EVENTS

Brewery Ommegang - Cooperstown, NY

with Dawes and The Baseball Project

Aug 1

Aug 1

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

Price: $35-$50

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Conor Oberst is an American singer-songwriter from Omaha, Nebraska. He has been writing and recording music since 1993. In that time he has recorded and performed in many bands and musical collaborations including Commander Venus, Monsters of Folk, Conor Oberst and the Mystic Valley Band, Park Ave., Desaparecidos, and most notably Bright Eyes, his main musical vehicle for the past decade.

The Haunt - Ithaca, NY

Aug 2

Aug 2

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

Price: $8

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

Lucid was born in a small Adirondack town called Plattsburgh: a place every band should be so lucky to call home. The locals there love live music, and give it their unrelenting support, while several colleges in the area provide a constant stream of new listeners eager to participate in the party. The town is flooded with musicians in one of the tightest and largest (per capita) music scenes in any city in America. On a given Friday night one can walk out of a bar where pulsing mambo beats drive the audience from their seats, into another where a frenzied crowd thrashes to raging death metal, into another where a cover band plays 80s favorites, and likely you will be followed by one or more of these musicians as they hop from band to band to play with their friends for a song or two. It is in this diverse and supportive environment that Lucid grew into adulthood.
The central core of Lucid has been evolving together for nearly a decade, with just a few line-up changes, the most recent being the addition of Chris “Hollywood” English on the drums. Chris is joined by Lowell Wurster (percussion, harp and vocals), Kevin Sabourin (guitar and vocals), Jamie Armstrong (saxophones, clarinet and vocals), Chris Shacklett (bass, trombone and vocals), and Andrew Dellar (keyboards, accordion and vocals).

Brewery Ommegang - Cooperstown, NY

with Langhorne Slim and The Law plus Spirit Family Reunion

Aug 3

Aug 3

Doors open at 4:00 pm Starts at 7:00 pm All ages

Price: $35-$50

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Old Crow Medicine Show got its' start busking on street corners in New York state and up through Canada, winning audiences along the way with their boundless energy and spirit. They eventually found themselves in Boone, North Carolina where they caught the attention of folk icon Doc Watson while playing in front of a pharmacy. He immediately invited the band to play at his MerleFest, helping to launch their career. Shortly thereafter the band relocated to Nashville for a residency at the Grand Ole Opry, where they entertained the crowd between shows.

It's been nearly fifteen years since these humble beginnings, and the band has gone on to tour the world, sell over 800,000 albums, become frequent guests on A Prairie Home Companion, and play renowned festivals like Bonnaroo, Coachella, and the Hardly Strictly Bluegrass Festival. In November of 2011 Old Crow's classic single, "Wagon Wheel", received the RIAA's Gold certification for selling over 500,000 copies.

In 2011 Old Crow found themselves embarking on the historic Railroad Revival Tour with Mumford and Sons, and Edward Sharpe and the Magnetic Zeros. This tour had the bands riding a vintage train from California to New Orleans, playing shows along the way. The magic of this musical excursion across America's vast landscape is captured in the Emmet Malloy directed documentary, Big Easy Express. In 2013 Old Crow Medicine Show, along with Mumford & Sons and Edward Sharpe & The Magnetic Zeros, won the Grammy Award for "Best Long Form Music Video" for the film.

Old Crow Medicine Show now have four studio albums to their name, three of which were released by Nettwerk Records - O.C.M.S and Big Iron World produced by David Rawlings, and Tennessee Pusher produced by Don Was. On their newest album, Carry Me Back, Old Crow continue to craft classic American roots music while pushing themselves in new directions. Carry Me Back, released by ATO Records and produced by Ted Hutt, represents a new stretch of road in the timeless journey of a rambling string band.

The Haunt - Ithaca, NY

Aug 12

Aug 12

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

Price: $22.50

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Due to a scheduling conflict, we are forced to move the Jerry Douglas show from 8/5 to 8/12. All previous tickets purchased will be honored.



