Name: Not a Show
Start: 2027-11-12T20:00:00
End: 2027-11-13T00:00:00
Location: Stone Church

Jeopardy - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/jeopardyvt￼(Beer">https://www.facebook.com/jeopardyvt (Beer</a> Thrash) Sucks, but has riffs.Goblet - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/gobletband￼(Bastard">https://www.facebook.com/gobletband (Bastard</a> Thrash) Rules, has better riffs.SLOB DROP - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/slobdropband￼(Razor">https://www.facebook.com/slobdropband (Razor</a> Scooter Punk) Sucks, but has conga lines.Woundlicker - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/profile.php?id=61557766359545￼(Experimental">https://www.facebook.com/profile.php?id=61557766359545 (Experimental</a> Hardcore, or something) Rules, smiles questionably too much.Everyone welcome. ALL AGES! ID required to drink $10-$20 sliding scale Doors @ 7pm Tunes @ 8pm

Boozer's Birthday Thrash

<h2 style="text-align: start">Cursive</h2>Very few bands manage to last decades, and for the ones that do, it’s often easy to settle down and get a little too comfortable. But there’s nothing comfortable about Devourer, the explosive new album from Cursive. The iconic Omaha group is known for their intensity, ambition, and execution, and has spent 30 years creating a bold discography that’s defined as much by its cathartic sound as its weighty, challenging lyrical themes. And Devourer is as daring as ever. Full of intense and incisive songs, the album proves exactly why Cursive have been so influential and enduring–and why they remain so vital today<h2 style="text-align: start">AJJ</h2>Ever since Sean Bonnette and Ben Gallaty formed AJJ back in 2004, it’s felt like the world has been playing catch-up. That’s because the band—completed these days by guitarist/keyboard player Preston Bryant, cellist Mark Glick and (relatively) new drummer Kevin Higuchi—has always woven apocalyptic themes and imagery into many of its songs and lyrics. They even self-released a record called Good Luck Everybody in January 2020, as if they knew what was coming. Now though, in 2023, with their eighth studio record and debut on Hopeless Records, Disposable Everything, it feels like the world is finally aligned with AJJ’s doom-laden prophecies – albeit one that still shimmers with hope.

Cursive

We’re teaming up with our friends across the river at The Colonial Performing Arts Center in Keene, NH to bring back one of our favorite tribute acts in the land, Start Making Sense!The music of Talking Heads has excited, inspired, and healed folks worldwide since their first show at CBGB’s in 1975. If David Byrne is one of the geniuses of modern times, then Start Making Sense is a tribute to genius. Start Making Sense celebrates the entire Talking Heads’ catalog with a seven-piece band meticulously executing the sounds and iconic live visual elements in every performance. Together these skilled and dedicated musicians enjoy bringing the unique, infectious energy of a Talking Heads live show that you know and love to the stage. In addition to an amazing tribute show they have created specialty shows including tours with horns for which they scored the Heads’ catalog themselves, international group trips with fans, and other special nights that have kept audiences energized and returning year after year.

Start Making Sense

We are shaking things up for our December show! We get to be featured at Bratt QDP!!! Get ready for a late night in Brattleboro at Stone Church with <a target="_blank" rel="noopener noreferrer nofollow" class="x1i10hfl xjbqb8w x1ejq31n x18oe1m7 x1sy0etr xstzfhl x972fbf x10w94by x1qhh985 x14e42zd x9f619 x1ypdohk xt0psk2 x3ct3a4 xdj266r x14z9mp xat24cr x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz notranslate _a6hd" href="https://www.instagram.com/dragmacncheese/">@dragmacncheese</a> and <a target="_blank" rel="noopener noreferrer nofollow" class="x1i10hfl xjbqb8w x1ejq31n x18oe1m7 x1sy0etr xstzfhl x972fbf x10w94by x1qhh985 x14e42zd x9f619 x1ypdohk xt0psk2 x3ct3a4 xdj266r x14z9mp xat24cr x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz notranslate _a6hd" href="https://www.instagram.com/ladol_saucyflambe/">@ladol_saucyflambe</a> . Get some holiday shopping in at our queer night market before the show begins!

