EVENTS

The Haunt - Ithaca, NY

Mar 3

Mar 3

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


Common Kings’ style and music is a collection of inspirations orchestrated into an array of head rocking beats, feel good vibes, and emotional fever. Their crazy, fun-loving attitude compliments Common Kings’ live sound, producing phenomenal pop hits with rock, reggae, and R&B influences. These influences originate from each band members love for various genres, and widespread knowledge of music. The majority of Common Kings were born in the South Pacific, and raised in Orange County, California. Growing up with households full of colorful personality and vibrant passions for music, Common Kings’ members, Lui Kirmaua (bassist), Taumata Grey (guitarist), JR Maliga (lead singer), and Jerome Taito (drummer), naturally grew up forming individual musical paths. This musical journey involved mimicking and listening to artists such as Van Morrison, Stevie Wonder, Geourge Benson, Jim Croce, Michael Jackson, The Who, Led Zepplin, Gypsy Kings, Earth Wind and Fire, Bob Marley and more. The culmination of these musicians explains exactly who the Common Kings are. Where everything comes to a point is through lead singer Sasualei “Junyer King” Maliga. Junyer King who is perhaps one of the most impressive vocalists amongst today’s leading artists. Born with this natural, untrained raw-talent, Junyer King’s singing ability seems boundless, as he amazes listeners with a wide range of belting notes and soulful passion. His humble demeanor off-stage needs no introduction as to when the band is rocking out on-stage creating a young, wild, and free atmosphere. Performing in front of a live packed audience is second nature to them considering in just two short years, Common Kings built an impressive live reputation, an obsessive following of loyal fans, over 10 million youtube views & 300,000 collective sales of their independently produced hits effecting in sold-out tour stops globally including Honolulu, Los Angeles, New York, Guam, Tokyo, Sydney, Auckland & Fiji. Even as an unsigned band, their songs echoed through music industry walls gaining enough attention to open for mega recording artists such as Brian McKnight, Fergie, Ryan Leslie, and UB40. Now on the cusp of their own international stardom, the Kings maintain an attitude of humility and thankfulness for the continued support from faithful fans, and a sense of gratitude for those hearing Common Kings unique island spin on traditional pop music for the first time. In 2014, the stage is set for Common Kings to take their brand and grass root success to the global stage, their album, that holds a list of collaborators much resembling last year’s songwriter & producer nomination list at the Grammy Awards promises to be anything but common.

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

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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.

Water Street Music Hall - Rochester, NY

with Jenny Hval

Mar 5

Mar 5

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

Price: $25-$30

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

Mar 5

Mar 5

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


Cabinet is a band with roots firmly planted in the Appalachian tradition. They wear their influences like badges, honoring the canon of roots, bluegrass, country, and folk, weaving these sounds into a patchwork Americana quilt. But this music isn’t romanticizing or rehashing the past. Cabinet makes it mark on today. The steady aim of their harmonies soar straight onto target each time, the soaring vocals giving voice to the story of each song. Their music takes the long way home, treating its listeners like passengers on a ride through scenic back roads. Their live shows are inclusive, celebratory, and community-building. Everyone will want to get on the wagon with Cabinet. Members Pappy Biondo (banjo, vocals), J.P. Biondo (mandolin, vocals), Mickey Coviello (acoustic guitar, vocals), Dylan Skursky (electric bass, double bass), Todd Kopec (fiddle, vocals), and Jami Novak (drums, percussion), all live and love music, and their polished sound belies their young age. The band is currently putting the finishing touches on a new studio release set to drop in Spring 2015. Their latest offering, THIS IS CABINET - SET II, a seven song effort – six originals and a cover of The Byrds’ “Mr. Spaceman” – was recorded in March of 2013 at Stage One in Fairfield, Connecticut, and Club Metronome in Burlington, Vermont. The set is diverse yet cohesive, ranging from the melancholy of “Caroline,” which unfolds into a purposeful jam, to the modern Americana rock of “Heavy Rain,” which closes the album. Along the way, we have the ambling “Doors,” the upbeat and fun “Poor Man’s Blues” -- which would not sound out of place at an Old And In The Way show -- the snaky, reggae-tinged “The Dove” and the instrumental “Susquehanna Breakdown,” another Cabinet contribution to the tried-and-true bluegrass tradition. The group’s take on “Mr. Spaceman” is relatively faithful, but with some Cabinet flair, and offers a glimpse into the band’s myriad influences. By now, Cabinet’s ability to get a festival crowd dancing and rip tasty instrumental breakdowns is a given. With “Set II,” the band displays its continuing development not only as players, but as songwriters who know how to get to the point – and have some fun going down that road. Cabinet formed in 2006, bringing together players from various musical and personal backgrounds. Some of the members were barely old enough to drink legally, but their thirst for older music was unquenchable. Whether its rustic "American Beauty"-era Grateful Dead or old-timey bluegrass, Cabinet has digested it all. But that is not to say that Cabinet recreates older styles. No, this is music that might have its roots in the past, but it is current and vibrant, with a sense of celebrating the now.

The Haunt - Ithaca, NY

with Little Daylight and Secret Someones

Quirky, brainy, piano-led pop trio formed in 2003 in Washington, D.C.

Mar 6

Mar 6

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

Price: $15

Event Information

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


 


Jukebox the Ghost’s third album Safe Travels marks a period in the band’s career that’s steeped in change, both personally and professionally. Relationships dissolved and crumbled. Loved ones passed on. The band themselves relocated from Philadelphia to New York City and played over 200 shows since the release of their last album in 2010. In the midst of so much change, the band spent months in the studio creating what would become Safe Travels, a record that represents a shift in the band’s creative trajectory. “It felt like the music was finally growing with us—Songs that relate to who we are as people right now, not who we were when we were 19 or 20,” Siegel said. “This record is more heartfelt; part of that came from not worrying about exactly what kind of music we were supposed to be making and instead just working on songs that felt genuine and natural at the time.” Safe Travels, at its core, represents three people going through universal life changes—A way of coping with how quickly things can turn around, for good and bad. And though it’s clear their sound and outlook have matured to addressing some darker subject material, their brand of upbeat pop still remains intact. “We’ve always been the kind of band that juxtaposes darker lyrics with upbeat music, but this record feels a little more personal,” Thornewill said. “In the grand scheme of things, it’s certainly not a downer record but you need pain to get joy, and joy to get pain; they’re inseparable.” Bolstered by an appearance on the Late Show with David Letterman, an appearance at Lollapalooza, and extended opening tours with Ben Folds, Guster, Adam Green and Jack’s Mannequin, the band has acquired an incredibly loyal (and sometimes rabid) fanbase since the release of 2008’s Live and Let Ghosts. Over the years, Jukebox the Ghost has maintained a tour schedule that most bands would balk at, playing over 150 shows a year and becoming a well-oiled, high energy live band. This summer, the band embarks on their biggest headline tour to date after performing at Bonnaroo on the album’s release weekend—Their Bowery Ballroom show in June has already sold out two months in advance. Safe Travels also marks the first time that the band had been afforded unlimited studio time. The sessions took place in Brooklyn, with their friend Dan Romer (Ingrid Michaelson, Jenny Owens Young) producing and engineering. The result is a collection of 13 songs that finds the band maturing both musically and lyrically. The band was also able to work with a string section for the first time, which gave Thornewill the chance to flex his compositional skills and formal classical training. They’d be the first to admit that their previous two records had a charming, “hyperactive” quality about them, but you don’t get that sense here. There’s a balance between the peppy piano pop of songs like the album’s upbeat opener “Somebody”, the bouncy synth-pop of “Oh, Emily” and the radio-ready drama of “Don’t Let Me Fall Behind” to more poignant, contemplative songs in the album’s second half that represent the band’s desire to travel into new sonic territory. “In the past Ben and Tommy sometimes wrote from various fictional perspectives” says drummer Jesse Kristin, “but the songs on this album feel closer, more personal, and steeped in actual life experiences.” This creative shift is best exemplified by “Dead,” “Adulthood,” “Ghosts in Empty Houses,” and “The Spiritual” – songs that deal with death and mortality head on, with an immediacy that was masked on previous albums. “Adulthood” was initially a difficult song for Thornewill to perform. Written before his grandfather’s death from lung cancer, the line “In my lungs I still feel young” was painfully prophetic and the overall message that “from adulthood, no one survives” became all too real. “Dead” approaches a similar theme with understated elegance. The song begins with Siegel’s innocent, boyish croon over a ghostly drone and builds into a climax with post-rock ferocity entirely new to the band’s catalogue. “Even though we’re tackling some difficult themes this go-round, we’re still a band that wants people to feel good,” said Tommy. “We’re the same upbeat band we’ve always been, but we’re firm believers that pop music can have depth.” Ask Brooklyn’s Jukebox the Ghost why their third album is called Safe Travels, on a surface level, it’s likely they’ll tell you about a song by Austin’s Red Hunter, who performs as Peter and the Wolf. The song, from his 2006 album ”Lightness” became something of a mantra for the band. “Since we’re always in new cities and away from the people we love, that song really hit home for us,” said Ben. “It was a song that represented saying goodbye.” On Safe Travels, Jukebox the Ghost manages to contrast these darker themes with the same optimistic sound and a familiar sense of youthfulness that stays true to their core.