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

Dobro master and 13-time Grammy winner Jerry Douglas is to the resonator guitar what Jimi Hendrix was to the electric guitar: elevating, transforming, and reinventing the instrument in countless ways. In addition to being widely recognized as the foremost master of the Dobro, Jerry Douglas is a freewheeling, forward-thinking recording artist whose output incorporates elements of bluegrass, country, rock, jazz, blues and Celtic into his distinctive musical vision.

Called “dobro’s matchless contemporary master,” by The New York Times, thirteen-time Grammy winner Jerry Douglas is one of the most innovative recording artists in music, both as a solo artist and member of groundbreaking bands including J.D. Crowe & the New South, the Country Gentlemen, Boone Creek, and Strength In Numbers. Douglas’ distinctive sound graces more than 1500 albums, including discs released by Garth Brooks, Paul Simon, James Taylor, Elvis Costello, Earl Scruggs, and Ray Charles, among many others.

Since 1998, he’s been a key member of “Alison Krauss and Union Station featuring Jerry Douglas”, touring extensively and co-producing and playing on a series of platinum albums. He has produced albums for Krauss, the Del McCoury Band, Maura O’Connell, and Jesse Winchester and is is co-Music Director of the acclaimed BBC TV series Transatlantic Sessions, and his latest solo album Traveler features guest appearances by such notable friends as Paul Simon, Mumford & Sons, and Eric Clapton, among others.

As he continues his incalculable influence on Americana, bluegrass and their many related genres, Douglas forges as a true pioneer in American music.

The Haunt - Ithaca, NY

with Grooms

Aug 21

Aug 21

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

Price: $10

Event Information

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

Hooray for Earth is a New York City-based rock band built around the home-recordings of singer and multi-instrumentalist Noel Heroux. The group first emerged publicly as Hooray for Earth in late 2005 in Boston, Massachusetts. The band played shows and self-released early demo recordings locally in Boston and the surrounding area until Heroux moved to New York City in August 2007. On February 26, 2008, Dopamine Records released the six-track ''Cellphone'' EP, which was recorded during the months leading up to Heroux's departure to New York. Following Heroux's relocation, the Hooray for Earth project laid primarily dormant, until early 2009 when Heroux teamed up with Brooklyn local producer/engineer Josh Ascalon to co-produce a group of new recordings. Several months of casual studio work produced a set of songs which would find release in the form of the ''Momo'' EP. ''Momo'' was first released by eMusic Selects, a program in which unknown, unsigned artists are hand-picked by eMusic's editors for exclusive digital-only releases through the site. Dovecote Records later re-issued ''Momo'' (June 1, 2010) including an additional track, new artwork and CD/Vinyl formats. The band have toured the United States extensively following the release of ''Momo'', including support slots for The Pains of Being Pure at Heart, Surfer Blood, A Place to Bury Strangers and Architecture in Helsinki. In October 2010, Hooray for Earth's one-off single "A Place We Like" was released as a free download. The song, recorded at RAD Studio in Bushwick, Brooklyn, is a collaborative production between Hooray for Earth and Brooklyn musician Twin Shadow. In July and August of 2010, Heroux spent six weeks writing and recording material for Hooray for Earth's first full-length LP, ''True Loves''. Heroux performed, engineered and produced the album, with Ciampini, Principe and Benacquista entering the studio periodically with instrumental contributions. Several of the album's songs feature vocal contributions by New York City noise-pop group and frequent collaborators Zambri. The album was mixed by Chris Coady. ''True Loves'' was released by Dovecote Records on June 7, 2011. ''True Loves'' received generally positive reviews with a Metacritic rating of 81/100. In fall 2011, Hooray for Earth toured the United States with Staten Island band Cymbals Eat Guitars. London based record label Memphis Industries released ''True Loves'' in Europe in February 2012, with lead single "No Love" landing prominently on BBC's Radio 1 playlist. "No Love" is featured in the soundtrack of the video game ''MLB 12: The Show''. Hooray For Earth is currently touring in support of the European release of ''True Loves''.