Bah Humbug! Twisted Christmas & Night Market

Interweaving the classic songs and jams of The Grateful Dead, The Allman Brothers&nbsp;Band and The Band, Dead Man's Waltz (formerly Steal Your Peach) is an all-star&nbsp;collective from the Northeast festival scene. Dead Man's Waltz features top-notch&nbsp;musicianship and offers a refreshing twist to the music of three legendary and iconic&nbsp;bands. While staying true to the spirit of the music, the band members put their own&nbsp;dynamic spin on a vast catalog of beloved songs that are now part the new American&nbsp;song book.&nbsp;At its core, DMW is a celebration of the long standing tradition of crossover between The&nbsp;Dead, The Allmans and The Band, culminating with the legendary 1973 Summer Jam&nbsp;Music Festival in Watkin's Glenn, NY where the three bands performed together. DMW's&nbsp;arrangements are experiments, as they easily flow from the familiar to the obscure,&nbsp;moving from standards like "Jessica" into Going Down The Road Felling Bad" into "Don't&nbsp;Do It" or "Up On Cripple Creek" into "They Love Each Other" into "Midnight Rider". The&nbsp;band always keeps it fresh with new and unexpected arrangements and improvisations,&nbsp;while engaging fans in the free-spirited party and colorful, close-knit community&nbsp;surrounding their shows.&nbsp;With 2 drummers, DMW's line-up mirrors those of both The Dead and The Allmans as&nbsp;well as later line-ups of The Band. Dead Man's Waltz features the all-star lineup of "Rev"&nbsp;Tor Krautter on guitar and vocals, Tom Major on drums, Parker McQueeney on keys and vocals, Wesley Childers on guitar and vocals, Jeff Prescott on drums and vocals, and Brian O'Connell on bass and vocals. Each hail from a unique musical background and ads their own personal style, influence and charictor to the mix (which is exactly what the music calls for).&nbsp;

Dead Man's Waltz

It’s our favorite time of the year as we welcome back Bella’s Bartok for another epic Strange Ones Ball!This year they are joined by local post-apocalyptic gypsy punk shredders The DiTrani Brothers &amp; Western Mass powerhouse garage punk duo Film and GenderLive your fantasy and embrace the stranger side of life with Bella’s Bartok. A Glam Rock band known for raucous theatrical performances and an outspoken political message of finding hope in a world beset by cruel uncertainty. With utter joy, they seamlessly blend a rich cacophony of sound and soul into their music with influences ranging from Queen to System of a Down.&nbsp; Let your freak flag fly high, fiercely and free, throw your societal inhibitions to the wayside and seek comfort in the warm sonic embrace of Bella’s Bartok. We are the night and you are bound toboogie. Floors may be broken but hearts will be mended.The DiTrani Brothers, with their bent melodies and driving rhythms, play “perilous tunes for the hopeful,” blending elements of Balkan music and early American jazz/swing. They deliver both wistful and raucous performances at venues ranging from The House of Blues in New Orleans to DIY backyard stages.film &amp; gender is a two-piece (bass and drum) queer punk act"inspired by the defiant spirit of '90s and early-2000s hip-hop, film &amp; gender unleashes a raw and unruly strain of garage punk driven by bombastic rhythm and unapologetic social fury" - ben delozier

Bella's Bartok Strange Ones Ball

Lumos offers enchanting concert experiences that pay tribute to world-renowned artists. We’ve teamed up with extraordinary venues and iconic locations globally to create performances that are truly magical ✨.Now, we’re bringing this unforgettable experience to the USA! Get ready for a series of spectacular concerts across the States. 🌍A donation is made to a different charity each month! Key Information : PLEASE READ 🗓️ Friday 2nd January 📍 Stone Church 210 Main St, Brattleboro, VT 05301 ⏰ 2 Sittings: 1st Sitting 6-7pm | 2nd Sitting 8-9pm🕰 Entry: 1st Sitting – 1st Sitting – Doors open at 5:30pm | 2nd Sitting – Doors open at 7:30 🎼 Musical Theme: A Classical Vivaldi &amp; Mozart Tribute 🪑 Seating Is First Come First Serve To Your Allocated Tiered Zones (In Platinum, Gold, Silver, Bronze) ❓ Please Read Our <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lumos-experiences.com/faqs/">FAQ’s </a>📩 For Customer Service enquiries please email: <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:service@lumos-experiences.com">service@lumos-experiences.com</a> 👥 8+ This event is for eight year olds &amp; above ♿ Accessibility: This venue is wheelchair accessible however every venue differs &amp; we can’t guarantee front row.🕯️ Experience Lumos In The Most Intimate Setting &amp; Book Us For Your Very Own Private Concert/Event (Celebrations, Weddings, Or Any Special Occasion) –<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lumos-experiences.com/private-hire/"> Click Here </a>Type Of Performance The performance at this event will be a String Trio 🎻List Of Songs:Featuring Mozart’s, Eine Kleine Nachtmusik mov. 1 Divertimento in D mov. 1And Vivaldi’s, Concerto in A Minor mov. 1 Four Seasons Spring Four Seasons Summer Four Seasons Autumn Four Seasons Winter

