EVENTS

Academy of Music - Northampton, MA

with Josh Gondelman

May 1

May 1

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

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Tig Notaro is currently writing, producing and starring in the autobiographical comedy series, One Mississippi for Amazon Studios, where she can also be seen in her recurring role as "Barb," on the Jill Soloway series Transparent. Her eagerly anticipated memoir, I'm Just A Person is due out June of 2016 through Harper Collins Publishing, with a national book tour to follow. Both Tig's HBO stand-up special Boyish Girl Interrupted and the Netflix Original Documentary simply entitled, TIG premiered to critical acclaim and are available for streaming. In 2013, Tig was nominated for a Grammy Award for her sophomore release, LIVE, which sold over 100,000 units in 6 short weeks. LIVE is a stand-up set delivered just days after Tig was diagnosed with invasive bi-lateral breast cancer. She has since announced her cancer to be in remission and remains a favorite on Conan and This American Life, and enjoys bird watching with her wife at their home in Los Angeles.

Academy of Music - Northampton, MA

May 3

May 3

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

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John Hiatt's songs have been recorded by artists as diverse as Bob Dylan, Bonnie Raitt (“Thing Called Love”), Emmylou Harris, Iggy Pop, Rosanne Cash (#1 country hit, “The Way We Make A Broken Heart”), the Jeff Healey Band (“Angel Eyes”), and even the cartoon bear band of Disney’s film, The Country Bears. He earned a Grammy nomination for his album 2000 Crossing Muddy Waters, while 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. Hiatt has received his own star on Nashville’s Walk of Fame, the Americana Music Association’s Lifetime Achievement Award for Songwriting, and has been inducted into the Nashville Songwriters Hall of Fame. His latest album is 2014's Terms of My Surrender.

The Haunt - Ithaca, NY

with Icewater and also Pollen

May 3

May 3

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

Price: $12-$15

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New View, the third solo album by Eleanor Friedberger, was rehearsed in the Los Angeles neighborhood of Echo Park and recorded in upstate New York. The former is a place where characters in Warren Zevon songs get clingy with their old lady while toughing out heroin withdrawal; the latter is where Bob Dylan got clingy with Robbie Robertson after flying off his motorcycle and revisiting the highway with his face. Fittingly, there’s a fair amount of recovery in the songs of New View (though you won’t find much in the way of smack or motorcycles). “Today I’m frozen but tomorrow I’ll write about you,” Friedberger sings, and much of the album seems set in that post-traumatic tomorrow, when stuff’s calmed down, the figurative road rash has healed, the metaphorical junkie sweating up your mattress has finally packed his bags. Counting the albums she made with her brother Matthew as the Fiery Furnaces, this is Friedbergers twelfth full-length. I’ve been listening since the beginning, and to me New View seems like just that — a vista that’s opened up when I thought I’d seen everything Friedberger had to offer. (Then again, I believed her last album Personal Record was indeed her best to date, so maybe I’m just susceptible to album titles.) Before she entered the studio with New View producer Clemens Knieper, Friedberger made a playlist of reference songs. A live version of “Warm Love” by Van Morrison was on there, as was 80s-era Dylan, Neil Young at his most bummed out, a scattering of Robert Wyatt-era Soft Machine, and the odd gem by Slapp Happy, Fleetwood Mac, Funkadelic, et al. There are ghost notes of all of those influences on New View, but mostly you hear Eleanor Friedberger. She’s never lacked confidence — this is someone who once took a fractured nine-minute ballad about the international blueberry trade and put it across like it was “Thunder Road” — but there’s a new kind of confidence on this record. You can hear it on the warm, stately “Your Word,” which holds a special place for Friedberger. She says: “It was the last song I wrote for the album. I finished the lyrics with lines taken from a dream that Jonathan Rosen had about me. I stayed at a friend’s house in LA who had a bunch of later George Harrison CDs– already a huge fan, I thought I knew it all. But I heard ‘Love Comes To Everyone’ and it kind of blew me away. Everything I love about Harrison– beautiful slide guitar and vocals and vaguely spiritual lyrics– plus a weird disco thing. That was the big influence for the sound.” The songs on New View were recorded live to tape with simple instrumentation: drums, bass, Wurlitzer and 12-string acoustic guitar on almost every track, courtesy of the band Icewater (Malcolm Perkins, Jonathan Rosen, Michael Rosen, Noah Hecht), with Dorian DeAngelo contributing a handful of well-placed guitar solos. Producer Knieper (son of Jurgen Knieper, the German composer whose credits include the score to Wim Wenders’ Wings of Desire) gives the album a classic sound, like something that’s existed forever on a record collector’s shelf, wedged in with Dylan’s New Morning and John Cale’s Vintage Violence. For everything new about New View, it still fits comfortably in the continuity of Friedberger’s work. By coincidence, Knieper’s studio in Germantown, NY where the album was recorded is in a barn that was once rented by Matthew Friedberger and stored the furniture of their grandmother — the same grandmother whose spoken word reminiscences were the basis of the Fiery Furnaces LP Rehearsing My Choir. You won’t hear much of that album here, but songs like “Open Season” recall the Furnaces at their most magisterial. The wry, plainspoken “Because I Asked You” builds on the style Friedberger first polished on her solo debut Last Summer. And then there’s “A Long Walk,” the sun-striped finale that lends a memorable afterglow to New View. It’s a sweet, aching goodbye from an album that seems full of them.