Water Street Music Hall - Rochester, NY

with I Killed The Prom Queen, Capture The Crown

Aug 22

Aug 22

Doors open at 6:00 pm Starts at 6:30 pm Ages 16+ Only

Price: $17

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16+ w/ ID

State Theatre of Ithaca - Ithaca, NY

Aug 29

Aug 29

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

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With a heady blend of precision punk and serpentine classic rock (the band has drawn comparisons to everyone from the Pixies and Sonic Youth to Elvis Costello and Tom Petty), enigmatic, Texas-based indie pop outfit Spoon went from underground press darlings to one of the genre's premier commercially and critically acclaimed alternative rock acts. Formed in Austin by singer/guitarist Britt Daniel and drummer Jim Eno, Spoon released its debut EP, Nefarious, on the small Texas imprint Fluffer Records in 1994, eventually re-recording three of the songs for its 1996 full-length debut, Telephono, for Matador. The album was noisy, hook-filled, and generally well-received, but it wasn't until 1997's Soft Effects EP that the group began to hone in on the tight, minimalist pop that would become its forte. A brief and tumultuous affair with Elektra Records began in 1998 with the release of A Series of Sneaks, and quickly ended after the band was dropped in the midst of an internal company shakeup (the record was reissued in 2002 on Merge with two bonus tracks that chronicled the group's disappointment with major-label politics).
Girls Can Tell It was with prominent indie label Merge that the band would go on to carve out its niche in the increasingly widening modern rock mainstream, specifically with Girls Can Tell (2001) and Kill the Moonlight (2002) (the latter spawned the single "The Way We Get By," which appeared on the popular teen drama The O.C.), both of which found the group taking a more adventurous approach with its sound. Released in 2005, Gimme Fiction soared even higher, debuting at number 44 on the Billboard charts and selling over 160,000 copies, while 2007's Ga Ga Ga Ga Ga made it to number ten and sold over 300,000 copies in the U.S., topping nearly every major critic's year-end list. Spoon, who by this time had become a fixture on soundtracks, television programs, and late-night talk shows, released its seventh full-length album, Transference, on January 18, 2010. It debuted at number four on the Billboard 200. The band then took an extended hiatus of nearly four years, before resurfacing in 2014 with the announcement of another new album, Spoon's eighth.