The Dock - Ithaca, NY

with The Analogue Sons

Mar 6

Mar 6

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

Price: $10-$12

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Upon first hearing the Bob Marley song “One Love” in Ireland as a 12 years old boy Kevin Kinsella received his calling to play Reggae music. Founding his first band The Tribulations when he was fifteen, he soon found himself opening up for Toots and the Maytals who gave him strong encouragement to continue in his vocation. The Tribulations recorded their first full album “The Gate” in 1992 and went on to win the Yamaha Soundcheck competition which took them to Japan and Jamaica. In 1995 Kevin founded and named his second group - John Brown's Body and led them in being signed to Shanachie Records with whom they recorded several albums which are recognized by both critics and fans as classics of American Reggae. In 1996 he started his own imprint label I Town Records on which John Brown's Body's first album “ALL TIME” was released. It was during his tenure as lead singer and primary writer of John Brown's Body that he started and gave name to the group 10 FT Ganja Plant, whose first release “PRESENTS” was also on the I Town label. Since then, that group has gone on to record 10 albums for ROIR Records and continues to write and record. Amidst writing, recording and touring with both John Brown's Body and 10 FT Ganja Plant, Kevin has released 4 solo records under his own name; the latest one being “RIDING HIGHER STILL” on his own I Town Records imprint, with worldwide distribution through VP pal. Kevin Kinsella is recognized as a true disciple of roots reggae music and both a pioneer and veteran of the Reggae movement in the United States. With a distinctive and powerful voice, a unique and recognizable writing style and spirit filled presence and performance energy – Kevin Kinsella continues to be an important contributor to Reggae music.

The Haunt - Ithaca, NY

Precocious and goofy singer/songwriter whose work with the Modern Lovers and as a solo act pegged him as one of the most admired cult acts in rock.

Mar 11

Mar 11

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

Price: $15

Event Information

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


Jonathan Richman has been writing songs, making records and performing live for most of his life, winning fans and making friends around the world with his guileless honesty and playfully catchy compositions. He’s revered by countless fellow artists, and has built a remarkably loyal international audience through his tireless touring. His deceptively straightforward songs embody timeless qualities of humanity, optimism, emotional insight and a boundless sense of humor, untainted by cynicism or transient notions of hipness. The records that Jonathan Richman has made over the past 30 years have long held a special place in the hearts of his fans. He began playing guitar at the age of 15, and in the early 1970s formed the Modern Lovers, whose raw, minimalist sound and emotionally forthright songs helped to lay the groundwork for punk rock. But by the time the group’s landmark debut album (including the much-covered “Road Runner,” a Top Five single in Europe) was released in 1976, Jonathan had already moved on to a quieter sound and a gentler lyrical focus. Since then, he’s continued to record and tour prolifically, first with a series of Modern Lovers lineups, later on his own, and eventually as a duo with drummer Tommy Larkins. Over the years, Jonathan’s music has absorbed a multitude of influences, from doo-wop to country to a variety of international styles, without sacrificing the artist’s effervescent personality. Jonathan’s fans have remained fiercely devoted over the years, and his audience expanded substantially in the 1990s, thanks to his frequent guest spots on TV’s Late Night with Conan O’Brien, his prominent appearance in the 1998 film comedy smash There’s Something About Mary, and the inclusions of his Modern Lovers classics “Ice Cream Man” and “I’m A Little Airplane” on Sesame Street. For much of his career, Jonathan has toured almost almost nonstop around the world. “Traveling and playing for new people in new places is one of my favorite things,” he notes. “It’s great playing places that are off the beaten track. You can learn a lot when you play in a little town in Holland or Western Australia, and you learn different things than you would learn playing a big city. This year we’re going to try to play in Extremadura, which is the southwest of Spain–we might become the first American entertainers ever to play there. I’m hoping that we can able to play the Canary Islands soon. photo “Playing shows and making records keeps been getting easier and more fun,” Jonathan states, adding, “Me and Tommy play totally different than we played two years ago. We already play a different style than we played on that live DVD, and the way we played then was totally different from the way we played three years before that. I still feel like we’re just starting out, and I still learn new stuff every night.”