The Dock - Ithaca, NY

May 4

May 4

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

Price: $10-$12

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Ghana Seperewa Highlife Osei John is one of the very last remaining seperewa musicians in Ghana. The seperewa is an Akan harp, a forgotten cousin of the Sahel's kora or ngoni. For centuries it was the melodic backbone to Ashanti and more generally Akan music, one of the key ingredients of highlife, but in the 20th century it was practically wiped out of Ghana by guitars coming from the coast. He will be joined buy Colter Harper (Rusted Root) on guitar and percussion, and Lucas Ashby (Big Mean Sound Machine) on Percussion and Cello.

The Haunt - Ithaca, NY

May 6

May 6

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

Price: $12-$15

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Off the beaten path, nestled in the deep gorges of Ithaca, New York, there are whisperings of a musical revolution in the air. The streets are abuzz as the cutting edge new school hip hop sound of The Gunpoets takes the scene by storm. Heavy bass, hard hitting drums, silky smooth keys and sexy guitar licks sweep audiences away as listeners find their bodies unable to resist the explosive rhythms. Add turntables and a microphone? Well, let's just say they won’t know what hit ‘em. With partner in rhyme Jayhigh by his side, front man Rising Sun owns the stage and captivates the crowd at every twist and turn. To witness The Gunpoets in action is to see live rap music at its best! Their display of passion and energy is indeed a sight to behold. Powerful, positive, peaceful and at times political, they can work fans into a frenzy with one song and seduce them into a trance with the next. The Gunpoets seamlessly fuse hip hop with pop, rock, soul and funk to bring the world their own unique flavor. They have all the ingredients. Their recipe? Music with a message that inspires and uplifts the heart and soul. The Gunpoets have shared the stage with artists and bands such as Arrested Development, Talib Kweli, Midnite, John Brown’s Body, Donna the Buffalo, Sim Redmond Band, and many more. They recently released their highly anticipated sophomore LP, "Come With Us", an album stuffed to the rafters with catchy tunes and cleverly crafted rhymes that showcases the bands versatility and musicianship. In 2010, their debut album "Shoot the Stars" won several local music awards, as well as the hearts of fans around the world. Whether they're on the road rocking crowds or in the lab working on their latest concoctions, they're making music around the clock and loving every minute of it.

The Smith Opera House - Geneva , NY

with Rick Brantley

May 7

May 7

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

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John Hiatt's songs have been recorded by artists as diverse as Bob Dylan, Bonnie Raitt (“Thing Called Love”), Emmylou Harris, Iggy Pop, Rosanne Cash (#1 country hit, “The Way We Make A Broken Heart”), the Jeff Healey Band (“Angel Eyes”), and even the cartoon bear band of Disney’s film, The Country Bears. He earned a Grammy nomination for his album 2000 Crossing Muddy Waters, while 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. Hiatt has received his own star on Nashville’s Walk of Fame, the Americana Music Association’s Lifetime Achievement Award for Songwriting, and has been inducted into the Nashville Songwriters Hall of Fame. His latest album is 2014's Terms of My Surrender.

Asbury Hall at Babeville - Buffalo, NY

May 8

May 8

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

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John Hiatt's songs have been recorded by artists as diverse as Bob Dylan, Bonnie Raitt (“Thing Called Love”), Emmylou Harris, Iggy Pop, Rosanne Cash (#1 country hit, “The Way We Make A Broken Heart”), the Jeff Healey Band (“Angel Eyes”), and even the cartoon bear band of Disney’s film, The Country Bears. He earned a Grammy nomination for his album 2000 Crossing Muddy Waters, while 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. Hiatt has received his own star on Nashville’s Walk of Fame, the Americana Music Association’s Lifetime Achievement Award for Songwriting, and has been inducted into the Nashville Songwriters Hall of Fame. His latest album is 2014's Terms of My Surrender.

The Hangar Theatre - Ithaca, NY

with Erik White of Brothers McCann

May 12

May 12

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

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Remember that mix tape your friend made you way back when the one that's etched in your soul? Martin Sexton's new album Mix Tape of the Open Road is that musical crosscountry trip, blazing through all territories of style, as you cruise through time and place. This record is a charm bracelet of twelve gems all strung together with the golden thread of what Rolling Stone calls his "soul marinated voice." Sexton will perform tunes from Mix Tape as well as your favorite Martin classics on this tour.