The Dock - Ithaca, NY

Aug 30

Aug 30

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

Price: $10

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"We never really consciously have a plan of action. If you call a plan of action 'just get better,' then that's the plan we went with for this album."
So says The Pack A.D. drummer Maya Miller of the process that led the hard-slogging East Vancouver duo to its fifth album and Nettwerk debut, Do Not Engage. And it's hard to disagree. Long celebrated on the fringes of Canada's endlessly fruitful indie-rock scene as a feral live act non pareil and a band destined to eventually make that one record that finally puts it over the top, The Pack A.D. has delivered the album that should finally, genuinely – yes – put it over the top. The tirelessly hard-working and hard-touring duo of guitarist/vocalist Becky Black and powerhouse drummer Miller doesn't even consider Do Not Engage as a fifth recording, in fact; it's moved so far beyond the primal banshee-blooze of its first two albums, 2007's debut Tintype and 2008's Funeral Mixtape, that they no longer considers them part of their catalogue. "I don't count the first two anymore as they feel so far away from what we do now," Miller told the Vancouver Province earlier this year.
Miller's selling The Pack's past achievements a bit short in that statement, but whatever. Black and Miller have pretty much lived in their van for the past six years – two vans, actually, as the first succumbed to exhaustion on the point of disintegration after steering them to a couple hundred shows within the year between 2010's noticeably focused step up, We Kill Computers, and 2011's exceptional Unpersons (accurately described to the Toronto Star by Miller at the time as "a really loud, fun punk record"). But, with Do Not Engage, The Pack A.D. did indeed get better. Much better. Much harder, much nastier, more versatile and much more confident.
Lead single "Battering Ram" maintains a tether to the stormy alterna-Delta dystopia from whence The Pack first sprang. But the band's repertoire has expanded to take in the churlishly infectious stoner-rock of "Creeping Jenny," the bittersweet pseudo-shoegaze ache of "Airborne" and the post-Pixies retro-grunge fuzz of "Big Shot," which sounds like Weezer being joyously molested back in the day by Babes in Toyland and Hole at the same time. "Rocket," for its part, proffers a concise picture of how far The Pack A.D.'s self-imposed program of conscientious self-betterment has brought them: it announces Black and Miller's arrival as nuanced, pop-savvy arrangers and masters of dark lyrical wit, and also Black's maturity into a heart-tugging emotive singer.
"We've been getting more straight-up rock, I think, and I guess a little weirder," says Miller. "It's sort of a natural evolution, how we've changed," adds Black, crediting some of the new record's advances to a habit shared with Miller of "listening to too much psych-rock and zoning out. I really like that genre of music."
"I guess some bands never change but, I don't know, I think most bands do. You've gotta keep trying new things or it's just boring."
Do Not Engage reunites The Pack A.D. with Detroit producer Jim Diamond (White Stripes, Electric Six, The Mooney Suzuki, Dirtbombs), a friend-turned-collaborator who insisted upon working behind the boards for Unpersons – a record that would go on to earn the band its first Juno Award nomination in 2013 for "Breakthrough Group Of The Year" – and has proven himself something of an ideal "ghost" third member by coaxing Black and Miller to their finest work yet on Do Not Engage. Within the bleak confines of a converted Motor City chicken-processing plant, no less.
"He's very easy to work with," says Miller. "He really gets us. All his instincts are very much anything that we would think of at any given time. We're all sort of organically working together and it's really easy. It's just like friends hanging out. We didn't go out looking for a producer, let's put it that way. That came naturally. We were friends first and it kinda went from there, and that's how we try to approach everything with our music."
"We like the same things, I think," adds Black. "We have the same ideas. He likes to bring out a lot of low end and every choice that he makes, I'm like: 'Yeah, that's a great idea.' There's a good connection there, I guess."
With its most confident and original recorded calling card to date now in hand ("Let's put it this way," says Miller wryly, "I don't hate this album yet, and I usually hate them fairly quickly") The Pack A.D. will continue to do what it has relentlessly done since the beginning – albeit this time on a larger, more international scale.
"We're probably gonna tour this one even harder," says Miller.
"We record an album and then we kinda have nothing to do except tour," affirms Black. "This is our only job. We're itching to tour."

The Haunt - Ithaca, NY

Sep 2

Sep 2

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

Price: $10

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

For over a decade, Orgone has been steaming up nightclubs and drenching the largest music festivals in the country in sweat. Serving a cold-blooded concoction of deep soul, rare funk, and afro-disco with a raw rock star edge that is uniquely LA, Orgone’s music grabs you by the collar, pulls you to your feet, and shoves you out onto the dance floor. Tough, sexy, and adventurous, this sonic muscle car shifts through multiple gears from slyly slinky to seismically cinematic, while remaining spacious and uncluttered. eMusic says: “Their music is terrifically unfussy, big slabs of grizzled R&B, greasy as fatback, and thick as a very particular kind of smoke.” For their searing live performances and warm, dirty homegrown recordings, Orgone has been called “One of the heaviest acts we’ve heard in years” by Dusty Groove America.

The band is a symbiosis of eight seasoned musicians, at the core of which are keyboardist Dan Hastie and guitarist Sergio Rios who started creating classic sounds as green teens brought together by a mutual affinity for raw soul recordings. Members of Orgone have collaborated/performed with the Roots, Al Green, Gil Scott-Heron, Sharon Jones & the Dap-Kings, Breakestra, Thievery Corporation, and the Monophonics. As tight in the studio as they are on stage, …as the backing band on Cee Lo Green’s multiple Grammy Award-winning track “Fool for You” and Alicia Keys’ “As I Am” album.

Up front and unmistakable is Adryon de Leon, Orgone’s lightning rod, whose hearty, agile vocals are an intoxicating foil to the gritty intensity of the band. Orgone is currently getting their hands dirty in KillionSound, their Fortress of Soulitude, injecting the pure, passionate heat of their live sound into wax. Throughout this year, the band will maintain a strong touring presence while tantalizing crowds with new material from their upcoming album, which will be released into the wild in the Fall of 2014.