Lumos Live

Planning for Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy, his fourth album, arrives on May 30th via The Flenser. Rooted in a staunch DIY ethos, Wasluck handles every aspect of the Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever an independent creative. This hands-on approach has led Planning for Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Planning For Burial

Wolfman Jack Sunday Residency

Embodying the vibrant Chicago music culture, LowDown Brass Band is a one-of-a-kind horn ensemble weaving the rhythm of the streets with conscious hip hop, reggae, and soul.&nbsp; Rigorously touring, LowDown has performed on the most unique stages, from the Montreal Jazz Fest to the Cotai Jazz Fest.&nbsp;Despite the last four years, LowDown has stayed busy, releasing Three albums, "The Reel Sessions, LowDown Nights and $itizens of the World”, which showcase their unique sound and further push the boundaries of their genre.&nbsp;&nbsp;Leaning on their talent and unconventional style, LowDown Brass Band continues to carve out a path, defying convention and charting their own course in the ever-evolving landscape of music.Coyote Reverie blends neo-soul/funk with hip-hop and folk elements into a reflective soundscape that invites listeners into deeper questions about connection, creativity, and existence. Known for their genre-bending style, the duo delivers lyrics that unfold like mosaics—intimate, imaginative, and rooted in a sense of cosmic awareness. Praised for operating on their “own bandwidth and frequency,” Coyote Reverie brings their music to life on stage with live drums and horns, creating an immersive experience that’s both soulful and otherworldly.

LowDown Brass Band

Minibeast is a three-piece band comprised of Peter Prescott (formerly of Mission of Burma, Volcano Suns, Kustomized) playing guitar, keys, noises (mouth &amp; other) &amp; the mind bending rhythm section of Keith Seidel on drums n' percussion and Pete Weiss on bass. We gratefully accept influences from Fela Kuti, Can, and the Stooges.Most recent release: The Maze of Now - was released January 2025.Grizzled and stewed veterans of punk rock's inglorious past, this trio from Southeastern Vermont have one last job.

Minibeast + The Vermen

Wolfman Sunday Residency

CLAP YOUR HANDS SAY YEAH Piano &amp; VoiceWhile best known for his contributions to independent rock music with Clap Your Hands Say Yeah over the last two decades, few are aware that the piano is the first, and primary compositional, instrument of Alec Ounsworth.&nbsp;Piano versions of his songs have occasionally made appearances on albums, on bonus tracks, and in live shows. Most recently, an intimate tour across Europe has been sold out, complemented by a 10” and select tracks available on digital platforms. With more Piano &amp; Voice shows to come,&nbsp;a very limited bootleg recording from the three-night residency at London’s Servant Jazz Quarters will be available on vinyl exclusively during the tour.&nbsp;These piano and voice versions showcase the depth and resolute character of CYHSY’s repertoire in its purest form.

Clap Your Hands Say Yeah- Piano & Voice

Noise Pollution is the most authentic tribute to AC/DC currently touring the Nation. Relive the glory days of the “The Thunder from down under” Experience a tribute to one of the world’s most iconic, bigger than life, rock &amp; roll bands in music history. Noise Pollution recreates the powerhouse sights, sounds, and attitude of a AC/DC show that even the most raved fan will find unbelievably true to life. Each member of Noise Pollution has an extensive and versatile musical background in regional and national bands and has been wowing crowds together for years. They cover their respective roles with the utmost attention to detail in looks, equipment and chops.FOR THOSE ABOUT TO ROCK…. WE SALUTE YOU!