State Theatre - Ithaca, NY

with Girls, Guns & Glory

May 12

May 12

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

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In 1973, a barely-out-of-his-teens Wilmington guitarist piled his gear into the drummer’s Chevy van to play their very first gig at a University of Delaware dorm. More than 4 decades, over 8,000 live shows, and some 15 million albums sold worldwide later, that same maverick guitar-slinger is still making electrifying music, still thrilling audiences, and still the most bad-to-the-bone performer in rock. It’s 2016, and George Thorogood & The Destroyers are Badder Than Ever. For George and his longtime band – Jeff Simon (drums, percussion), Bill Blough (bass guitar), Jim Suhler (rhythm guitar) and Buddy Leach (saxophone) – their new Badder Than Ever Tour is indestructible proof that staying true to yourself and the music can still mean something. And with a catalog of classics that includes “Who Do You Love”, “I Drink Alone”, “One Bourbon, One Scotch, One Beer”, “Move It On Over”, “Bad To The Bone” and more, being able to share it with audiences is what will always matter.

The Haunt - Ithaca, NY

May 13

May 13

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

Price: $8-$10

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Following a string of acoustic solo albums, longtime Dillon Fence and Hobex frontman Greg Humphreys returns to the bandstand. Humphreys' new Electric Trio features bassist Matt Brandau and drummer Keith Robinson. The Brooklyn-via-NC artist says "it feels great to be playing electric guitar again. I'm using all the tools in the shed with this combo." Following a summer recording session with Stax soul legend William Bell, Humphreys reconvenes the Electric Trio for an East Coast tour supporting two new releases – the Cosmic Irony EP and the Rock at Live Wood LP. "Rock at Live Wood showcases Humphreys and his band in concert... songs such as “More Than a Friend” and “Sayin’ What You Mean” demonstrate a decided preference for affecting melodies that find a perfect balance with the band’s ability to show off their ample chops." — Lee Zimmerman, No Depression "Cosmic Irony spotlights Humphreys and company in a studio setting, focusing on concise songs that emphasize his jazzier inclinations and penchant for brisk, breezy melodies..." — Lee Zimmerman, No Depression "Greg Humphreys is a perennial pleasure, an ever-blooming example of what dedication to one’s art and a fierce resistance to abandoning exposed heart and simple, sincere emotion can produce." — Dennis Cook, Dirty Impound "Humphreys' craftsmanship and effortlessly endearing voice are still striking." — Chris Parker, INDYweek

The Dock - Ithaca, NY

May 14

May 14

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

Price: $17-$20

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Multi-instrumentalist-vocalist Larry Campbell and singer-guitarist Teresa Williams have rocked many a venue, as both center stage performers and invaluable assets to world class acts. A shortlist of artists who’ve benefited from their talents, live and in studios, reads like a Who’s Who of Music Icons: Bob Dylan (Larry spent eight years on the Never Ending Tour), Paul Simon, Little Feat, Hot Tuna, Phil Lesh, Emmylou Harris, Sheryl Crow, Mavis Staples, and, for one miraculous seven-year stretch, Levon Helm. Now, with an eponymous debut album, the couple brings it all back home. Larry Campbell and Teresa Williams may have been simmering awhile, but the timing is perfect; the eleven tracks, produced by Campbell, distill everything into a potent, infectious blend of Americana style and timeless soul, offered with a relaxed generosity that can only come from rich experience. Larry and Teresa’s story begins at New York’s famed Bottom Line club in the mid 80s; she was singing country, he was playing pedal steel. It was love at first chord. “She was the real deal,” native New Yorker Larry says. “None of that Urban Cowboy nonsense. And she was clock-stopping gorgeous. I was smitten.” “I’d thought country music players in New York was an oxymoron,” says Tennessee-born Teresa. “But he saved my life on that stage. I thanked him for bringing the heavy steel down to play just a few songs, and when we looked into each other’s eyes I saw everything he is, the depth of his soul.” They married soon after, setting off on their own individual highways, but always circling back to each other. Among other adventures, Teresa originated the role of country music pioneer Sara Carter in the musical Keep On the Sunny Side, and Larry achieved renown as the go-to roots music guy for sessions, tours, and pit bands, the dude who’d mastered a dizzying array of stringed instruments and styles. The seeds for a duet project were unwittingly planted in their courting days, when Larry and Teresa sang and played with the locals under her great-great grandmother’s Tennessee cedar tree, the same one under which they married. (These gatherings continue to this day.) Later, when the duo was song-swapping all night with the band in the back of Bob Dylan’s tour bus, Dylan’s longtime manager Jeff Kramer told Larry he was crazy not to make hay with what they had as a duo. But their schedules kept the idea on the back burner until 2005, when Levon Helm called. He’d beaten cancer, was invigorated as never before, and was putting together a band for the soon-to-be legendary Midnight Rambles at his barn-studio in Woodstock, NY. He wanted some Campbell-Williams mojo to help make the most of his surprise fourth act. This humble beginning – playing in a barn on a dirt road – inaugurated the greatest musical experience of Larry and Teresa’s lives. Larry became the unflappable leader of the shape-shifting Midnight Ramble Band, earning three Grammys for producing Levon’s final three CDs; Teresa, as an indispensable band member, frequently brought the house down. Larry Campbell and Teresa Williams is an extension of that time, featuring eight originals and three covers honed on the carpet of Levon’s barn, under the gaze of grateful fans. Songs like the Muscle Shoals-inflected CD opener “Surrender to Love,” heart-wrenching ballad “Another One More Time,” and boot-stomper “Bad Luck Charm,” feature the distinctive texture of two entwining voices who’ve been through a lot together – the good, the bad, and the joyous. “It was the most pure musical experience I’ve ever had,” Larry says of their time with Levon. “It gave me the template for how to make music for the rest of my life: no egos, no agenda, no petty stuff. I looked forward to every gig I ever did with Levon, I loved doing it, and when it was over I couldn’t wait for the next one. I got inspired to write more songs for Teresa and me to sing.” For Teresa, singing in the church-like space at the Midnight Rambles was full circle for her childhood discovery of the magic between an audience and an artist. “I don’t remember a time not singing in front of people. I sang in church, at school, everywhere. I didn’t know anything about making records. I just knew connection to an audience was everything. While standing onstage Saturday nights at Levon’s – musically true north – in that intimate space, I realized: this was my dream, and I’m in it.” When performing at Jorma Kaukonen’s Fur Peace Ranch in Ohio, Teresa took on Reverend Gary Davis’ “Keep Your Lamp Trimmed and Burning,” infusing the apocalyptic gospel tune with show-stopping, pew-jumping fervor. Her roots as a seventh-generation Mississippi Delta cotton-farm girl rose to the surface. The song became part of the Midnight Ramble repertoire, and captured on Larry Campbell and Teresa Williams, it’s a powerful force indeed. After Levon’s 2012 passing, they grieved, celebrated his life, and got to work finishing Larry Campbell and Teresa Williams. They had the tunes, and, with drummer (and ace recording engineer) Justin Guip and Ramble Band member Byron Isaacs on bass, they had an ass-kicking, road-worthy band. Additionally, the lovefest of guests on Larry Campbell and Teresa Williams sweetened the pot considerably: Amy Helm’s voice melding with Larry and Teresa’s on the gorgeous Grateful Dead hymn “Attics Of My Life,” Little Feat keyboardist Bill Payne’s rollicking touch on several tracks, and Levon himself appearing on “You’re Running Wild,” a tune made famous by the Louvin Brothers, now given an Orbison touch (originally recorded during Levon’s Dirt Farmer sessions). Finally, it all dovetailed into place. With Larry Campbell and Teresa Williams, this duo not only brings a lot to the table, they bring the table itself – plus the house, the still, the church, the marriage bed, the sawdust-covered floor, and abiding, unconditional love, all carried in two voices harmonizing across hills, hollers, porches, and fire escapes. Those close harmonies ride atop music made in a mountain refuge, far from the madding crowd, connected to a spirit that lives on in song.