Water Street Music Hall - Rochester, NY

with Admirers

Sep 2

Sep 2

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

Price: $25

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16+ w/ ID

Brewery Ommegang - Cooperstown, NY

Sep 6

Sep 6

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

Price: $36-$51

The Haunt - Ithaca, NY

Sep 6

Sep 6

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

Price: $15

Event Information

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

There are many kind of stitches: seams to secure sleeves into armholes... sutures closing wounds and deep incisions... loops or crosses of embroidery floss... a sudden pain in the side. Stitches, the new album from Califone, touches on all these definitions, its episodes of discomfort and healing rendered with exquisite beauty and craftsmanship.
Intimate timbres—garage sale drum machines, slack guitar strings, hushed vocals—offset the album's cinematic inclinations. The listener moves through a landscape of Old Testament blood and guts, spaghetti Western deserts and Southwestern horizons, zeroing in on emotions and images that cannot be glanced over. Motes of dust dance briefly in afternoon sunlight.
"This is the only record I've made in my life where none of the work was done in Chicago," says Califone's Tim Rutili. The writing and recording began in Southern California, then continued in Arizona and Texas. "Those dry landscapes and beaches and hills and shopping malls all made it into the music," he acknowledges. Uniquely homespun elements are interwoven into the songs, too, including sounds Rutili recorded in his backyard during rainfall and while driving in his car.
Brass, pedal steel, and strings color in the edges and outlines songs like "Frosted Tips," "We Are A Payphone," "Moonbath.brainsalt.a.holy.fool" and "Moses," yet Stitches is no Ennio Morricone-meets-Cecil B. DeMille pastiche. Gritty electronics, the mesmerizing thrumming of tablas, and eerie keyboards also pepper these ten new selections. A cartographer could spend lifetimes mapping the terrain of Stitches.
Archetypes and mythological figures rub shoulders with bruised civilians throughout this odyssey. Though Rutili is not a religious man, episodes from the Bible in particular kept entering his psyche as he wrote. "I'm fascinated with why some stories and characters resonate and last for thousands of years, and are so easily transposed onto all our lives and rites of passage, no matter how absurd or surreal they are."
Rutili has not been idle in the years since the release of Califone's critically acclaimed 2009 album All of My Friends Are Funeral Singers. He wrote scripts and painted and collaborated on the music for several films, including the score for the 2012 documentary Beauty Is Embarrassing and the Starz TV series BOSS. He lost a few band members and stopped all Califone activity for about a year. "Then one day I woke up and started writing songs again."
At first he churned out a lot of songs that didn't make the cut. He kept moving. The larger themes that would eventually reach fruition on Stitches began to emerge. "During this process, I started to really look at myself and find a clearer, more honest voice," he reveals. "I forced myself to write as much as possible. I allowed myself to be crabby and vulnerable as much as I could stand it... and slowly the songs got better."
Eventually Rutili commenced recording with Griffin Rodriguez in Los Angeles, Michael Krassner in Phoenix, and Craig Ross in Austin, along with a raft of guest musicians. "We treated each song as its own particular planet. Bringing in different people and recording in different places helped bring some tension to the whole thing. I wanted this to be a more schizophrenic record, stitching together conflicting textures and feels." Rutili's old Red Red Meat colleague Tim Hurley stayed with him for a few months and they recorded together for the first time since Califone's eponymous 1998 debut EP.
In some regards, Stitches harks back to those earliest days of Califone. There was more home recording, and musicians came and went as the songs dictated. "It was a much more solitary process, and that freed me up to feel less self-conscious about singing and writing more personal lyrics." Yet the ultimate outcome sounds like the work of an artist reborn. "I tried to keep the songs visual and poetic, but it was more important to allow myself to feel and be vulnerable and not hide in the music," Rutili says. "Instead of writing from my balls and brain, this time I wrote from the nerves, skin, and heart."
Stitches—the word and the album—can mean different things to many people. Your own interpretations are welcomed and encouraged.