Noise Pollution

MADAILA - /mə deɪ lə/, [muh DEY luh] - proper noun - a psych pop band from Burlington, VT.Psych pop juggernaut Madaila is upbeat, synth­-heavy, and catchy. Vocal skill and range are immediately apparent. But in the tradition of Prince and The Talking Heads, an ornateness and heaviness expose Madaila's complexity and depth. Tight arrangements and multi-­instrumental performances showcase musical minds at work.When Madaila is on stage, spontaneous expression and contagious melody coexist. The freakier elements of the band come to the surface as the five-­piece explores the deeper possibilities lying within their concise-recorded material. The band’s improvisational power gives each song the capacity to have its form pushed to the edges of comfort, or uplifting peaks.Madaila released its debut, “The Dance”, in 2015. The band generated buzz with large hometown shows held on a ferry, in Burlington’s City Hall, in an aquarium, and on a downtown city block for their festival, Madaila on Main; as well as with festival plays at Mountain Jam, Clusterfest, Summer Camp, Frendly Gathering, Grand Point North, Waking Windows, Otis Mountain &amp;amp; Burlington Discover Jazz. Madaila has shared the stage with artists such as The Flaming Lips, Nathaniel Rateliff, Mac DeMarco, BØRNS, Grace Potter, Twiddle, Deer Tick, and Matisyahu. Madaila is part of Future Fields, an artist­-run label and management group based in Burlington, Vermont.

Madaila

Hayley pulls inspiration from a variety of styles, including 60s + 70s rock + pop, musical theater, folk, blues, soul, psychedelic, funk + bluegrass.&nbsp; Just as varied, are the many ways she can captivate an audience.&nbsp; Whether the concentrated potency of her solo acoustic performance, the explosive energy + movement of her full band shows, or one of her theatrical performances, she always brings the charisma, humor + passion to move an audience. &nbsp;Her music has been praised by a&nbsp; wide range of musicians, producers + music lovers alike, for successfully combining a diverse sound with clever, over-the-top lyrics + Vaudevillian-style storytelling. &nbsp; Hayley reawakens her audiences to the wild parts of themselves, great medicine for these modern times.

Hayley Jane Band

There is no rock and roll enthusiast who has not been touched in some way by the epic catalogue of the mighty Led Zeppelin. From the initial crushing chords of "Good Times, Bad Times" on Led Zeppelin I (1969) to the slick, piano heavy "Fool In The Rain" (1980) that featured one of John Bonham's most iconic drum grooves. If you are looking for a Led Zeppelin act that brings the energy and spirit of Led Zeppelin in their prime, then look no further than FOUR STICKS, the most accurate tribute to the iconic Led Zeppelin.Led Zeppelin, led by guitar virtuoso, Jimmy Page and vocal icon, Robert Plant, never failed to push their songwriting to the limit of astounding creativity, with live performances that were second to none, with each member putting on a clinic and delivering their songs with fresh energy at each and every performance. The songs maintained their album quality while simultaneously being given new life and energy by the live improvisation abilities or these four powerhouses. FOUR STICKS is comprised of NYC session and touring musicians who have graced the stages with some of the biggest names in the business, as well as being on numerous smash hits with musicians in multiple genres.&nbsp;FOUR STICKS plays through all the hits that a casual fan would want to hear, as well as delivering some of the best gems for the Led Zep enthusiast that other Zep acts don't touch. And FOUR STICKS do it the way Led Zeppelin did it, which is utilizing only four members playing multiple instruments. New and old fans that have seen many of the Zep tributes claim FOUR STICKS comes the closest to a live Led Zeppelin show. The vocal range and power of Robert Plant? Got that. The power and finesse of John Bonham? Got that. The virtuosity of Jimmy Page? Got that. A multi-instrumentalist on bass/vox/keys/mandolin? Got that too.There is no rock and roll enthusiast who has not been touched in some way by the epic catalogue of the mighty Led Zeppelin. From the initial crushing chords of "Good Times, Bad Times" on Led Zeppelin I (1969) to the slick, piano heavy "Fool In The Rain" (1980) that featured one of John Bonham's most iconic drum grooves. If you are looking for a Led Zeppelin act that brings the energy and spirit of Led Zeppelin in their prime, then look no further than FOUR STICKS, the most accurate tribute to the iconic Led Zeppelin.Led Zeppelin, led by guitar virtuoso, Jimmy Page and vocal icon, Robert Plant, never failed to push their songwriting to the limit of astounding creativity, with live performances that were second to none, with each member putting on a clinic and delivering their songs with fresh energy at each and every performance. The songs maintained their album quality while simultaneously being given new life and energy by the live improvisation abilities or these four powerhouses. FOUR STICKS is comprised of NYC session and touring musicians who have graced the stages with some of the biggest names in the business, as well as being on numerous smash hits with musicians in multiple genres.&nbsp;FOUR STICKS plays through all the hits that a casual fan would want to hear, as well as delivering some of the best gems for the Led Zep enthusiast that other Zep acts don't touch. And FOUR STICKS do it the way Led Zeppelin did it, which is utilizing only four members playing multiple instruments. New and old fans that have seen many of the Zep tributes claim FOUR STICKS comes the closest to a live Led Zeppelin show. The vocal range and power of Robert Plant? Got that. The power and finesse of John Bonham? Got that. The virtuosity of Jimmy Page? Got that. A multi-instrumentalist on bass/vox/keys/mandolin? Got that too. *FOUR STICKS will be celebrating the 50th Anniversary of the release of Led Zeppelin’s “Presence”album with a special performance of the entire album, along with various Zeppelin hits from their catalog.&nbsp; *Opening the show will be Shaman, (Four Sticks offshoot project) performing the best of 1969’s iconic super groups, Jimi Hendrix, The Cream and The Who.&nbsp;