May 14

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

Price: $10-$13

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With an equal love and influence from a wide variety of genres, Meghann Wright’s songs of love, liquored memories, heartbreak, and resilience resonate with anyone listening. The Brooklyn-based Singer/Songwriter is a songstress that finds her way into all of our hearts, traveling a path paved with lost loves through a life of contrasts that can be felt and heard the moment you push play. A daunting childhood in a family of talented musicians, Meghann stood out in the culturally-diverse, destitute, and ignored parts of Hawaii. Her move to New York City showed a willingness to change and grow. Jamming with musicians in the eclectic Metro scene, she could be heard with metal and hardcore bands one night, and playing folk and indie rock the next. Her voice is accessible and alluring: she embraces the closing-time bluntness of Amy Winehouse, the strength and conviction of Sheryl Crow, the husky soul of Janis Joplin and Adele, and even the twang, catchiness and subtle grit of Dolly Parton. But in these dissimilar styles, Meghann finds a common thread that’s recognizable when she sings. Her lyrics tell stories of struggles and strength while her voice comforts and touches the soul. And Meghann touches the soul easily. “Can’t Carry Water” has the weight similar ballads try for. Its wounded-soul country-folk ascends to something poignant through adding layers of guitars and wavering vocal harmonies that would make Emmylou Harris grin. “Left My Heart in Brooklyn” is similar, but the warmth she feels for the eponymous borough keeps it lighter, letting it shift from blue to hopeful. Then there’s “Cocaine,” an ode to self-emancipation and benders that stretch to daylight. The song’s gleeful vulgarity kicks you in the throat, but ends reminding you that no matter how great the blow and whiskey are, the broken heart remains. Meghann’s songs are largely inspired by her adopted hometown of Brooklyn, where her DIY ethos has caught the eye of the music industry and the hearts of fans. She supports other artists with The City & The Heart, a showcase for female NYC-based singer/songwriters. From playing dozens of shows to hosting open mic nights throughout New York, Meghann works relentlessly to build a name as an artist with something to give back to her city, her craft, and her conscience. Playing dimly lit bars, working double shifts to stay afloat, and writing songs in empty apartments overlooking a well-known skyline helped mend the soul that’s present in Meghann’s music. We’re familiar with the needling pain of heartbreak and the hazy journeys to forget it; the thread stitching hurt and happiness together is evident in her music and connects you to it. And whether it needs folk, country, soul, or pop, Meghann Wright assures you that she has a handle on whatever’s necessary to tell a story. What matters to her is the heart and soul of the song, how to get to it, and making sure you both enjoy and feel it.