State Theatre of Ithaca - Ithaca, NY

Mar 13

Mar 13

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

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ROBERT CRAY IN MY SOUL "First and foremost, the stories are where my heart lies," says Robert Cray. "In the blues guitar thing, most of the time, you carve out the section for the solo and that's really what the song is based on. And I love that, there's a time for that, but then I have to get back into the meat and bones of storytelling." With his seventeenth studio album, In My Soul, the five-time Grammy winner (and 15-time nominee) reasserts his position as one of his generation's great musical storytellers—this time steeped in the down-home sound and rich emotion of Southern Soul, yet never straying far from his incomparable guitar mastery. Produced by Steve Jordan, whose long list of credits includes extensive work with Keith Richards and John Mayer, the album blends funky originals with surprising covers, and captures a new configuration of the Robert Cray Band: long-time bass player Richard Cousins is joined by keyboardist Dover Weinberg (returning to the group, with which he played in the 1970s and '80s) as well as new drummer Les Falconer. Robert Cray is widely recognized as one of the greatest guitarists of our time. The New Yorker recently called him “one of the most reliable pleasures of soul and blues for over three decades now.“ He has written or performed with everyone from Eric Clapton to Stevie Ray Vaughan, from Bonnie Raitt to John Lee Hooker, and in 2011, he was inducted into the Blues Hall of Fame. But when it comes time for a new recording, Cray remains as open as ever to pure creativity. "In my recollection, we have never sat down and decided what kind of record we're going to make," he says. "This time, I knew we were going to do an R&B thing, because that's what we've done whenever we work with Steve, but we didn't have a concept—that develops because of the songs and the people who play on it." The first song they worked on for In My Soul was a Booker T & the MGs-style instrumental, written by Cousins and Hendrix Ackle; making no secret of the inspiration, they gave it the winking title "Hip Tight Onions" (as in the MGs three biggest hits—"Hip Hug-Her," "Time is Tight," and "Green Onions"). "That really helped set the tone," says Cray. "We ran that song for a bit, continuously playing that groove, and we got a feel for each other, and for Steve, and for a new tune. And from there, we fell into this real funk feel." Jordan, whom Cray describes as "almost a fifth member of the band," proposed a couple of covers—Otis Redding's "Nobody's Fault But My Own" and "Your Good Thing (Is About to End)," initially recorded in 1966 by Stax artist Mable John but later turned into a hit for Lou Rawls. "When I think of Robert Cray, I think of a great singer," says the producer. "Most people gravitate to his guitar playing because he's such a gunslinger, but I don't. He's got so much soul it's ridiculous. 'Good Thing' just sounded like Robert to me—it has a touch of jazz, and that strong, Chicago-based R&B in the Lou Rawls version. With the Otis tune, I just thought, 'Robert can eat this up,' and not a lot of people can do justice to that vocal." Cray countered with the idea of doing a song that would ultimately give the album its title, "Deep in My Soul" by the late Bobby "Blue" Bland. "I didn't want to change it—just do it pretty straight up as a tribute to Bobby, who was one of my real heroes," says Cray. The bulk of In My Soul, though, is made up of original material, composed by various members of the band. The album opens with the hard-charging "You Move Me," instantly identifiable as classic Cray, with his signature slicing guitar leads woven throughout. "I Guess I'll Never Know," co-written by drummer Falconer with Jeff Paris and Rick Whitfield, adds a slipperier groove to the mix, in the style of Willie Mitchell's productions for Hi Records. Bonus track "Pillow," available on a limited edition CD version of the album, began as a melodic snippet written by the late session guitarist Jerry Friedman, which Cray extended (complete with a sitar-like guitar effect) into what Steve Jordan calls "a '70s-Blaxploitation movie kind of vibe—it's Robert as Shaft!" "All the originals that came in were really good, and that's not always the case," says the producer. "It sure made my job easier—I just had to make sure the arrangements and sound and groove were right." Perhaps most notable is "What Would You Say?," an aching tune that finds Cray longing for a better world. "It's just a response to all that's going on—wars, disease, or just someone standing outside the supermarket asking for food or for a job. That's all part of everyday life, and I just had to talk about it." In My Soul includes plenty of Cray's blazing guitar work, which Rolling Stone recently said “introduced a new generation of mainstream rock fans to the language and form of the blues.” But he maintains that he's most excited about the way in which this project presents the complete Robert Cray Band. "I like that I got to play as part of a unit, as a quartet," he says. "That, to me, is just as much fun as playing a solo. There are lots of different grooves and styles on this record, and we had to give each song its own identity. That's where we're at as a band—the most important part is to lay down a groove that's going to carry the story. The solos are just icing on the cake." This year marks Robert Cray's fortieth anniversary as a musician, and with In My Soul, he is celebrating in style. He notes, with pride and with some amusement, that he continues to see new, younger faces in his audience. "There's a younger generation now whose parents turned them on to our music," he says. "It reminds me of when I was young and going to see Buddy Guy, Albert Collins, all the blues I could. It is kind of funny to be in the position of being the older generation now. But I'm just going to continue to do what we do. I can only do what I know, and we'll see what happens." -- IN MY SOUL TRACK-BY-TRACK You Move Me—"That's just a bluesy, upbeat type of tune, talking about my loved one, talking about the way she does me. It's a fun, simple, straight-ahead square beat, a nice rocking tune." Nobody's Fault But Mine—"An Otis Redding cover. All of us in the band, we grew up listening to that kind of music, and it's pretty dear to our hearts." Steve Jordan: "I just thought, 'Robert can eat this one up.' It's got the guitar stuff, but also the singing. Not a lot of people can do justice to that vocal. Also, we were looking for song to get vocals out of Les, so we approached this Otis tune like it was a Sam and Dave song." Fine Yesterday—"I'd been working on this over the summer and fall, and just pieced it together. It kind of has the feel of an early '60s thing, a song like 'Sitting in the Park.' I thought I would just be bold and go, 'What makes you think you could do something like that?'" Your Good Thing (Is About To End)—"That was Steve's idea. The cool thing is that when he mentioned it, I said 'Fantastic!'— I always loved that tune, and Dover happens to be one of the biggest Lou Rawls fans ever, so I knew it was going to go over big. But Steve didn't want to do just that version; it's really a combination of the different versions, the original by Mable John and also the OV Wright version. Steve said, 'Let's you and me go cut it,' and just the two of us went in and did it. We didn't rehearse, just played it and tried to make it as funky as possible." I Guess I'll Never Know—"A song about somebody losing their loved one. The cool thing about this song is that it's got a really funky beat, and it's co-written by our drummer, Les Falconer. It's nice and funky, almost reminiscent of a Hi Records, Willie Mitchell production." Hold On—"This one was written by Richard Cousins and Hendrix Ackle. We played it from the music they gave us, but then we changed up the lyric a little to make it more of a '70s Philly kind of thing. It's a departure from the Memphis sound, but still in that classic soul thing." What Would You Say—"A song that's about making the world a better place. Saying 'Can we do that? Can we help homeless people, can we try to cure diseases?' It's a response to all that's going on, from wars to someone outside the supermarket asking for food or for a job, all of that is part of everyday life. I was reading about Syria and the gas attack on those children—everybody forgets about kids during war and how horrible that is. So this is just how it came out, I just had to talk about it." Hip Tight Onions—"I don't think we've ever recorded an instrumental before. This was penned by our bass player, Richard Cousins, and his writing friend Hendrix Ackle, and it's a tribute to Booker T and the MGs." You're Everything—"Just a love tune, talking about how my world has changed because of who I'm with." Deep in My Soul—"I knew I wanted to do Bobby Bland tune, and I was banging my head as to which one. Then I found one CD with a massive amount of Bland songs on it, and I hadn't heard this one for a long time. I brought it in, and everybody loved it. I didn't want to change it—just do it pretty straight up as a tribute to Bobby, who was one of my real heroes. He came to see us before he passed, about a year and a half ago, he came to a show with his wife and son and just stood in the wings, and it was such a big honor, really cool." Steve Jordan: "We had nine or ten songs recorded, but we didn't really have a deep blues song—I wanted to get that feel, something riveting that lays the gauntlet down. Robert pulled out this song, and I had never heard it before. It was haunting and very deep, and the way he sang it, I got chills. You'd be hard pressed to think you could get as good as Bland did, but Robert gave a really extraordinary performance. Put that one on and you just have to shut up!" Pillow—"Steve had sent me a piece of music by a guy named Jerry Friedman, a great session player who played on 'Supernatural Thing' and a bunch of other stuff. It wasn't complete, there was no lyric, so we just kind of put it together—we started from music we had, tried to make it funky, came up with the idea for an electric sitar sound. It sounds great as instrumental, and we may still put it out like that, but the original title was 'You're My Pillow,' so we just kind of worked a story around that."

Water Street Music Hall - Rochester, NY

Mar 14

Mar 14

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

with Greenhouse Lounge

Mar 18

Mar 18

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


Particle began its journey in Los Angeles in 2000 as one of the key pioneers of the emerging ‘livetronica’ music scene. The band created a signature sound that combined elements of Electronica, Funk and Rock with a heavy emphasis on improvisation and sonic exploration, and their influence can still be felt and heard in many of today’s top touring Jam and EDM/Funk bands. Always striving to think outside the box and create unique concert experiences, Particle paired their high-energy dance music with cutting-edge multimedia production, thematic special events, and epic marathon sets that quickly developed a loyal fan base of Particle People spanning genre lines from jam to EDM. Particle went on to perform in eight different countries and headline venues coast-to-coast, from the Henry Fonda Theatre in Los Angeles to Irving Plaza in New York City. The band has also been a staple at major U.S. festivals including Bonnaroo, Coachella, ACL Festival and Lollapalooza. Particle is led by keyboardist/songwriter, Steve Molitz, whose innovative approach to keyboards and improvisational music has made him a mainstay on the national music scene since he first founded the band fourteen years ago. Well-known for programming and playing vintage keyboards and analog synthesizers, Molitz appeared at the inaugural Moogfest (A Tribute to Bob Moog), and was later tapped to help design Moog’s Little Phatty synthesizer. Molitz has also toured, recorded and performed with a wide range of artists, including: Phil Lesh (Grateful Dead), Robby Krieger (The Doors), Rich Robinson (The Black Crowes), G Love and Special Sauce, Tricky, Eve, The Allman Brothers Band, and many more. Particle's first studio album, Launchpad (2004), was produced by Tom Rothrock (Beck, Moby, Foo Fighters) and received critical praise and exclusive coverage from mainstream news outlets, including Rolling Stone, The New York Times, and CNN. The band's double-live CD and DVD Transformations: Live (2006) was produced by Shout Factory and featured guest performances by Joe Satriani, Robby Krieger, Blackalicious, and DJ Logic. In late 2006, Particle went on a semi-hiatus, as they cut down to less than 20 shows per year to accommodate the band’s changing family and work situations. During this time, Molitz began a long run of touring and recording with other high-profile artists, and composing music for video games and film. The band’s semi-hiatus lasted until 2014, when Molitz felt the overwhelming desire to relaunch Particle as a full-time band. For years he’d been listening to fans remind him of classic performances (“I was there!”) and ask when the band would finally return to the road again. So along with guitarist Ben Combe, bassist Clay Parnell, and drummer Brandon Draper, Molitz has officially returned to touring full-time with Particle, and to continuing the band’s ever-evolving journey… Particle is currently hard at work finishing enough studio tracks to populate up to two new full-length albums, both of which will be released in 2015. In the meantime, the band plans to premiere select studio singles and to make their new music as accessible as possible for old and new fans alike. As Molitz said in a recent interview, “Particle has always been fueled by the energy of our fans, and we’re so excited to get back out on the road full-time, and to share all of this new music with the Particle People...”

The Haunt - Ithaca, NY

with The Danbees

Mar 21

Mar 21

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

Price: $10-$15

Event Information

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


This all original, female-fronted, five-piece moxy rock band from Ithaca, NY is driving hard at bigger things and has been busy building an airtight justification for all the buzz surrounding it, both in its hometown and throughout the region. The band gets better and better, with its solid-as-a-rock rhythm section, eclectic library of vintage keyboard sounds, bold and inventive electric guitar stylings, electrifying lead vocals from force of nature Maddy Walsh who continues to reach new heights at every show, and uplifting, infectious songs that leave audiences humming. The group has matured at an incredible rate, but its members all attest that the recent recognition they’ve garnered comes not from luck but from some seriously hard work. “We put in have a lot of hours together,” says lead guitarist and co-founder Mike Suave. “We’re lucky to have a group of such dedicated people working toward a common goal and all thinking about the future.” It’s the dedication to consistently writing new material and rehearsing it and the shared love of the music the band members make together that continues to propel The Blind Spots forward and set them apart. Since the release of their debut album, El Camino Dream [2010] and their followup EP, Small Stampede [2012], both tight and inspired collections that showcase the band’s energy and expansive creativity, The Blind Spots have played a handful of the northeast’s well-renowned clubs and have been invited to play at a number of summer festivals, including the Finger Lakes GrassRoots Festival of Music and Dance, Sterling Stage Folkfest, as well as at many colleges, including Cornell University, the University of Vermont, SUNY Brockport, and Elmira College to name a few. The band plans to embark on a much more rigorous touring schedule this fall. In a musical-minded town like Ithaca, virtually teeming with talented artists, The Blind Spots have really had to earn their notoriety. “It’s a great place to come from if you’re a serious musician,” says Walsh. “It’s a good training ground.” Ithaca serves now as a supportive springboard that allows The Blind Spots to catapult into new regions, and they plan to continue expanding their radius. The band is set to release their third album produced at Alex Perialas’s world class Pyramid Sound Studios with drummer, engineer, and producer Mike Parker at the helm. Keep an eye on The Blind Spots, as they are on their way to winning the hearts of new devotees.