Four Sticks

The Suitcase Junket developed in the tension between the grand and the solitary. Grand in imagery, sound, and staging. Solitary in thrift and self-reliance. NPR calls&nbsp;Matt&nbsp;Lorenz a "master of musical imagination."&nbsp;What instruments he requires, Lorenz builds from scratch and salvage. What parts five players would perform, he performs alone. The spectacle of his one-man set bears comparison to legends of showmanship, brilliance, madness, and invention. While audiences are captivated by that solitary form and the show itself, Lorenz, who homesteads in Western Massachusetts, is most serious about the songs. Over the course of six full-length releases, including the latest The End is New from&nbsp;Renew Records at BMG, he has written a world into existence, crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet's destruction and salvage.&nbsp; “A living, breathing, throat-singing, road-tested, avant-garde, one-man-band who is in a state of perpetual motion… gutsy, fuzzed-out, groove-laden psych rock.” – National Public Radio&nbsp; "Now this is the shit I'm talking about, Jack.&nbsp;The Suitcase Junket&nbsp;is a lo-fi, low-tuned, low-down blast of end-times folk blues. It's crude; it's magnificent. With a stage set-up that resembles a junkyard foley stage or Fred Sanford's living room,&nbsp;The Suitcase Junket&nbsp;— one man band leader&nbsp;Matt&nbsp;Lorenz — incants and intones like a cross between Hound Dog Taylor and a Tuvan throat singer who has swallowed a bird. Take the singer-songwriter idiom, give it a low grade fever and a guitar and this is what you get. Captivating, mesmerizing, and gone ... real gone." –&nbsp;Rochester City Newspaper&nbsp; “Jaw-dropping... It’s the biggest sound I’ve ever heard come from a solo performer.&nbsp;Matt&nbsp;is definitely his own thing and it is something. The live experience is pretty, darn unforgettable.” — Beale Street Caravan "Bluesy guitar riffs, tenacious melodies and a singing voice both weathered and nimble. You don’t need to witness his physics-defying performance to be captivated; the music stands on its own... astonishing." &nbsp;– WBUR BostonSongwriter and guitarist Louisa Stancioff has quickly&nbsp;established herself as one of the premier musical artists in Maine. Her intelligent and soulful writing pairs with a confident and catchy indie sound drawing on folk, rock, pop, and her own Balkan heritage. Born and raised in the foothills of Western Maine, Stancioff learned to entertain herself by singing songs with her sister and playing the piano, violin, guitar and any other instrument lying around the house. She moved through life nomadically in her early adulthood living in upstate New York, Western North Carolina, Montana and California, and gathering her songwriting material along the way. Currently settled in Midcoast Maine, she has toured this iteration of her indie folk n' roll project all across the country, headlining and opening up for bands such as Blitzen Trapper, Pokey Lafarge, Micaela Davis, Darlingside and more. You can listen to her debut album “When We Were Looking” everywhere, released under Yep Roc Records last year.&nbsp;