The Dock - Ithaca, NY

with Austin Plaine

May 15

May 15

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

Price: $20-$25

Asbury Hall at Babeville - Buffalo, NY

with Margaret Glaspy

May 20

May 20

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

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

The Dock - Ithaca, NY

May 21

May 21

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

Price: $10

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Whiskey Tango Sideshow is an outrageous assemblage of burlesque dancers, singers, acrobats, musicians, and costume designers that will entertain you with their cabaret nouveau stylings. This bevy of beauties arose one serendipitous evening when the winds whispered 'Side�Show�!' across the flickering embers of some dance-school drop outs. And this spark ignited the fire that now burns bright within the Whiskey Tango Sideshow-- bringing together dancers, singers, musicians, costumers and performers of all varieties. Their goal?�to knock your freakin' socks off! From some serious sass, to the down right bizarre, the Whiskey Tango Sideshow brings something for all�a true entertainment experience. Every act is an original creation to dazzle the senses and tickle the soul. So remember�everyone is lavishly wealthy when the Whiskey Tango Sideshow is in town! Make sure to mend that hole in your pocket�this is one ticket you don't wanna lose!

Academy of Music - Northampton, MA

with Mount Moriah

May 27

May 27

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

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

Brewery Ommegang - Cooperstown, NY

with very special guest Sharon Jones and the Dap-Kings

May 28

May 28

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

Price: $15-$40

Event Information

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

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

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

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

The Dock - Ithaca, NY

with Anthony D’Amato

Jun 2

Jun 2

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

Price: $15-$20

Event Information

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

The Dock - Ithaca, NY

Jun 3

Jun 3

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

Price: $12-$15

Event Information

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

The Haunt - Ithaca, NY

Jun 3

Jun 3

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

Price: $8-$10

Event Information

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

The Dock - Ithaca, NY

Jun 4

Jun 4

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

Price: $30-$35

Event Information

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

The Haunt - Ithaca, NY

Jun 7

Jun 7

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

Price: $25

Event Information

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

The Dock - Ithaca, NY

Jun 10

Jun 10

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

Price: $35-$40

Event Information

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

The Haunt - Ithaca, NY

Jun 10

Jun 10

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

Price: $12-$15

Event Information

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

Jun 11

Doors open at 7:00 pm Starts at 7:30 pm Ages 18+ Only

Price: $12-$15

Event Information

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

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

9th Ward at Babeville - Buffalo, NY

with Jess Best and dreambeaches

Jun 16

Jun 16

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

Event Information

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

State Theatre - Ithaca, NY

Jun 19

Jun 19

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

Event Information

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

Asbury Hall at Babeville - Buffalo, NY

with Bitchin' Bajas

Jun 20

Jun 20

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

Event Information

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

College Street Music Hall - New Haven, CT

Jun 24

Jun 24

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

Event Information

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

The Hanover Theatre - Worcester, MA

Jun 28

Jun 28

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

Event Information

Multiple Grammy® Award winning, Golden Globe nominated and critically acclaimed singer songwriter Chris Cornell makes a stop at The Hanover Theatre on the second U.S. leg of his Higher Truth World Tour. Chris Cornell is a modern icon who transcends genre. He was the chief architect of the 90s grunge movement as the leader of Seattle trailblazers Soundgarden and remains one of the most iconic rock voices of all time. Achieving multi-platinum success with three legendary bands, selling over 30 million records worldwide, he has forged his own unique identity over three decades as a singer, songwriter, guitarist, composer and lyricist. His latest album, Higher Truth, showcases Cornell's constant evolution as a master songwriter, lyricist and musical craftsman, telling human stories which transcend musical genres. Inspired by the stark arrangements of musicians like Nick Drake, Daniel Johnston and White Album-era Beatles, Cornell creates a musical universe unlike anything he has ever done before.

Jun 30

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

Price: $20-$25

Event Information

Having completed their European tour, Pere Ubu return to the USA and Canada for ‘Coed Jail! v.1.1,’ performing songs from the two recent box set releases, ‘Architecture Of Language 1979-1982’ and ‘Elitism For The People 1975-1978’ (Fire Records),


 


Tracks from the inaugural ‘Modern Dance,’ through to what was described as “the scariest album ever recorded,” ‘New Picnic Time,’ will be performed in a fast moving set lasting 1½ hours.


 


Pere Ubu are David Thomas, Steven Mehlman (Drums), Michele Temple (Bass), Robert Wheeler (Synth and Theremin), and they will be joined by Gary Siperko (Rocket From The Tombs, Whiskey Daredevils, Mofos) on lead guitar


This isn’t a reunion. It isn’t a greatest hits tour.


“We don’t promote chaos, we preserve it,” Thomas explained. “Now more than ever - just like Nixon said - you need the sort of utterly gratuitous mess that only men of conviction can provide.”