The Haunt - Ithaca, NY

with Space Carnival

Mar 26

Mar 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


Aqueous is a genre melting, funk-tastic groove/rock band known for bringing high energy shows night after night. Catchy songwriting, shredding guitars, tight infectious grooves, and spot on improvisation keep crowds dancing right from the first beat. The songs themselves are adventurous, smartly composed, inventive, exuberant; the jams and improv sections add immensely to the experience, as Aqueous heads off in directions heretofore unknown and previously unexplored. Like all great bands before them, Aqueous breathes as one organism when it is in full flight. Their latest studio effort “Willy Is 40” has joined the ranks of their influences-turned-peers showcasing the band’s explosive musical prowess. The album captures Aqueous’ signature live intensity, while expertly displaying the band’s creative and concise song writing. Their live series releases “Live Nugs” have kept fans waiting for the newest installment of highlights from recent shows. The quartet has been touring heavily throughout the Northeast and Midwest, riding high on the momentum gained from playing multiple sets at moe.’s annual end of summer festival moe.down.

Water Street Music Hall - Rochester, NY

with Bas, Cozz, Omen

Apr 4

Apr 4

Doors open at 6:00 pm Starts at 7:00 pm Ages 16+ Only

Price: $35-$45

Event Information

16+ w/ ID

The Dock - Ithaca, NY

Apr 9

Apr 9

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

Price: $15-$18

Event Information

Giant Panda Guerilla Dub Squad (GPGDS) is known for folding the aesthetics of the jamband scene into the structures of reggae. In the live setting, the band performs extended jams, while their previous studio albums have blended roots reggae with psychedelia (In These Times, 2012) or diverged from the genre completely, journeying into straight Americana (Country, 2012). On STEADY, the band’s fourth studio album (and first on Easy Star Records), GPGDS has synthesized their approach by weaving traditional folk instrumentation into a foundation of reggae, with arrangements that let the reggae breathe in a non-traditional way. While STEADY may not be the first record to find inspiration in both old time Appalachia and ‘70s Jamaica, it may be the best. Much of STEADY’s power comes from the attention put into the recording process. Craig Welsch (one of the key players in 10 Ft. Ganja Plant) invited the band to his Boston studio, with the intention of “capturing an aspect of Panda that no one had ever heard yet, something totally different.” This rings true on tracks like “Wolf At The Door” and “.45.” Bassist-singer James Searl jokes that the band “has always followed John Brown’s Body (JBB) into studios,” as each studio they’ve recorded in was previously used by the legendary Ithaca, New York-based band. This trend continues unabated here, as Welsch was formerly JBB’s dub engineer and producer on some of their finest sessions, while another song on STEADY – the herb-smoking gem “Mr. Cop” – was produced by Matt Saccuccimorano, who helmed the controls on the last JBB release. The only other track on the record not coming from Welsch – the title track – was co-produced by Danny Kalb, who has worked with The Green, Ben Harper, and Jack Johnson. Giant Panda formed in 2001 in Rochester, New York. A mysteriously fertile area for developing the U.S. reggae scene, the city has ties going back to 1981 when Lee “Scratch” Perry recruited his entire backing band from Rochester. The Upstate NY region became early supporters of GPGDS, while its members were in high school and beginning college, playing weekly gigs to cut their teeth. In these formative years, Giant Panda began to explore their songs with an experimental approach that is stylistically akin to the Grateful Dead, while keeping their roots firmly planted in reggae rhythms and lyrical content. Around 2005 tapers began to notice and soon after one of the band’s first Colorado shows received homepage placement on the popular taper website Archive.org. Almost overnight GPGDS became a mainstay on the jamband festival circuit. From 2005 – 2013 GPGDS’s three original members (drummer Chris O’Brian, guitarist-singer Dylan Savage, and bassist-singer James Searl) began a touring schedule averaging over 100 shows a year and performing throughout the U.S., Canada, and Jamaica. Their third lead singer, multi-instrumentalist Dan Keller, joined the group a few years back, while keyboardist Tony Gallicchio joined in 2013. (Most of the sessions for STEADY feature ex-keys man Aaron Lipp, though Gallicchio can be heard on two of the tracks.) Giant Panda’s continuous time on the road hardened the players into monster instrumentalists. Their attention to the studio in later years, along with a unique blending of reggae and rural American music solidified GPGDS as one of the region’s most beloved bands. Like their hometown, they manage to unify an intellectual and creative culture with a hard-working blue-collar past. The three main songwriters’ material is different enough to create a flowing and diverse listening experience. Savage’s inspiring anthems tend to be the most “classically” reggae, with songs like “Not The Fool,” “Whatever Cost,” and “Solution” echoing influences like Culture (circa 1979), early Burning Spear, and Jimmy Cliff. Searl is more experimental, both in form (“Wolf At The Door” could almost be an Elvis Costello song, while “.45” utilizes African and blues influences) and in lyrics: his “Hurt Up Your Brother” is almost Dadaist, taking a few lines and constantly rearranging them to achieve new meanings, imbued with a nonsensical-yet-expressive feel, while one of the most dubbed-out riddims on the record chugs along underneath. Keller’s songs stand illusively in between, and manage to go both directions, with a hardcore reggae groove on “Move” giving way to an unexpected chorus, or with the catchy “Home” being one of the only reggae songs in history to use a banjo so creatively and fittingly. Giant Panda is one of a growing number of bands that work with both Rootfire (their management) and Easy Star Records. STEADY marks the seventeenth release Rootfire and Easy Star have paired up for, making them one of the most storied and successful partnerships in the modern reggae scene. Release number eighteen is just a few months away…. GPGDS has cut a full Americana album as a sequel to 2012’s Country, which will also come out on Easy Star in early 2015. For now though, sit back and enjoy STEADY – a masterpiece that solidifies Giant Panda’s standing as a groundbreaker in the roots reggae scene.”

State Theatre of Ithaca - Ithaca, NY

**NOTE: All Orchestra seating is general admission. If you want reserved seating in the balcony please choose "Loge Reserved" seating.**

Apr 10

Apr 10

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

Event Information

Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Tim Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation. The four songs of the all-new Upside Out EP represent the first preview of Hungry Ghosts, due out in the fall on the band’s own Paracadute. This is the band’s fourth full-length and the newest addition to a curriculum vitae filled with experimentation in a variety of mediums. The band worked with longtime producer and friend Dave Fridmann (Flaming Lips, Weezer, MGMT), while also enlisting a new collaborator in Los Angeles, veteran Tony Hoffer, (Beck, Phoenix, Foster the People) to create their most comfortable and far-reaching songs yet. Building on (and deconstructing) 15 years of pop-rock smarts, musical friendship, and band-of-the-future innovations the EP, Upside Out, offers a concise overview of forthcoming Hungry Ghosts’ melancholic fireworks (“The Writing’s on the Wall”), basement funk parties (“Turn Up The Radio”), IMAX-sized choruses (“The One Moment”), and space-age dance floor bangers (“I Won’t Let You Down”). Drawn from the same marching orders issued to big-hearted happiness creators as Queen, T. Rex, The Cars or Cheap Trick, and a lifetime of mixed tapes exchanged by lifelong music fans, Upside Out is a reaffirmation of the sounds and ideas that brought the band together in the first place. The four songs provide an assured kick-off to a new sequence of interconnected performances, videos, dances, and wild, undreamt fun. “As the band has evolved over the last 15 years, the creative palette we work with has expanded in so many unexpected and gratifying directions,” says frontman Damian Kulash. “This record feels like it’s the musical manifestation of that — like we can speak in a clearer voice when we are playing in a bigger sandbox. Just as the band’s whole project became clearer to us as we learned to find more homes for our creativity — we triangulated it from more directions. And, I think the music itself has gotten more focused for similar reasons. We went in with fewer preconceptions of who we are or what our sound is, and came out with a record that sounds much more uniquely our own because of it.” Continuing a career that includes viral videos, New York Times op-eds, a major label split and the establishment of a DIY trans-media mini-empire, collaborations with pioneering dance companies and tech giants, animators and Muppets, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.

