that was created for us over the years," rhythm guitarist and vocalist Rob Eaton explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live."

"…I can close my eyes and go back 30 years and have it be every bit as rewarding and satisfying.
Dark Star is an amazingly legitimate representation of the Dead."
Dan Healy, Grateful Dead sound engineer 1966 -1994

"Channeling the Dead"
USA Today

"Playing with Dark Star Orchestra is something that feels just
exactly like it felt when I was playing with the Grateful Dead."
Donna Jean Godchaux-McKay, Grateful Dead vocalist 1972 - 1979

“The Dark Star Orchestra re-creates Grateful Dead shows
with a flashback-inducing meticulousness.”
The New Yorker

"Fanatical attention to detail."
Rolling Stone

"In fact, Dark Star Orchestra often sounds more like the Dead than the Dead sometimes did..."
Chicago Tribune

The Dock - Ithaca, NY

Nov 22

Nov 22

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

Price: $10-$13

Event Information

After 5 years, 400+ shows, and four award-winning albums, New Jersey-based 21 year-old singer/songwriter Quincy Mumford released his 5th album “Its Only Change” in July 2013. Its Only Change was recorded in Nashville, TN with producer Ken Coomer (Wilco, Uncle Tupelo) and features performances from Jerry Roe (K.D. Lang), David Labruyere (John Mayer) and Aubrey Freed (Black Crowes, Sheryl Crow). Producer Ken Coomer, states, “Quincy Mumford is a true artist that can bring raw 70′s style rock and funk highlighted with the voice of an old soul, it’s a perfect blend.”

Its Only Change displays many different emotions and musical styling’s including rock, soul, jazz, funk and hip-hop. States Quincy, “This record is like nothing I have ever done before. For the first time, I was able to mesh all of my influences into one complete piece of work.” Several different life changing experiences during the past year have provided Quincy with an array of lyrical content to complement the expansive sonic approach to Its Only Change.

Its Only Change opens with “Change”, the final song written for the album completed during pre-production in Nashville with Coomer. The album title draws from the song name and speaks towards a new musical direction for Quincy and the band. “Time Won’t Wait” explores a young man’s struggle with accepting reality and features an emotionally charged refrain with heavy jazz/R&B inspired verses. “Under the Covers” funky bass and driving drum beat draw the listener in and “Eventually”, an introspective ballad, speaks to a need for a simpler life. “A Hard Place”, the first single on the album, is a bouncy, energetic reggae inspired metaphor for feeling small in this world.

Quincy Mumford & The Reason Why’s 2012 release “Live At The Saint” captures the band’s live sound featuring songs from Quincy’s three previous studio albums. Quincy states, “after recording Live at the Saint, I was ready to take on a new challenge” as evidenced on Its Only Change. The Live at The Saint DVD includes footage from the concert shot on multiple cameras, interviews with the band, scenic cinematography and a documentary featuring Quincy and the band members’ musical getaway and adventures in the mountains of Vermont. The film was directed, edited, and filmed by Quincy’s award winning brother, Kyle Mumford, and his Lifted Pictures’ film crew.

Quincy and The Reason Why are excited to continue their tireless performance schedule and are set to headline a 6-week US tour in the summer of 2014 playing over 40 shows from June 28th to August 10th. Mumford’s previous tours which has found him sharing the stage with Slightly Stoopid, Rusted Root, moe., Donovan Frankenreiter, Tedeschi Trucks Band and performing at major music festivals The Gathering of the Vibes and Musikfest. Quincy and the band also volunteer their time for The Surfrider Foundation and hold other environmental causes close to their collective hearts.

Optimistic, charismatic, and undeniably genuine, Quincy’s music possesses the same “feel good” attitude that the young man himself does. Its Only Change establishes Quincy Mumford and The Reason Why as a “Band to Watch” in 2014.