The Haunt - Ithaca, NY

Jul 1

Jul 1

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

Price: $18

Event Information

"We were toying with the idea of calling the album Our Strongest Material To Date" laughs Jeremy Schmidt. The Vancouver outfit's keyboardist can afford to joke about what they describe as "the dog-eared ace of spades of all rock band platitudes." It was during a solo show under his Sinoia Caves alias that he performed a revelatory electronic prototype for Mothers Of The Sun. This quintessentially Black Mountain tour de force kicks off the renamed but still accurately titled IV. "It's actually an older song which we couldn't get quite right before," explains Schmidt. "It has all the elements that we gravitate towards, built into one miniature epic." Chief among these elements is the distinctive voice and breathtaking range of Amber Webber, whether shes powering through interstellar boogie on Florian Saucer Attack, setting the celestial tone for her beautifully orchestrated ballad Line Them All Up, or constructing the choral midsection for Space To Bakersfield, a psychedelic soul finale inspired by Funkadelic's deathless Maggot Brain. We'd meant to have an actual choir, but I ended up singing all the parts. It's a choir of me! I'd never written an arrangement like that before." The groups sense of rediscovery as a creative whole is tangible throughout. They were joined in the studio by spiritually attuned bassist and veteran purveyor of the riff, Arjan Miranda (formerly of S.T.R.E.E.T.S, Children, and The Family Band) whose roots, heart and soul are connected to the same soil and cement that Black Mountain were borne from. Recording was primarily done in close collaboration with Sunn O))), Wolves In The Throne Room and Marissa Nadler producer Randall Dunn, at his trusted Avast! facility in Seattle. "It's got some grit," enthuses guitarist and co-vocalist Stephen McBean. "And there's a history there: Northwest punk, grunge and general weirdo outsider stuff, plus it houses the same Trident mixing board used for Alice Coopers Billion Dollar Babies." A heightened mystique and dramatic yearning can be heard on such perfectly formed earworms as Cemetery Breeding, described by drummer, engineer and occasional pianist Joshua Wells as "a dark pop song with an emotive urgency to it that taps into my teenaged eyeliner-and-trenchcoat wearing sensibilities." Wells' eclectic tastes and multitasking flair - his supple percussion also provides the backbone for Dan Bejars world-conquering Destroyer ensemble - inform Black Mountains wider palette as well as their rhythmic choices. "It's like painting. All sound colour. And space is really important. People think of us as this heavy rock band and we are sometimes - but it has to be tempered with space. There has to be these emotional cues. It's not just about rocking out." Check out the way Amber and Stephen's harmonies telepathically entwine on cosmic standout Defector, or Constellations' unforced confluence of synthesizer pulse and double denim riff. In addition to being blessed with a melodic facility that eludes most rock groups, Black Mountain effortlessly echo the limitless possibilities of the internet age. Sonic tributaries that never met in the real world - AC/DC and Amon Dl, Heart and Hawkwind, King Crimson and Kraftwerk - flow together on IV as they do online. It fits with McBean's unifying theory of the modern YouTube stoner, wherein kids discover their own alternate universes online, from Cologne to Melbourne Detroit to Laurel Canyon.. the ice age to annihilation. Theres a new scene with a different set of headphones creating a postmodern futuristic Fantasy Island. All those fledgling heads in waiting escaping within their computer screens! This impulse to connect is reflected by the band members' activities and journeys outside the mothership. Josh and Amber have their self-run Balloon Factory studio and pop-noir Lightning Dust project. Stephen relocated to Los Angeles six years ago. Traveling and creating via his Southern Lord released hardcore unit Obliterations and ongoing post-punk rock 'n' roll combo Pink Mountaintops (whose heady sometimes electronic throb led to the majestic, mantra-like You Can Dream). "There's something very West Coast about us all." he says. "That rambling restlessness of keepin' on guides us and keeps the music alive. Whether it's the gravitational pull of the Pacific Ocean that draws us back together or simply a good taco The turning up, turning on and getting down is Black Mountain. It's home, and it always feels good to come back to." Back in Canada, meanwhile, Jeremy, channeled his analogue synth mastery and youthful John Carpenter worship into the hugely acclaimed cult science fiction film score Beyond The Black Rainbow. He's been busy of late conceptualizing Black Mountain's "mystic Concorde" art direction. Referencing the hallowed aircrafts future/past iconography, his designs are emblematic of IV's spatial diversity and maximalist astral-rock vision. You know, it really is their strongest material to date.