The Hangar Theatre - Ithaca, NY

Kansas City-based country singer-songwriter, with an acclaimed ability to create nuance out of everyday pain and triumph. Tickets are available online or in person at The State Theatre Box Office and McNeil Music of Ithaca.

Apr 11

Apr 11

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

Price: $29.50-$35

Event Information

Iris DeMent says of that elusive inspirational spark, “I didn’t know when or if I’d make another record. I gave up on trying to steer it or force it and decided to just make myself available in my heart and mind as much as I could and leave the rest up to fate.” Sixteen years after the last collection of DeMent songs, that time has come. Sing The Delta presents twelve self-penned compositions from an artist whose first three albums established her as one of the most beloved and respected writers and singers in American music. DeMent, the last of 14 children, born in Arkansas and raised in Southern California, grew up immersed in gospel music and traditional country. She was somewhat of a late bloomer as an artist, writing her first song at age of 25. Her first release, Infamous Angel, initially issued on Rounder in 1992 before being picked up by Warner Bros., immediately established her as a promising and talented artist. Its 1994 follow-up, My Life, earned a Grammy nomination in the Contemporary Folk category. Her 1996 album The Way I Should addressed political as well as personal themes and earned a Grammy nomination, as well. Along the way, several of DeMent’s songs became cultural touchstones. “Let The Mystery Be” found its way to MTV Unplugged as a duet by David Byrne and Natalie Merchant. “Our Town” was played over the farewell scene in the series finale of Northern Exposure. Merle Haggard, who said of DeMent, “She’s the best singer I’ve ever heard,” invited her to sit in as his piano player touring with his legendary band The Strangers. He subsequently covered two of her songs “No Time To Cry” and the gospel-tinged “The Shores of Jordan.” DeMent remained active as an artist. She sang four duets with John Prine on In Spite of Ourselves and had a minor role in the motion picture Songcatcher as well as contributing a song to its soundtrack. She continued playing live shows and in 2004, she recorded an album of gospel songs, Lifeline, which included her rendition of “Leaning on the Everlasting Arms.” In 2010 the Coen Brothers chose that song for the closing credits when they remade the classic western “True Grit.” Still, DeMent never took for granted the arrival of an album’s worth of new songs. “Songs would come along here and there and I’d go out and sing them for people, but for a long time I just didn’t know what would become of any of them. Then last year, a door kinda opened up, and a handful of songs walked through and a few unfinished ones came together and I knew I had a record.” As with Lifeline, DeMent is releasing Sing The Delta on her own label, Flariella Records. It was recorded at Richard McLaurin’s House of David studio in Nashville with co-producers Richard Bennett and Bo Ramsey, with a supporting cast that included Bryan Owings on drums, Dave Jacques on bass, Al Perkins on pedal steel and Reese Wynans on B3 organ, as well as horn players Jim Hoke and Steve Herman on a couple of numbers. Of the time it took, DeMent says “Some of these songs I’ve had around awhile but I needed time to grow into them. I guess you could say I just wasn’t ready to deliver them in the way that they deserved. I’m glad I waited. It’s taught me to surrender…to trust the natural flow and order of things and not worry about it,” DeMent says. It’s an instinct she’s learned to trust ever since she first sat down to write her first couple of songs at age 25 and found “Our Town” spilling out onto the page. “It was like somebody walked right into that room and said, ‘There you have it, Iris’ — I knew then and there that I had gotten my calling,” she relates. “I had always been taught in church that God, or spirit, if you will, calls us to a life work. I got mine that day. Whether I write one song a year or ten, it doesn’t matter. It’s a ‘knowing’ that I have that hasn’t left me since that day. That’s what I check in with and as long as that’s there, the rest of it doesn’t matter. The time it takes is just the time it takes.”

The Haunt - Ithaca, NY

with Vacationer

A spirited indie pop dance-band with a reggae-pop past and a penchant for worldbeat and ska-infused arrangements.

Apr 11

Apr 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


RUBBLEBUCKET: A BIOGRAPHICAL SOMETHING Rub-ble-buck-et [ru-bul-buck-it] Noun 1. A vessel in which workers collect waste materials on a construction site; We need a rubblebucket for all this rubble. 2. A wild art-pop band from Brooklyn, NY; I'm jonesing for the new Rubblebucket album ‘Survival Sounds’. 3. The condition of having hard nipples, or riding a mean yes wave; He has great Rubblebucket. Verb 4. The act of uncrossing one’s arms and letting loose, while strange, new feelings and sounds flood mind and body, leading to uncontrollable dancing, possible injury and definite sweat; Man, we really put the rubble in the bucket last night. My experience with Rubblebucket goes way back – to the summer of 1987, when I was born and first met lead singer and baritone saxist Kalmia Traver, then four. Kalmia was already well on her way to being a multi-instrument prodigy (penny whistle, recorder, alphabet burping), and I was already drowning in the ginormous shadow that she cast just by breathing. When she put our brother in a dress, blonde wig and heels, let me put on his lipstick, then forced his elastic micro-limbs into a diva pose, I knew she was a natural performer. Kalmia met Alex Toth (band leader, trumpeter, guy, brother-from-another-mother, Jersey) in a latin jazz combo in Burlington, VT. I’m assuming she also dressed him in drag, because he liked her and they became friends, painting the town with their loud horn playing. In 2006, they moved to Boston, where they did respectable things for money. Kalmia nude modeled for art classes, and Alex was hustling marching band gigs at $50 a pop, for which he was required to wear a black shirt and march around for six hours at a time OR NO PAY NO WATER NO DINNER. It was like that scene in Oliver Twist. Naturally, out of this hot, tarry, magical, broke-ass time, Rubblebucket emerged like a huge, slippery, post-afrobeat baby. Alex had met trombonist Adam Dotson at one of these marching gigs, and the three began composing and playing the first songs in Rubblebucket’s repertoire. Soon, they were joined by three more friends – guitarist Ian Hersey, drummer Dave Cole, and 15-seater van Puppy – and started taking the Rubblebucket show on the road. The first time I heard Rubblebucket perform live, two things happened: I realized this was the coolest thing on earth, like the lovechild of a unicorn and the Tom Tom Club, and I asked them if I could sell their merchandise at shows. You know what they say – those who can't do, sell merch. Night after night, standing behind that table of CDs, thongs and beer cozies, while Rubblebucket transformed the crowd from a skeptical wall of people into one big, happy, silly, jiving, open-hearted mass was an unforgettable experience. Their music does that – it just does. You can’t know it until you see it. And everyone who sees it, knows it. Like Paste, who said it best: “music that will make anyone with a pulse dance.” (I’ll annotate this by extending it to you pulse-less readers. You, zombie. I know you’re out there.) The Rubblebucket condition has spread, melting cares in its way. It barges in like an escaped rhino and triggers everyone, everywhere, to let loose and feel. Arm-crossing be damned! I’ve been to many Rubblebucket shows. But it wasn’t until I was mid-crowd in NYC’s Bowery Ballroom and heard a guy in front of me say to his friend “the singer looks so hot tonight” (but? Gross? That’s my sister?) that I knew Rubblebucket had made it. The experts will tell you that, actually, this was when they released their 2011 album Omega La La, with its headlining tracks “Came Out of Lady” and “Silly Fathers,” and reached a whole new, larger audience. Or, when they flew out to LA to play on Jimmy Kimmel Live, and got free pizza and Alex almost puked backstage. Or, when their song “Came out of a Lady” appeared in the movie Drinking Buddies, and I was suddenly one giant leap closer to meeting Anna Kendrick (that’s when I knew I had made it). Or, when their green rooms started stocking guacamole. Or, when their 2012 and 2013 EPs Oversaturated and Save Charlie introduced fans to the next and the next evolution of Rubblebucket, and more and more people fell in love. Now, much to my drool and dire impatience, the band is hovering on the knife’s edge of their next highly anticipated album release, Survival Sounds (Communion Records, Aug. 2014). Prepare yourself, universe. Rubblebucket is many things and nothing at all; it’s a mindset, a legend, a feeling, a mystery; a mischievous, playful, boundary-smashing blast of sound that you can sit still and wonder at, or turn off your mind and move wildly to. Or both at the same time. As Kalmia said, when she handed me one of her now-famous peanut butter, cheddar cheese, cabbage, honey tacos, “This is the weirdest, most delicious thing you will ever taste.” And if you won’t take it on my authority, take it on the authority of a small, but reputable publication called Rolling Stone, reporting from Bonnaroo: “Rubblebucket revved up like an indie-rock Miami Sound Machine, dancers, horns and all.” And if you won’t take it on Rolling Stone’s authority, cleave to the words of guitarist Ian: “Our music is like being at a raging party, but in the center of it, there’s this beautiful painting that you’re staring at, trying to wrap your mind around.” Or the words of our dad, Tim Traver: “Kids these days.” - Mollie Traver

The Haunt - Ithaca, NY

with Turkuaz

Apr 16

Apr 16

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


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

The Club @ Water Street - Rochester, NY

Apr 17

Apr 17

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

Price: $13-$15

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

with Special Guest David Ramirez

Austin, Texas-based "hobo folk" singer, songwriter, musician, and actor Alejandro Rose-Garcia.