The Suitcase Junket

Pink Talking Fish is a Hybrid Tribute Fusion Act that takes the music from three of the world's most beloved bands and creates a special treat for fans of the music. Pink Floyd, Talking Heads and Phish are all more than just bands... they are Phenomenons.&nbsp; Their creations have artistically inspired people and their mind-blowing live performances have brought people together to form a sense of community around the love for their favorite bands. Although the music from each act is different, Pink Talking Fish has discovered that fusing the material together writes an amazing new story. The epic emotion of Pink Floyd... The funky, danceable layerings of Talking Heads... The multitude of styles, unique compositional structures and pure fun of​ Phish... to merge these three acts into one gives music lovers an experience like no other. Pink Talking Fish features Eric Gould on bass, Richard James/Stephen Learson on keyboards, Zack Burwick on drums and Cal Kehoe on guitar. This is a band created by musicians who love the music of these iconic bands.&nbsp; Its purpose is to heighten people's passion for this music by creating something fresh and exciting for fans.&nbsp;&nbsp; Discovering connections is part of the fun:&nbsp; Pink Floyd's "On The Run" seamlessly fitting in the middle of the composition of Phish's "You Enjoy Myself".&nbsp; Perfectly placing Phish's "Sand" into the groove of Talking Head's "Slippery People".&nbsp; Segued collections from all three acts such as Run Like Hell &gt; Making Flippy Floppy &gt; Piper &gt; Run Like Hell or Mike's Song &gt; Have A Cigar &gt; Once In A Lifetime &gt; Weekapaug Groove. These ideas are the spirit behind Pink Talking Fish. The story is ever evolving.&nbsp; The experience is always thrilling.&nbsp; No two shows are ever the same.Come join Pink Talking Fish for the ultimate fusion tribute and celebrate the love of this music in unmatched fashion.

Pink Talking Fish

Dead Ahead exploded onto the New England music scene in the fall of 2024, turning their weekly residency at The Sanctuary in Maynard, MA, into a must-see event. Rooted in the Grateful Dead, they deliver high-energy, feel-good performances packed with deep jams, soaring harmonies, and nonstop grooves. Drawing inspiration from Little Feat and The Allman Brothers Band, they stand out with an ever-expanding repertoire that blends Dead classics, deep cuts, and originals for a fresh, dynamic show every night.At the core is the powerhouse husband-and-wife guitar duo, Ryan and Sonya Rae Taylor. Ryan, a virtuosic guitarist known for his masterful slide playing, brings grit and soul, while Sonya Rae—a true triple threat as a singer, guitarist, and former Nashville staffsongwriter—adds raw power and finesse.On drums, Alex MacDougall delivers gutsy, soulful vocals, a rare force in the jam scene. The lineup is rounded out by Justin Lopes (formerly of Bearly Dead) on keyboards, Matt Caporale on bass, Joe Peck on guitar and vocals, and Brendan Tommaney on percussion, adding infectious energy and deep rhythmic texture.What sets Dead Ahead apart is their ability to seamlessly meld medleys, unexpected turns, and deep improvisation, creating unforgettable moments filled with surprises. No two shows are the same, keeping&nbsp;audiences on their toes as the band weaves songs together in ways that feel both fresh and deeply rooted in tradition.With top-tier musicianship, unpredictable setlists, and a sound that goes beyond the typical tribute, Dead Ahead isn’t just keeping the music alive—they’re pushing it forward, one epic show at a time

Dead Ahead

The Gaslight Tinkers' mix of global rhythms creates a joyous world beat sound around a core of traditional New England old time and Celtic fiddle music, merging boundless positive energy with melody and song. Drawing from their extensive musical backgrounds in traditional folk, Caribbean, old time, Celtic, and rock, I-Shea, Clara, Garrett, Elie, and Peter craft a sound that brings world traditions together

The Gaslight Tinkers

NMA started by brother Luther and Cody Dickinson in 1996 as a loose collective of musicians from their North Mississippi home inspired by their father Jim Dickinson as well as neighbors and musical elders of their community; RL Burnside, Junior Kimbrough, Otha Turner and Fred McDowell.Luther’s first national tour was the RL Burnside Ass Pocket of Whiskey tour in 1997, selling out shows in the US and Canada. “Kenny Brown hired me to tour with RL and Cedric and showed me the ropes. That experience blew my mind. Cody and I have been on the road ever since.”NMA began touring in 1998 and over the years the touring lineup has included, Cedric, Duwayne and Garry Burnside, Chris Chew, Berry Oakley Jr, Oteil Burbruidgem&nbsp; and currently Joey Williams of the Blind Boys of Alabama and Ray Ray Hollowman, guitar player for Eminem and Nee-O.&nbsp;Since their debut album in 2000 and hitting the never ending road, they have shared the stage with countless legends; Phil Lesh, Mavis Staples, Robert Plant, John Hiatt, the Allman Brothers, The Black Crowes, Buddy Guy, Snoop Dogg, and Jon Spencer to name a few, while earning multiple grammy nominations for their experimental albums of they like to call Modern Mississippi Music.&nbsp;

North Mississippi All Stars

Join us for a special evening of Dueling Duets featuring Coleman Williams IV &amp; Lightnin’ Luke of The Bridge City Sinners!