Brewery Ommegang - Cooperstown, NY

with special guest Twiddle

Jul 8

Jul 8

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

Price: $15-$60

Event Information

Over the past decade, The String Cheese Incident has emerged as one of America’s most significant independent bands. Born in 1993 in Colorado’s Rocky Mountains, SCI has since released 10 albums, 6DVDs and countless live recordings from their relentless tour schedule. Their 20 year history is packed full of surreal experiences, epic moments, groundbreaking involvement and huge accomplishments. They have been recognized for their commitment to musical creativity and integrity, for their community spirit, philanthropic endeavors, and for their innovative approach to the business of music.When The String Cheese Incident’s growth first started gaining momentum over a decade ago, when the internet was just beginning to take hold and the major-label business model was failing, the band decided to make music on their own terms.Since then, The String Cheese Incident has gone on to carve out a completelydifferent approach to the business of music; they are truly pioneers of a new way of “making a band.” With the World Wide Web as their tool, SCI was among the first artists to disseminate information via the internet, such as tour dates, release information, and other news, to their growing fan base. Rather than doing business on such terms as “the bottom line,” The String Cheese Incident put their music and their fans first, opening companies of their own, including a ticketing company, a merchandise company and a fan travel agency, to best serve their community. The band’s record label, SCI Fidelity Records, has always operated under the same ideals. Even early on, SCI Fidelity embraced downloadable music and file sharing, delivering SCI’s “On the Road” series, where every show the band plays is made available for download on the internet. Whether they realized it at the time or not, The String Cheese Incident was inventing grassroots band development. Today, literally hundreds of bands are using some version of this same approach to building a band. The String Cheese Incident’s commitment goes well beyond their immediate community, and even beyond the music community as a whole. Early on, the band took a serious interest in giving back to the communities that they visited, and they were among the first performers to encourage “Green” shows and tours. SCI’s support has helped give rise to such not-for-profit organizations as Conscious Alliance, Rock the Earth, and Head Count. All the while, The String Cheese Incident has stayed committed to music as a creative endeavor, not just in their recordings but also in their live performances. The list of SCI’s special guests and collaborators is long and diverse. Their annual events such as Horning’s Hideout, and holiday shows such as New Year’s and Halloween, have helped redefine the concert experience and has garnered the band a reputation as live music vibe innovators.

Brewery Ommegang - Cooperstown, NY

with Trombone Shorty & Orleans Avenue

Jul 9

Jul 9

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

Price: $15-$50

Event Information

It had been seven years since Ben Harper last played a show with the Innocent Criminals, so when the time came to reunite for a live tour in 2015, the band—percussionist Leon Mobley, bassist Juan Nelson, drummer Oliver Charles, keyboardist Jason Yates, and guitarist Michael Ward— quickly discovered that Harper had more in mind than simply revisiting the group's prodigious collection of hits. In fact, Harper had been quietly amassing material for a new record, Call It What It Is, and the first recording sessions were scheduled to begin even before the rehearsals for their triumphant four-night sold-out reunion run at the Fillmore in San Francisco. The result is perhaps the proudest accomplishment of Harper's prodigious career. "The time we took with this record has let me look it straight in the eyes and say that I gave everything I could to it and that it's exactly the way we intended it to be. To be able to say that we've left no stone unturned just feels great." For the legions of Ben Harper fans that have been waiting eight years for a new album with the Innocent Criminals, it feels even better.