Apr 17

Apr 17

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


 


“The first album was me wanting to burn down my life, cut my hair off, and run screaming into the woods,” says Alejandro Rose-Garcia. “This album is the trials and tribulations of becoming domesticated, letting people into your world and letting go of selfishness—the story of becoming a pair, losing that, and reconciling with the loss and gain of love.” Rose-Garcia is professionally known as Shakey Graves, and with his new record, And the War Came, he extends the ground—emotionally and sonically—broken by his 2011 self-released debut album, Roll the Bones, which brought him national acclaim and, three years later, still ranks near the top of Bandcamp’s digital best-seller charts. Roll the Bones established the powerful, mesmerizing Shakey Graves sound of Rose-Garcia accompanying himself on guitar and a handmade kick drum built out of an old suitcase. NPR Music named him one of 10 artists music fans “should’ve known in 2012,” describing him as “astonishing…unclassifiably original. And frighteningly good.” Paste included him in a “Best of What’s Next” feature, praising his “gnarly composite of blues and folk,” while The New York Times observed that Shakey Graves “makes the one-man band approach look effortless.” But while this distinctive arrangement continued to earn him an ever-expanding fan base on the road, Rose-Garcia knew that he wanted the follow-up to achieve something different. “With the first album, I didn’t have any expectations except my own,” he says. “This time, I was making something people were going to listen to out of the gate. I tried to maintain everything I enjoy about recording, the weird homemade aspect, but I was seeking a new, shining sound quality. The concepts for the songs are a little bigger. This is not the ‘Mr, Folk, Hobo Mountain’ album—it’s more of the Cyborg Shakey Graves. It’s definitely the next step in the staircase.” An experienced actor who had a recurring role on Friday Night Lights and appeared in several of Robert Rodriguez films, Rose-Garcia started making music as part of New York City’s “anti-folk” scene. While knocking around the underground music community in Los Angeles, he saw a performance by one-man band Bob Log III that pointed his work in a new direction. Since returning to Austin, Rose-Garcia has become so closely associated with his hometown that for the last three years, Austin has celebrated “Shakey Graves Day” by mayoral proclamation. To record And the War Came, co-producer/collaborator Chris Boosahda brought all of his gear to Rose-Garcia’s house and converted the space into a big, open studio. Though the signature Shakey Graves set-up remained the starting point, other instrumentalists came in and multiple, wildly different arrangements of the songs were attempted for what was initially planned as a double album. Most notably, Rose-Garcia wrote and sings three of the album’s songs with Esme Patterson, a solo artist and member of the Denver-based band Paper Bird. “We started out just having fun and writing, and then that turned into some of my favorite songs on the album,” he says. “We actually wrote ‘Dearly Departed’ on Halloween as a tongue-in-cheek, haunted house sex joke, and then we played it that night and people went bonkers. Esme and I write so similarly it kinda freaked us out, and I really learned the power of writing music with someone you get along with.” Soon enough, Rose-Garcia found that the experience of making the record was being mirrored in the songs themselves. “I was letting go of that one-man everything,” he says. “I did need people’s help, and my control freak nature had to subside a bit. It meant learning collaboration, but also knowing when to stick to my guns—all of that was the experience of this year, and the songs were some of the more genuine experiences; some of them even became sort of prophetic.” “Only Son,” a meditation on solitude (“I used to be an only son/My heart was like a stranger”), became the opening track and “thesis statement” for And the War Came. “Hard Wired” is not, as it may first appear, about a relationship falling apart, but “about having friends with problems—watching a friend struggling and not doing anything about it.” The themes of these ten songs, explains Rose-Garcia, return over and over to the idea of the “other.” “It’s not about any single person, it’s about being that second, other person. Even the title—I never thought about whether I was able to handle that aspect of things, of having these relationships. And the War Came is a little bit of, be careful what you wish for.” Songs like “The Perfect Parts” and “Family and Genus,” meanwhile, represent a very different sound for Shakey Graves. “Those have a lot more aggression, they’re heavy and big,” he says. “I’m a little worried because it is a new step out, and people have gotten really precious about the stuff I’ve done—which is a huge compliment, and a dream come true—but I’m interested in what a Shakey Graves song is to people.” Another crucial influence on the direction of And the War Came has been Rose-Garcia’s lengthy and far-flung touring schedule (which has recently included stops at the Winnipeg and Newport Folk Festivals, prior to a headlining run this fall). “I’m constantly flying places and moving at a fast rate,” he says. “Imagining what it was like a year ago is almost incomprehensible to me now. I feel like I’ve almost seen too much this year—bands, music, places. And if that doesn’t affect you in certain ways, then you’re doing it wrong.” While his remarkable success story continues to unfold, Alejandro Rose-Garcia sees And the War Came as a pivotal step in the evolution of Shakey Graves. “This is a doorframe album, as we’re going into a new building,” he says. “It’s taste of everything—what might come in future, which might include just guitar or the one-man band thing, but not pigeonholed to any one sound. I wanted to open some stuff up and get people ready for wherever it’s going.”

The Haunt - Ithaca, NY

Johannesburg, South Africa-born, Colorado-based singer/songwriter specializes in dusty folk and moody Americana.

Apr 18

Apr 18

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

Price: $20-$22.50

Event Information

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


Born in Johannesburg, South Africa, and calling Colorado home, Gregory Alan Isakov has been traveling all his life. Songs that hone a masterful quality beyond his years tell a story of miles and landscapes, and the search for a sense of place. Music has been a stabilizing and constant force. “I’ve always had this sense about music and writing that I sort of have to do it. Like I’ll implode without it. I probably wouldn’t do it if I felt any other way.”

Water Street Music Hall - Rochester, NY

with Upon A Burning Body, Butcher Babies

Apr 19

Apr 19

Doors open at 6:00 pm Starts at 7:00 pm Ages 16+ Only

Price: $25-$30

Event Information

16+ w/ ID

The Dock - Ithaca, NY

Apr 23

Apr 23

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

Price: $10-$13

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Iska Dhaaf (taken from Somali, translated roughly to “let it go”) Inspired by Sufi poetry, limitation, and an obsessive preoccupation with writing, Nathan Quiroga and Benjamin Verdoes have fused their seemingly disparate musical and personal backgrounds into something searching and honest. Their songs, with heavy rhythms and cutting melodic hooks, are at once infectious and sweetly disarming.

The Club @ Water Street - Rochester, NY

with Mikaela Davis

Apr 24

Apr 24

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

Price: $12-$15

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

with Mikaela Davis

Apr 25

Apr 25

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


Jimkata’s innovative, fan-funded record Die Digital turned the heads of critics and musicians when it dropped in the Fall of 2012, solidifying the band’s reputation as forward-thinking artists to pay attention to. Jimkata’s refined electro-rock sound is one of a band that has found its voice after years of experimentation; It’s more indie rock than jam, and more 90′s electronica than modern day EDM; yet the five-piece appeals to each of these audiences. In the spirit of LCD Soundsystem, MGMT and Talking Heads, Jimkata’s relevant, quotable lyrics create moods not just for fleeting moments, but for the lifestyle of an entire generation. Following the release of their first live record 10 More Songs! (2013), Jimkata is poised to unveil their third studio EP and sixth official release Feel In Light on 3.4.14. Recorded with Die Digital producer Jocko Randall at his MoreSound Studios in Syracuse, NY Feel In Light represents the continued evolution of this modern rock band’s sound - one which will be simpler in essence – exploring themes of love, triumph and appreciating second chances in life. A staple of the festival circuit from the Rockies to the Atlantic, Jimkata’s 2013 schedule included heavy hitters like Gathering of The Vibes, Summer Camp, Catskill Chill and Rootwire, on top of hosting their very own inaugural festival, Katalyst. Fans can catch the band this winter on their extensive national tour taking them up and down the east coast and to Colorado.