Dueling Duets- Coleman Williams + Lightnin' Luke

Skeleton Crewe invites audiences into an intimate, high-vibe musical journey led by masterful artistry and fearless exploration. Each performance blends original compositions, including many written by Robert Hunter in collaboration with Rob Barraco and with reimagined Grateful Dead favorites and expansive improvisations. Their sound moves effortlessly across genres, weaving traditional Hawaiian influences with psychedelic Americana to create a transportive, one-of-a-kind experience. Skeleton Crewe doesn’t just play a show, they create a musical conversation that feels both timeless and brand new.FEATURING:Rob Barraco - Keyboards &amp; vocals (Dark Star Orchestra, Phil Lesh &amp; Friends, The Dead)Barry Sless - Pedal Steel, electric guitar &amp; vocals (Bobby Weir and Wolf Bros, David Nelson Band, Phil Lesh and Friends, MoonAlice)Stephen Inglis - Slack Key Guitar, electric guitar &amp; vocals (Billy Kreutzmann, Dennis Kamakahi)Pete Sears - Bass (Jefferson Starship, Hot Tuna, Phil Lesh &amp; Friends, David Nelson Band, MoonAlice)Jay Lane - Drums &amp; vocals (Dead &amp; Company, Bobby Weir &amp; Wolf Bros, Ratdog)The worlds of Hawaiian slack key guitar, psychedelic pedal steel, masterful, keyboard, bass &amp; drum work converge as five virtuosos of the jam band scene announce the formation of Skeleton Krewe. Born from a serendipitous collaboration in early 2024, this unique musical collective features Rob Barraco (Dark Star Orchestra, Phil Lesh &amp; Friends, The Dead), Barry Sless (Bobby Weir and Wolf Bros, David Nelson Band, Phil Lesh and Friends), Grammy-nominated Hawaiian slack key guitarist Stephen Inglis (Billy Kreutzmann), Pete Sears (Jefferson Starship, Hot Tuna, Phil Lesh &amp; Friends, David Nelson Band) &amp; Jay Lane (Dead &amp; Company, Bobby Weir &amp; Wolf Bros, Ratdog). The group's formation traces back to January 2024, when Sless and Inglis first joined forces for what was meant to be a one-off performance. The chemistry was immediate and undeniable. The duo's successful California shows caught the attention of keyboard virtuoso Rob Barraco, who joined forces with Inglis during a Dark Star Orchestra show at the Hawaii Theatre in April 2024. The natural musical connection between all three players led to the formation of Skeleton Crewe Trio which in turn led to adding Barry’s longtime musical partners Pete Sears &amp; Jay Lane on bass &amp; drums. This collaboration brings together many musical traditions: Inglis's mastery of Hawaiian slack key guitar (he's a recipient of the prestigious Ki Hōʻalu Legacy Award), Sless's pioneering pedal steel work that has graced stages with Bob Weir and Phil Lesh, Barraco's sophisticated keyboard artistry that earned him a place in The Dead's lineup (an experience that preceded nearly two decades holding the keyboardist chameleon role within Dark Star Orchestra), the dynamic improvisational work of Pete Sears on bass, and the solid improvisational drumming of Jay Lane. Each performance, Skeleton Crewe promises to offer high level artistry hosting an intimate evening of original compositions (many of which were written by Robert Hunter in collaboration with Barraco), Grateful Dead interpretations, and dynamic improvisations that span genres from traditional Hawaiian to psychedelic Americana. FEATURING:Rob Barraco - Keyboards &amp; vocals (Dark Star Orchestra, Phil Lesh &amp; Friends, The Dead)Barry Sless - Pedal Steel, electric guitar &amp; vocals (Bobby Weir and Wolf Bros, David Nelson Band, Phil Lesh and Friends, MoonAlice)Stephen Inglis - Slack Key Guitar, electric guitar &amp; vocals (Billy Kreutzmann, Dennis Kamakahi)Pete Sears - Bass (Jefferson Starship, Hot Tuna, Phil Lesh &amp; Friends, David Nelson Band, MoonAlice)Jay Lane - Drums &amp; vocals (Dead &amp; Company, Bobby Weir &amp; Wolf Bros, Ratdog)