The Haunt - Ithaca, NY

Nov 29

Nov 29

Doors open at 8:00 pm Starts at 9:00 pm Ages 16+ Only

Price: $12-$15

Event Information

Age policy: 16+ with ID / under 16 with a parent or guardian

In 2002, Clay Ross embarked on a musical odyssey that brought him closer to home. The South Carolina native moved to New York to pursue a jazz career and several years later found himself in Recife, Brazil studying the region’s folkloric music. Along the way he rediscovered the straightforward songs of his native South.

The guitarist and singer titled his Ropeadope Records debut Matuto, after a Brazilian slang reference to a man from the backcountry. Described as “Weird and Wonderful… Unorthodox and Delightful” by Jazz Times Magazine, the set allows Ross to carve a niche in a musical tradition created on another continent. He performs North American folk songs like “Home Sweet Home” and Blind Willie Johnson’s “John the Revelator” over South American rhythms Maracatu, Forró, and Coco typical of the northeastern region of Brazil.

In recording the album, Ross called upon the talents of NYC’s most sought-after musicians, including master accordionist Rob Curto. Born in New York, Curto is widely regarded as forró’s foremost ambassador in the States. An early devotee of North American swing music, bebop piano, funk, rock, and blues, he has combined these influences with his mastery of their Brazilian counterparts forró, chorinho, samba, maracatu, and frevo to produce stunning new results. He spent years living and playing in Brazil, completely absorbing and interpreting the country’s musical traditions. Curto was a member of the original scene that established forró, the dance music of northeastern Brazil, as an official dance craze in downtown New York.

Ross and Curto began exploring a shared musical vision and set about combining their individual repertoires into an extensive library of Pan-American influences. Focusing their talents, resources, and experience Ross and Curto set out to establish Matuto as a band.

In February of 2009 they received a prestigious Fulbright Grant and completed a six-week residency in Recife, Brazil. There, with drummer Richie Barshay (Herbie Hancock Quartet) and bassist Edward Perez, the band thrilled audiences at the Garanhuns Jazz Festival and the massive Rec Beat Festival, finding equal comfort along side jazz and blues legends, folk music traditionalists, and indie rock experimentalists. They also lead educational workshops in underserved communities and performed public concerts in theaters and auditoriums across the city. Later that year they headlined the American Folk Festival in Bangor, ME and the Montmagny World Accordion Festival in Canada.

Employing renowned musicians across NYC’s diverse jazz, roots, and world music scenes, Matuto features violin, guitar, accordion, bass, drums, and various Brazilian percussion instruments: the alfaia (a large, wooden, rope-tuned bass drum), the pandeiro (a Brazilian tambourine), the berimbau (a single-string on a bow struck with a small stick), and the agogô (a pair of small, pitched metal bells.)

Currently working on a new album, Ross and Curto have produced a compilation disc of their respective best. This compilation reflects the inspiring live show that the band has developed in the last year. Appalachian fiddle tunes bounce with a Northeastern Brazilian lilt while the one string Berimbau resonates with a strangely effective blues riff. Curto spins long chromatic melodies over intricate arrangements and infectiously funky folkloric rhythms. Like a true southern preacher, Ross delivers colorfully satirical lyrics reminiscent of David Byrne, Tom Ze, and Caetano Veloso.

With an honest love for roots music, genuine Brazilian styles, and improvisational experimentation, Matuto creates a unique and inspired sound from the heart of New York City’s diverse musical culture.

State Theatre of Ithaca - Ithaca, NY

with special guests Donna The Buffalo

Dec 5

Dec 5

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.

State Theatre of Ithaca - Ithaca, NY

Feb 14

Feb 14

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

Event Information

Ira Glass is the host and creator of the public radio program This American Life. The show premiered on Chicago’s public radio station WBEZ in 1995 and is now heard on more than 500 public radio stations each week by over 1.7 million listeners. Most weeks, the podcast of the program is the most popular podcast in America. The show also airs each week on the CBC in Canada and on the Australian Broadcasting Corporation’s radio network.

Glass began his career as an intern at National Public Radio’s network headquarters in Washington, DC in 1978, when he was 19 years old. Over the years, he worked on nearly every NPR network news program and held virtually every production job in NPR’s Washington headquarters. He has been a tape cutter, newscast writer, desk assistant, editor, and producer. He has filled in as host of Talk of the Nation and Weekend All Things Considered.