State Theatre of Ithaca - Ithaca, NY

May 1

May 1

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

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LYLE LOVETT A singer, composer and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers. Lovett has appeared in 13 feature films, and on stage and television. Among his many accolades, besides the four Grammy Awards, he was given the Americana Music Association’s inaugural Trailblazer Award, and was recently named the Texas State Musician. Garden & Gun recently called Lovett “one of America’s most beloved singer/songwriters,” and he was featured in the coveted “What I’ve Learned” column in the February 2012 issue of Esquire. Lovett has been touring in support of Release Me since its release in February. The album was #1 for several weeks on the Americana charts. Produced by Nathaniel Kunkel and Lovett, Release Me represents the end of an era as it was his last record for Curb/Universal Music Group after being on the label for his entire career. Release Me is quintessential Lyle, mixing a smart collection of originals and songs written by some of his favorite songwriters that show not only the breadth of this Texas legend’s deep talents, but also the diversity of his influences, making him one of the most infectious and fascinating musicians in popular music. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers. His oeuvre, rich and eclectic, is one of the most beloved of any living artist working today.


JOHN HIATT Over thirty-five years after the release of his debut album, John Hiatt remains one of America’s most respected and influential singer-songwriters. As the Los Angeles Times once wrote, “(Hiatt) writes the funniest sad songs – and the saddest funny songs – of just about anybody alive.” John Hiatt’s songs have been covered by artists as diverse as Bob Dylan, Bonnie Raitt (“Thing Called Love”), Buddy Guy, Emmylou Harris, Ronnie Milsap, Iggy Pop, the Neville Brothers, Rosanne Cash (the #1 country hit, “The Way We Make A Broken Heart”), the Jeff Healey Band (“Angel Eyes”), Willie Nelson, Steve Earle, Linda Ronstadt, and even the cartoon bear band of Disney’s 2002 film, The Country Bears. He earned a Grammy nomination for his album Crossing Muddy Waters, and B.B. King and Eric Clapton shared a Grammy for their album Riding With The King, the title track from which was a Hiatt composition. In 2007, John Hiatt was honored with his own star on Nashville’s Walk of Fame and his legacy was even further cemented with a pair of accolades in the fall of 2008: the Americana Music Association’s Lifetime Achievement Award for Songwriting in September, and his October induction into the Nashville Songwriters Hall of Fame. With seven solo albums already under his belt, Hiatt’s A&M debut, Bring The Family (1987), was his breakthrough. His rootsy, rock-country-blues fusion – performed with guitarist Ry Cooder, bassist Nick Lowe, and drummer Jim Keltner – was Hiatt’s first charted effort, and he was subsequently named Best Male Vocalist in Rolling Stone’s annual Critics Poll. Bonnie Raitt would later cover the album’s “Thing Called Love” on her multiplatinum smash, Nick Of Time, and fan favorites “Memphis In The Meantime” and “Have A Little Faith In Me” have been covered by artists from Joe Cocker and Delbert McClinton to Jewel. In the last few years Hiatt has released Same Old Man, The Open Road, Dirty Jeans & Mudslide Hymns and most recently Mystic Pinball all to critical acclaim as All Music Guide declares “And for a guy who has cranked out four studio albums in five years, Hiatt is having a great run as a songwriter…”

The Haunt - Ithaca, NY

May 1

May 1

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

Price: $8-$10

Event Information

Mike Brindisi is not only an independent recording artist but a true power act. From Writing performing and recording his music, to Acting in film/TV, doing Standup Comedy, to performing/touring all over the United States. Brindisi remains active also by hosting his own Rock radio show on 96.7FM The Vine in Ithaca, NY.

Some of his career highlights include opening for Gavin Degraw, Headlining the NASCAR and INDYCAR races at Watkins Glen international Speedway, collaborating with Legendary Producer Eddie Kramer,being sponsored by Devil May Care Clothing, having his songs played nationally on independent radio stations, and touring markets such as Nashville, New York City, Austin and Philadelphia! He also appeared on the Howard Stern show, had his music video "Crawl" air on the National TV Station "TheCoolTV", recently starred in an independent film, appeared on Saturday Night Live, and was chosen to be a Myspace featured artist on their relaunch!

As an authentic rock artist who has paid his dues from the beginning, he has experienced the "ups and downs" of the industry. But, those experiences have prepared him for his future and opened up doors for him where they appeared closed.

Soon after high school, Brindisi was approached by a record executive who flew him to Nashville, cut a demo, and flopped his record. "I returned home with a broken heart, empty pockets and another tough lesson learned.

I moved to Ithaca, NY because it's an awesome music town (and I didn't have the money to move to NYC or LA)" Brindisi said of the experience.

In 2005 Brindisi started handing out copies of his Demo That he recorded in Nashville. There was a local radio station WBVR, who provided air time for local musicians. Brindisi handed a copy of his demo to the DJ and pleaded with him to play his song "Crawl". The DJ obliged, and the song soared! It was ranked 22 for the most requested song of the year at WBVR.

In the years to come Mike built his following from the ground up starting acoustic and eventually signing with his now manager & building his band. Since then, Mike Brindisi and the New York Rock have been Recording & touring building their fan base immensely. They released their debut album “Counting Pennies” independently in 2009 & then recorded their sophomore album, "Taste" which was released May 11th, 2013.

The single "Show You", from the latest album “Taste” is in rotation on several city radio stations and has reached #1 multiple times on Ithaca's Z95.5 (WFIZ-FM).

Additionally, the New York Rock were asked to write a song for the documentary "Passfire". The song titled "Passfire" will be released February 2014 & featured as the title track of the film in 2015.

"Many dedicated fans and new fans have described Brindisi as "Vivid, Enticing, and Addicting. His Live shows are incomparable."

"No one performs like Mike does. His voice captures you, but his soul envelops you in his relentless rock arena performance. This kid is about to catapult." Mia Tinari, Principal of MCT Entertainment.

The Hangar Theatre - Ithaca, NY

This guitarist and singer/songwriter has long been heralded as Canada’s best-kept secret. Tickets are available online or in person at The State Theatre Box Office and McNeil Music of Ithaca.

May 3

May 3

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

Price: $35-$40

Event Information

Bruce Cockburn has always been a restless spirit. Over the course of four decades, the celebrated Canadian artist has traveled to the corners of the earth out of humanitarian concerns—often to trouble spots experiencing events that have led to some of his most memorable songs. Going up against chaos, even if it involves grave risks, can be necessary to get closer to the truth. “My mother once said that I must have a death wish, always going to what she called ‘those awful places,’” laughs Cockburn. “I don’t think of it that way. I make these trips partly because I want to see things for myself and partly out of my own sense of adventure.” Small Source of Comfort, Cockburn’s 31st album, is his latest adventurous collection of songs of romance, protest and spiritual discovery. The album, primarily acoustic yet rhythmically savvy, is rich in Cockburn’s characteristic blend of folk, blues, jazz and rock. As usual, many of the new compositions come from his travels and spending time in places like San Francisco and Brooklyn to the Canadian Forces base in Kandahar, Afghanistan, jotting down his typically detailed observations about the human experience. “Each One Lost” and “Comets of Kandahar,” one of five instrumentals on the album, stem from a trip Cockburn made to war-torn Afghanistan in 2009. The elegiac “Each One Lost” was written after Cockburn witnessed a ceremony honouring two young Canadian Forces soldiers who had been killed that day and whose coffins were being flown back to Canada. It was, recalls Cockburn, “one of the saddest and most moving scenes I’ve been privileged to witness.” “Here come the dead boys, moving slowly past the pipes and prayers and strained commanding voices,” Cockburn sings solemnly on “Each One Lost.” Over a mournful accordion, the simple chorus sums up the gravity of the hymn-like song: “each one lost is a vital part of you and me.” In contrast, one light-hearted number reflects Cockburn’s frequently underappreciated sense of humour. “Called Me Back” is a comic reflection on the frustrations of waiting for a return phone call that never comes. Meanwhile, listeners are bound to be intrigued by “Call Me Rose,” written from the point of view of disgraced former U.S. president Richard Nixon, who receives a chance at redemption after being reincarnated as a single mother living in a housing project with two children. Brooklyn-based violinist Jenny Scheinman is one of Bruce’s two female collaborators on Small Source of Comfort. Scheinman, best known for her work with Bill Frisell and Norah Jones, provides some thrilling flourishes to instrumentals like “Lois on the Autobahn” and the bluesy, gypsy-like swing of “Comets of Kandahar,” a track that Cockburn describes as “Django meets John Lee Hooker.” Produced by longtime associate Colin Linden, the album also features Annabelle Chvostek, a Montreal-based singer-songwriter with whom Cockburn wrote two songs on which they also harmonize: the introspective “Driving Away” and the driving, freewheeling “Boundless.” In addition to newcomers Scheinman and Chvostek, Small Source of Comfort includes such regular Cockburn accompanists as bassist Jon Dymond, drummer Gary Craig and producer Linden, who also plays guitar. As always, there’s a spiritual side to Cockburn’s latest collection, best reflected on the closing “Gifts,” a song written in 1968 and but recorded here for the first time, and “The Iris of the World,” which opens the album. The latter includes the humorously rueful line, “I’m good at catching rainbows, not so good at catching trout.” That admission serves as a useful metaphor for Cockburn’s approach to songwriting. “As you go through life, it’s like taking a hike alongside a river,” he explains. “Your eye catches little things that flash in the water, various stones and flotsam. I’m a bit of a packrat when it comes to saving these reflections. And, occasionally, a few of them make their way into songs.” Those songs, along with his humanitarian work, have brought Cockburn a long list of honours, including 13 Juno Awards, an induction into the Canadian Music Hall of Fame, a Governor General’s Performing Arts Award and several international awards. In 1982, he was made a Member of the Order of Canada and was promoted to Officer in 2002. Last year, the Luminato festival honoured Cockburn’s extensive songbook with a tribute concert featuring such varied guests as jazz guitarist Michael Occhipinti, folk-rapper Buck 65, country rockers Blackie and The Rodeo Kings, country-folk singers Sylvia Tyson and Amelia Curran, pop artists the Barenaked Ladies and Hawksley Workman, and folk-pop trio The Wailin’ Jennys. Never content to rest on his laurels, Cockburn keeps looking ahead. “I’d rather think about what I’m going to do next,” he once said. “My models for graceful aging are guys like John Lee Hooker and Mississippi John Hurt, who never stopped working till they dropped, as I fully expect to be doing, and just getting better as musicians and as human beings.” Small Source of Comfort, a reflection of Cockburn’s ever-expanding world of wonders, is the latest step in his creative evolution.