The Haunt - Ithaca, NY

with Body Language & 2001

Sep 13

Sep 13

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

Price: $15

Event Information

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

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

- Mollie Traver



State Theatre of Ithaca - Ithaca, NY

Sep 14

Sep 14

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

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Using their jazz backgrounds, Lake Street Dive combines improv and indie-rock in their original tunes and exuberant live shows. The Boston-based band recently completed their debut album "in this episode..." featuring "Sometimes When I'm Drunk and You're Wearing My Favorite Shirt," Grand Prize winner in the 2005 John Lennon Songwriting Contest. When not performing, Lake Street Dive enjoys badminton and snackfoodery.

The Hangar Theatre - Ithaca, NY

Sep 18

Sep 18

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

Price: $37.50

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Widely regarded as one of the most brilliant songwriters of her generation, Suzanne Vega emerged as a leading figure of the folk-music revival of the early 1980s when, accompanying herself on acoustic guitar, she sang what has been labeled contemporary folk or neo-folk songs of her own creation in Greenwich Village clubs. Since the release of her self-titled, critically acclaimed 1985 debut album, she has given sold-out concerts in many of the world’s best-known halls. In performances devoid of outward drama that nevertheless convey deep emotion, Vega sings in a distinctive, clear vibrato-less voice that has been described as “a cool, dry sandpaper- brushed near-whisper” and as “plaintive but disarmingly powerful.”

Bearing the stamp of a masterful storyteller who "observed the world with a clinically poetic eye," Suzanne’s songs have always tended to focus on city life, ordinary people and real world subjects. Notably succinct and understated, often cerebral but also streetwise, her lyrics invite multiple interpretations. In short, Suzanne Vega’s work is immediately recognizable, as utterly distinct and thoughtful, and as creative and musical now, as it was when her voice was first heard on the radio over 20 years ago.
Suzanne was born in Santa Monica, CA, but grew up in Spanish Harlem and the Upper West Side of New York City. She was influenced by her mother, a computer systems analyst and her stepfather, the Puerto Rican writer Egardo Vega Yunque. There was a heady mix of multicultural music playing at home: Motown, bossa nova, jazz and folk. At age 11 she picked up a guitar and as a teenager she started to write songs.

Suzanne studied dance at the High School for the Performing Arts and later attended Barnard College where she majored in English Literature. It was in 1979 when Suzanne attended a concert by Lou Reed and began to find her true artistic voice and distinctive vision for contemporary folk. Receptionist by day, Suzanne was hanging out at the Greenwich Village Songwriter’s Exchange by night. Soon she was playing iconic venues like The Bottom Line and Folk City. The word was out and audiences were catching on.

At first, record companies saw little prospect of commercial success. Suzanne’s demo tape was rejected by every major record company—and twice by the very label that eventually signed her: A&M Records. Her self-titled debut album was finally released in 1985, co-produced by Steve Addabbo and Lenny Kaye, the former guitarist for Patti Smith. The skeptical executives at A & M were expecting to sell 30,000 LP’s. 1,000,000 records later, it was clear that Suzanne’s voice was resonating around the world. Marlene on the Wall was a surprise hit in the U.K and Rolling Stone eventually included the record in their “100 Greatest Recordings of the 1980’s.” 1987’s follow up, Solitude Standing, again co-produced by Addabbo and Kaye, elevated her to star status. The album hit #2 in the UK and #11 in the States, was nominated for three Grammys including Record of the Year and went platinum. “Luka” is a song that has entered the cultural vernacular; certainly the only hit song ever written from the perspective of an abused boy.

The opening song on Solitude Standing was a strange little a cappella piece, “Tom’s Diner” about a non-descript restaurant near Columbia University uptown. Without Suzanne’s permission, it was remixed by U.K. electronic dance duo “DNA” and bootlegged as “Oh Susanne.” Suddenly her voice on this obscure tune was showing up in the most unlikely setting of all: the club. Suzanne permitted an official release of the remix of “Tom’s Diner” under its original title which reached #5 on the Billboard pop chart and went gold. In 1991 a compilation, Tom’s Album, brought together the remix and other unsolicited versions of the song. Meanwhile, Karlheinz Brandenburg, the German computer programmer was busy developing the technology that would come to be known as the MP3. He found that Vega’s voice was the perfect template with which to test the purity of the audio compression that he was aiming to perfect. Thus Suzanne earned the nickname “The Mother of the MP3.”