Under Glass’s editorial direction, This American Life has won the highest honors for broadcasting and journalistic excellence, including several Peabody and DuPont-Columbia awards. The American Journalism Review declared that the show is “at the vanguard of a journalistic revolution.”

A television adaptation of This Ameri-
can Life ran on the Showtime network for two seasons, in 2007 and 2008, winning three Emmy awards, including Outstanding Nonfiction Series. The show has put out its own comic book, three greatest hits compilations, DVDs of live shows and other events, a “radio decoder” toy, temporary tattoos and a paint-by-numbers set. Half a dozen stories are in development to become feature films. In 2013 Ira Glass received the Medal for Spoken Language from the American Academy of Arts & Letters.

Glass is married and owns a disturbingly allergic dog

State Theatre of Ithaca - Ithaca, NY

Price: $49.50-69.50

Mar 5

Mar 5

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

Event Information

PLEASE NOTE THAT THIS PERFORMANCE HAS BEEN RECHEDULED FOR MARCH 5, 2015. ALL TICKETS WILL BE HONORED.



Lily Tomlin is an award-winning star of stage and screen, known especially for comedic performances going back to her days on TV's Laugh-In in the early 1970s. She grew up in Detroit, but went to New York in 1965 to be a performer. Tomlin became a regular cast member of the comedy sketch show Laugh-In in late 1969, and soon became one of the most popular players, thanks to recurring characters such as Ernestine the telephone operator and Edith Ann, a sagacious five year-old. Tomlin left the show in 1973, having released two successful comedy records of her own, the Grammy-winning This Is A Recording (1971) and the Grammy-nominated And That's The Truth (1972, as Edith Ann). She's had a stellar career, one that includes an Oscar nomination for her performance in Robert Altman's Nashville (1975), as well as hit films such as The Late Show (1977), Nine to Five (1980, with Jane Fonda and Dolly Parton) and Flirting With Disaster (1996, starring Ben Stiller). She's won Emmys for writing TV specials in 1974, 1976, 1978 and 1981, and been a regular cast member on Murphy Brown (1996-98), The West Wing (2002-06), Damages (2010, the third season) and Desperate Housewives (2008-09). Her one-woman Broadway show in 1977, Appearing Nitely, earned a special Tony award, and she won another Tony for her performance in The Search for Signs of Intelligent Life in the Universe, a 1985 one-woman show co-written with her longtime life and writing partner, Jane Wagner. A frequent stage performer who pops up in small TV and film roles, Tomlin is also a 2003 recipient of the Mark Twain Prize for American Humor.

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- Spotlight Artists -

- Just Announced -

Oct 11

The Haunt - Ithaca, NY

Oct 26

The Haunt - Ithaca, NY

Nov 2

State Theatre of Ithaca - Ithaca, NY

Nov 8

State Theatre of Ithaca - Ithaca, NY

Nov 8

The Haunt - Ithaca, NY

Nov 9

State Theatre of Ithaca - Ithaca, NY

with Big Data

Nov 10

State Theatre of Ithaca - Ithaca, NY

Nov 15

State Theatre of Ithaca - Ithaca, NY

- Social Updates -

Real Estate - Talking Backwards (Official Video)

Real Estate - Talking Backwards (Official Video) Pre-order Atlas at: iTunes - http://smarturl.it/AtlasRE Domino - http://dominorecordco.com/AtlasRE The new s...

So much great indie rawk this fall... Sept 30... and tickets are flying! Real Estate at The Haunt - get your tickets at the club, online, the State Theatre of Ithaca or McNeil Music of Ithaca now so you do not get shut out... plus they are cheaper in advance y'all!

Suzanne Vega - Luka

Music video by Suzanne Vega performing Luka. (C) 1987 A&M Records

TONITE! Suzanne Vega at the Hangar Theatre at 8PM Local boy Chris Merkley Music opens. Great room - great show! the classic:

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P.O. BOX 736
Ithaca, NY 14851