Brewery Ommegang - Cooperstown, NY

with very special guests TV on the Radio and John Grant

May 22

May 22

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

Price: $45-$70

Event Information

While Pixies have been acclaimed as the most influential, pioneering band of the late 80s alt/rock movement, having blazed the trail for artists from Nirvana to Radiohead to Pearl Jam, today, a whole new generation of music fans are discovering their iconic “loudquietloud” signature sound. After five genre-defining studio albums, Pixies disbanded in 1993, and then launched their reunion tour in April 2004, playing to sell-out crowds all over the globe for seven years, a longer period of time than they were a band originally. But writing, recording and releasing new music was something that the band had been wanting to do for a long time, so they secretly booked studio time in Wales for the fall of 2012. Six days into the recording, founding bassist Kim Deal decided to leave the band; Black Francis, Joey Santiago and David Lovering made the decision to carry on, working with a variety of touring bassists, something they’d never done. It's been about a year and a half since the band surprised everyone with "Bagboy" (June 28, 2013) and then, 10 months after, with Indie Cindy (April 29, 2014), their first new album in more than twenty years. Over that time period, the band also released three EPs, as well as 10 music videos, racking up nearly 5-million views. Since they kicked off their 2013 - 2015 global tour in September, 2013, the band has played 120 shows across four continents, and still have lots of touring ahead of them. As the UK’s DIY wrote about the new music, “They’re back. They’re still brilliant. God save the Pixies.”

Water Street Music Hall - Rochester, NY

with special guest Craig Finn

May 26

May 26

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

Price: $25-$30

Event Information

16+ w/ ID. 


Presale is Wednesday, February 11 at 10am EST. 

State Theatre of Ithaca - Ithaca, NY

Contender for the title of greatest blues guitarist ever, with a fiery, screechy, super-quick technique that influenced countless followers.

Jun 5

Jun 5

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

Event Information

Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite. George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over the top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career. Hoodoo Man BluesGuy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess. I Left My Blues in San Francisco Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer. Alone & Acoustic By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe, where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician magazine, "Buddy Guy is by far and without a doubt the best guitar player alive...he really changed the course of rock & roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards. Last Time Around: Live at Legends In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy Award in 2010 for the album Living Proof. Guy also received the National Medal of the Arts in 2003, and was awarded with Kennedy Center Honors in 2012. He was inducted into the Rock and Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago." Guy continued his late-career revival with the 2012 memoir When I Left Home: My Story and the summer 2013 release of the ambitious, guest star-laden double album Rhythm & Blues.

Brewery Ommegang - Cooperstown, NY

Jun 13

Jun 13

Doors open at 5:00 pm Starts at 7:30 pm All ages

Price: $55-$85

Event Information

CAMPING IS SOLD OUT


If you put your ear to the street, you can hear the rumble of the world in motion; people going to and from work, to school, to the grocery store. You may even hear the whisper of their living rooms, their conversation, their complaints, and if you’re lucky, their laughter. If you’re almost anywhere in America, you’ll hear something different, something special, something you recognize but haven’t heard in a long time. It is the sound of a real celebration.It is not New Year’s, and it is not a political convention. It is neither a prime time game-show, nor a music video countdown, bloated with fame and sponsorship. What you are hearing is the love for a music. It is the unbridled outcry of support for a song that sings to the heart, that dances with the soul. The jubilation is in the theaters, the bars, the music clubs, the festivals. The love is for a band.The songs are honest: just chords with real voices singing real melodies. But, the heart and the energy with which they are sung, is really why people are talking, and why so many sing along. They are a reality in a world of entertainment built with smoke and mirrors, and when they play, the common man can break the mirrors and blow the smoke away, so that all that’s left behind is the unwavering beauty of the songs. That’s the commotion, that’s the celebration, and wherever The Avett Brothers are tonight, that’s what you’ll find.

Asbury Hall at Babeville - Buffalo, NY

with Gilligan Moss

Jun 16

Jun 16

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

Event Information

Glass Animals vocalist and songwriter David Bayley draws influence for both music and artwork from his involvement in the world of medicine and neuroscience (at just 22 yrs old, he has studied both) creating a sound with it's roots spread between the electronic and live instrumentation. The result is the warm, narcotic space between a downbeat, slow-burning groove and electro-pop catchiness.

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- Spotlight Artists -

- Just Announced -

Mar 14

Water Street Music Hall - Rochester, NY

Mar 21

The Haunt - Ithaca, NY

with The Danbees

Apr 17

The Haunt - Ithaca, NY

with Special Guest David Ramirez

Apr 18

The Haunt - Ithaca, NY

May 1

State Theatre of Ithaca - Ithaca, NY

May 22

Brewery Ommegang - Cooperstown, NY

with very special guests TV on the Radio and John Grant

May 26

Water Street Music Hall - Rochester, NY

with special guest Craig Finn

Jun 16

Asbury Hall at Babeville - Buffalo, NY

with Gilligan Moss

- Social Updates -

From our friends Jukebox the Ghost playing The Haunt on March 6! We Play Conan Tonight! Tonight we'll be performing "Postcard" on Conan at 11/10c on TBS. Make sure to tune in! NEW LABEL We are so thrilled to announce that we have signed with Cherrytree Records. Brilliant label with stellar people and a fantastic track record (see what we did there? record? yeah?!). They are going to be rereleasing our self titled album with a SPECIAL BONUS DISC this February... WALK LIKE AN EGYPTIAN ALSO... we have recorded a cover of "Walk Like An Egyptian" with tour-mates and now label-mates Secret Someones, which will be released soon (and you can stream now on our YouTube channel HERE)!!!!! B-SIDE SESSION of UNDENIABLE YOU AND LONG WAY HOME Lastly, we stopped by Mobtown Studios to chat, and try out some acoustic versions of "Undeniable You" and "Long Way Home". Watch and listen HERE. CONTESTS Hope to see you on the road... Don't forget about our Postcard Contest and Local Haunt Contest. Be sure to use #JTG2015 and #JTGyourcityname on Twitter, Instagram, and Facebook (ie: #jtgLOSANGELES #jtgCHICAGO, etc) for your chance to win tickets.

The New Pornographers - "Your Hands (Together)" Official Video

Directed by Blaine Thurier Purchase 'Together' now at: iTunes: http://itunes.apple.com/us/album/together/id367139701 Amazon: http://www.amazon.com/Together-N...

Thanks Wild Child and Pearl and the Beard for a rocking start to #dsp2015 at The Dock last night! This week we focus on one of our faves and the first show for DSP at the State Theatre of Ithaca this Feb 10 - The New Pornographers! Get your tickets now - and Cornell University students save $10 by purchasing thru the Cornell Concert Commission!

Wild Child - Crazy Bird OFFICIAL

Director: Christian Sorensen Hansen Artist: Wild Child Album: The Runaround (2013) Label: The Noise Company Purchase on iTunes: https://itunes.apple.com/us/a...

TONITE!!! Wild Child and Pearl and the Beard at The Dock They have sold out nearly every show on this tour - don;t let them down ithaca!

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P.O. BOX 736
Ithaca, NY 14851