Suzanne co-produced the follow-up album with Anton Sanko, 1990’s Days Of Open Hand, which won a Grammy for Best Album Package. The album also featured a string arrangement by minimalist composer Philip Glass. Years earlier she had penned lyrics for his song cycle “Songs From Liquid Days.” Continuing to battle preconceptions, she teamed with producer Mitchell Froom for 1992’s 99.9F. The album’s sound instigated descriptions such as “industrial folk” and “technofolk.” Certified gold, 99.9F won a New York Music Award as Best Rock Album. Suzanne’s neo-folk style has ushered in a new female, acoustic, folk-pop singer-songwriter movement that would include the likes of Tracy Chapman, Shawn Colvin, and Indigo Girls. In 1997, Suzanne joined Sarah McLachlan on her Lilith Fair tour which celebrated the female voice in rock and pop. She was one of the few artists invited back every year. Suzanne was also the host of the public radio series “American Mavericks,” thirteen hour-long programs featuring the histories and the music of the iconoclastic, contemporary classical composers who revolutionized the possibilities of new music. The show won the Peabody Award for Excellence in Broadcasting.

In 1996, Vega returned with the similarly audacious Nine Objects Of Desire, also produced by Mitchell Froom, who by then was her husband. “Woman On The Tier (I’ll See You Through)” was released on the Dead Man Walking soundtrack. Over the years, she has also been heard on the soundtracks to Pretty In Pink (“Left Of Center” with Joe Jackson) and The Truth About Cats & Dogs, and contributed to such diverse projects as the Disney compilation Stay Awake, Grateful Dead tribute Deadicated, Leonard Cohen tribute Tower Of Song, and Pavarotti & Friends. In 1999, The Passionate Eye: The Collected Writings Of Suzanne Vega, a volume of poems, lyrics, essays and journalistic pieces was published by Spike/ Avon Books. In 2001, she returned to her acoustic roots for her first new album in five years, the critics favorite, Songs In Red And Gray.
In 2007, Suzanne released Beauty & Crime on Blue Note Records, a deeply personal reflection of her native New York City in the wake of the loss of her brother Tim and the tragedy of 9/11. But the record is not a sad one, per se, as her love for the city shines through as both its subject and its setting. In it, Suzanne mixes the past and present, the public with the private, and familiar sounds with the utterly new, just like the city itself. “Anniversary,” which concludes Beauty & Crime, is an understated evocation of that time in the fall of 2002, when New Yorkers first commemorated the Twin Towers tragedy and when Suzanne recalls her brother’s passing. It’s more inspiration than elegy, though: “Make time for all your possibilities,” Vega sings at the end in that beautiful, hushed voice. “They live on every street.” Produced by the Scotsman, Jimmy Hogarth and featuring songs such as “New York is a Woman” and “Ludlow Street,” Beauty & Crime is that rare album by an artist in her third decade; an album that is as original and startling as her first. Beauty & Crime won a Grammy for Best Engineered Album, Non-Classical.

In 2006, she became the first major recording artist to perform live in avatar form within the virtual world Second Life. She has dedicated much of her time and energy to charitable causes, notably Amnesty International, Casa Alianza, and the Save Darfur Coalition. Suzanne has a daughter, Ruby, by first husband Mitchell Froom. Ruby, like Suzanne before her, attends the High School for the Performing Arts. Suzanne is married to lawyer/poet Paul Mills who proposed to her originally in 1983. Suzanne accepted his proposal on Christmas Day 2005, twenty two years later.

Suzanne Vega is an artist that continues to surprise. In 2011 in New York City she premiered Carson McCullers Talks About Love, an original play written and performed by Ms. Vega with songs she wrote with Tony Award-winner Duncan Sheik (Spring Awakening) A pioneer among singer-songwriters. Suzanne has also embarked on a project to re-imagine her own songbook in a stripped down and intimate manner, creating 4 new thematic albums that will be released over the course of 2010-2012 called the Close-Up series.