Asbury Hall at Babeville - Buffalo, NY

with Margo Price

Jul 11

Jul 11

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

Event Information

“Everyone needs to be risking something,” says Seattle-based singer-songwriter Brandi Carlile. She’s discussing the M.O. behind The Firewatcher’s Daughter, her stunning new release – her first for artist-friendly indie label ATO. The 12-song collection marks a triumphant return after a three-year recording hiatus, and her strongest, most rock & roll album to date. “Rock & roll music as a genre always has a sense of erratic recklessness to it,” she says. “It can’t really be rehearsed – in fact, rehearsal can kill it. On this album, each song has its honest rock & roll moment, even the ballads; it’s between the point where you’ve learned the song enough to get through it, but you don’t have any control over it yet.” Since her heralded, genre-defying 2005 Columbia debut, Carlile and her indispensable collaborators, Tim and Phil Hanseroth, aka The Twins, have always offered listeners both control and abandon, often within a single song. The most well-known Brandi Carlile tunes, 2007’s “The Story” and 2012’s “That Wasn’t Me,” are dynamic journeys in themselves, encompassing myriad emotions and varied stylistic touches; “The Story” morphs from understated balladry to epic stadium rock, while “That Wasn’t Me” effortlessly straddles country soul and pop gospel. Infused with Carlile’s clarion voice, The Twins’ tight sibling harmonies, and stellar musicianship from everyone, it all simply sounds like Brandi Carlile. Yet, over four acclaimed Columbia albums, countless sold-out tours, and fruitful relationships with top producers Rick Rubin and T Bone Burnett, something was missing: Carlile and The Twins hadn’t yet captured the distinctive spark of old friends working up new tunes, a slippery magic born of years touring together, and often caught only on raw demos made at the behest of the label. The Firewatcher’s Daughter, by contrast, is a full-on Carlile/Twins co-production, cut live in Seattle’s Bear Creek Studio, with complete artistic control granted by ATO. With this new freedom, Carlile and The Twins, intent on capturing the elusive essence of a song’s spirit, tracked the album live, with little or no rehearsal. Ironically, during this time of liberation, Carlile and The Twins all transitioned to married life; the Hanseroths became dads, and Carlile’s wife, Catherine Shepherd, was pregnant during the making of The Firewatcher’s Daughter. So when the engineer hit RECORD, the stakes were higher than usual: Carlile and the Twins producing, kids underfoot or on the way, and three years since an album. But true to form, they wrangled it all into song, catching many, many lightning-in-a-bottle moments; the crackling Lucinda Williams-meets-Fleetwood Mac of “Wherever Is Your Heart,” the CSN-meets-Bonnie Raitt of “The Eye,” to the dark folk-punk of “The Stranger at My Door,” the Elton John-meets-McCartney of “Beginning to Feel the Years,” and more – all executed without a net. “Everything is completely live,” Carlile says. “That’s the only way to make the moment happen. It’s way too easy to say, ‘Hey guys, you get your part down and I’ll spend the rest of the evening by myself in a fucking booth not taking any risks, and trying to nail down my contribution while I drink a bottle of Jameson.’ A lot of the songs are in about the highest key I can sing them in. The vocals were very emotional for me. I was right on the edge – I’d been off the road for a long time, I was on the precipice of becoming a mother, and there was a lot that needed to come out before that could happen.” The title, The Firewatcher’s Daughter, comes from a line in “The Stranger at My Door,” written after Carlile stared into a bonfire for a long, long time. “I wrote it standing next to one of my frequent bonfires up in the horse pasture on our land. I have a bonfire compulsion. I tend to stand there and stare into them close to every day, and I’m able to tap into something beyond my day-to-day consciousness. I often write lyrics, solve problems, run for President – the usual stuff. Catherine was pregnant and I was contemplating the juxtaposition between religious rigidity and beauty, and its effects on families and society.” Carlile says she and The Twins always insert a through-line in her albums: “An instrument keeps appearing, a theme keeps getting touched on, or we try to use the same microphone. But of all my albums, I felt the least amount of control over this one. Catherine was nine months pregnant, The Twins’ kids were there, the tension was there, but the love was also there, so the continuity is felt.” Part of that continuity is the concept of “chains,” which recurs over the course of The Firewatcher’s Daughter, from the lullaby “Wilder (We’re Chained)” to the chorus of the gorgeous “The Eye”: “I wrapped your love around me like a chain / But I never was afraid that it would die / You can dance in a hurricane / But only if you’re standing in the eye.” Carlile lays this chain fascination at the feet of Fleetwood Mac, a band she and The Twins listened to a lot in the run-up to The Firewatcher’s Daughter, and whose classic love song “The Chain” is bittersweet reality. “The twins and I were inspired by that band’s connection and their turbulence,” she says. “I find it fascinating how culturally some things can get cast in a negative light, like a chain. But a chain can bind and connect, like a fire can refine and renew. We would definitely describe ourselves as chained in the best possible way.” After stepping back from this fine new work and assessing it, Carlile knows exactly what she wants from The Firewatcher’s Daughter: “My goal,” she says, “is to connect on a soul level with our longtime fans and friends, and to reach new people with the honesty of this music. Also, I would like my daughter, Evangeline, to grow up and think I’m cool.”

The Smith Opera House - Geneva , NY

Jul 14

Jul 14

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

The Smith Opera House - Geneva , NY

Jul 15

Jul 15

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

Event Information

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

Brewery Ommegang - Cooperstown, NY

with Preservation Hall Jazz band

Jul 21

Jul 21

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

Price: $15-$65

Event Information

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

Brewery Ommegang - Cooperstown, NY

with Langhorne Slim & The Law and Rayland Baxter

Jul 30

Jul 30

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

Price: $15-$45

Event Information

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


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


General Public On Sale April 8 @ 10am EST


 


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

The Smith Opera House - Geneva , NY

Aug 2

Aug 2

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

Event Information

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

The Haunt - Ithaca, NY

with Secret Cutter

Sep 10

Sep 10

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

Price: $18-$22

Event Information

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

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

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

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

Two regional/local acts tbd.

The Dock - Ithaca, NY

Sep 16

Sep 16

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

Price: $30-$35

Event Information

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

The Hanover Theatre - Worcester, MA

Sep 16

Sep 16

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

Event Information

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

The Warner Theatre - Torrington, CT

Sep 17

Sep 17

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

Event Information

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

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

Academy of Music - Northampton, MA

with JD McPherson

Sep 21

Sep 21

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

Event Information

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

Sep 24

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

Price: $20-$25

Event Information

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

The Dock - Ithaca, NY

Oct 7

Oct 7

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

Price: $25-$30

Event Information

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

State Theatre - Ithaca, NY

Oct 8

Oct 8

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

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

Academy of Music - Northampton, MA

Dec 18

Dec 18

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

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

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- Spotlight Artists -

- Just Announced -

May 15

The Dock - Ithaca, NY

with Austin Plaine

May 28

Brewery Ommegang - Cooperstown, NY

with very special guest Sharon Jones and the Dap-Kings

Jun 3

The Dock - Ithaca, NY

Jun 7

The Haunt - Ithaca, NY

Jun 10

The Dock - Ithaca, NY

Jun 10

The Haunt - Ithaca, NY

Jun 19

State Theatre - Ithaca, NY

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P.O. BOX 736
Ithaca, NY 14851