Ms. Vega continues to tour constantly, having just played dates with artists as diverse as Moby and Bob Dylan. Suzanne is planning US and European dates this spring and summer.

Water Street Music Hall - Rochester, NY

with American Aquarium

Sep 19

Sep 19

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

Price: $20

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16+ w/ ID

Water Street Music Hall - Rochester, NY

Sep 20

Sep 20

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

Event Information

16+ w/ ID

The Dock - Ithaca, NY

Sep 20

Sep 20

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

Price: $10

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

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

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

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

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

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

The Dock - Ithaca, NY

with King Buffalo

Sep 21

Sep 21

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

Price: $12

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

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

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

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

State Theatre of Ithaca - Ithaca, NY

Sep 27

Sep 27

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

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

The Haunt - Ithaca, NY

Sep 30

Sep 30

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

Price: $15

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

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

The Haunt - Ithaca, NY

with Bloodshot Bill

Oct 8

Oct 8

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

Price: $12

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

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

The Haunt - Ithaca, NY

Oct 9

Oct 9

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

Price: $15

Event Information

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

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

Water Street Music Hall - Rochester, NY

with Fozzy, 3 Pill Morning

Oct 10

Oct 10

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

Price: $20

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

Oct 14

Oct 14

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

Event Information

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

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

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

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

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

Listen and learn more at papadosio.com.

The Haunt - Ithaca, NY

Oct 23

Oct 23

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

Price: $15

Event Information

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

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

The Hangar Theatre - Ithaca, NY

Oct 24

Oct 24

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

Price: $30

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

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

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

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

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

Water Street Music Hall - Rochester, NY

Oct 25

Oct 25

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

Price: $17

Event Information

16+ w/ ID

The Haunt - Ithaca, NY

Oct 28

Oct 28

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

Price: $15-$68

Event Information

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

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

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

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

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

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

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

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

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

The Haunt - Ithaca, NY

with Ballyhoo! & Gonzo With Beyond I Sight

Oct 30

Oct 30

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

Price: $15

Event Information

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

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

State Theatre of Ithaca - Ithaca, NY

Nov 2

Nov 2

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

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

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

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

The Haunt - Ithaca, NY

with Bambu & DJ Last Word

Nov 7

Nov 7

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

Price: $15

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

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

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

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

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

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

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

State Theatre of Ithaca - Ithaca, NY

with Big Data

Nov 9

Nov 9

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

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

The Hangar Theatre - Ithaca, NY

Nov 16

Nov 16

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

Price: $35

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



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

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

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

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

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

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

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

George Winston plays Steinway Pianos

The Haunt - Ithaca, NY

Nov 29

Nov 29

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

Price: $12

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

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

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

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

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

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

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

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

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

State Theatre of Ithaca - Ithaca, NY

with special guests Donna The Buffalo

Dec 5

Dec 5

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

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

State Theatre of Ithaca - Ithaca, NY

Feb 14

Feb 14

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

Event Information

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

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

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

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

Glass is married and owns a disturbingly allergic dog

State Theatre of Ithaca - Ithaca, NY

Price: $49.50-69.50

Mar 5

Mar 5

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

Event Information

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



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

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Aug 29

State Theatre of Ithaca - Ithaca, NY

Sep 13

The Haunt - Ithaca, NY

with Body Language & 2001

Sep 14

State Theatre of Ithaca - Ithaca, NY

Sep 18

The Hangar Theatre - Ithaca, NY

Sep 27

State Theatre of Ithaca - Ithaca, NY

Oct 14

The Haunt - Ithaca, NY

Oct 24

The Hangar Theatre - Ithaca, NY

Nov 2

State Theatre of Ithaca - Ithaca, NY

- Social Updates -

Conor Oberst Has Cheered Up

www.spin.com

Long known as the precocious, emotionally charged voice of his generation, the Nebraskan singer-songwriter has a staggering new LP that finds him entering a new creative phase in his life, even as his youth continues to haunt him.

Your daily dose of Conor Oberst FRI at Ommegang

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Ithaca, NY 14851