SKELETON CREWE 

Earthbound. Interstellar overdriving or rooted in terra firma? Both, both. On their 11th album, 30 years down the line, Columbus, Ohio collective Moviola step on with a world-weary stride, holding two thoughts at the same time, containing multitudes, making the most personal, direct, and urgent music of their lives. In between the cracks of the musical Rust Belt, Columbus, Ohio’s Moviola has quietly—FOR 30 YEARS—produced an expansive catalog, with (now) 11 records and countless 7” inch singles, a radio show, and a concert film to their name, spanning everything from 4-track fuzz-pop to hi-fi country soul. With five equal singers and songwriters—the whole is greater than the parts, democratic ideals, fucking Gestalt theory in action. Recording themselves, in studios that they built themselves. Writing and performing fully fleshed concert films. As much prankster art collective as…band. Some parallel universe Midwestern EGOT stuff, right there. A small cadre of supportive labels, writers and fans have followed along for the ride. This August, they return with record #11, Earthbound, their first on Kingston, New York-based Dromedary Records. Started by Jake Housh in 1993 in a duplex near Ohio State, the band, on early 45s and 1994’s Frantic sounded less like their Columbus punk contemporaries, and more like “Neil Young’s noisy nephews” (LA Weekly). Throughout their early career, the group played live shows with kindred bands like Fruitbats, Flaming Lips, Calexico, Califone, Guided By Voices, and many others, yet it was the pursuit of collective learning-by-doing, happy accidents, experimentation and recording in various basement, warehouse, and attic studios that became their primary raison d'être. In quick succession, The Year You Were Born (1997), Glen Echo Autoharp (1998), and The Durable Dream (1999) saw the group cover wide sonic turf, traversing buzzing lo-fi rock, Space Echo® folk, pure pop arrangements, and nooks in between. Split singles were fast and frequent as well, sharing sides with like-minded friends like the Handsome Family, Cobra Verde, Tobin Sprout, Hiss Golden Messenger and Eric’s Trip. Rumors of the Faithful (2001), East of Eager (2004) and Dead Knowledge (2007) came next, and found the band growing in sound and scope. A singles compilation Broken Horses (2008), Scrape and Cuss (2019), Broken Rainbows (2022) bring us up to the release of Earthbound.&nbsp; As has been the unique blueprint for how they approach music-making, Earthbound contains multitudes: shared songwriting from each member of the group, at times lush, at others coarse, yet the result has a singular “Moviola-ness” about it all, occupying its own headspace. Recorded in Columbus, Brooklyn, and Brattleboro, it’s the most realized, succinct and least ambiguous effort of their career. Five separate voices, coming off as one, a band of brothers, no time for mincing words. Can a group be hitting its stride 30 years in? It seems so. Listen in.

Moviola/Wet Tuna/Animal Piss It's Everywhere

Hailed by American Songwriter as “one of America’s most intriguing, creative, and idiosyncratic voices,” Eilen Jewell rises from the ashes on her captivating new album, Get Behind The Wheel, picking up the pieces of her shattered world and finding new&nbsp;purpose and meaning after watching her marriage, her band,&nbsp;and what felt like her entire career fall apart in a series of spectacular, heartbreaking implosions. Co-produced by multi-instrumental wizard Will&nbsp;Kimbrough (Todd Snider, Hayes Carll), the collection pushes the acclaimed singer and songwriter’s trademark blend of vintage roots-noir into more psychedelic territory, with spacious, cinematic&nbsp;arrangements complementing her revelatory explorations of grief, loss, resilience, and redemption.&nbsp;An Idaho native, Jewell built her career the old fashioned way, touring&nbsp;relentlessly with the kind of undeniable live show that converts the uninitiated into&nbsp;instant acolytes. Over the course of nine albums, she’s crisscrossed the globe countless times and shared bills with the likes of Lucinda&nbsp;Williams, Loretta Lynn, Mavis Staples, Wanda Jackson, George Jones, and Emmylou Harris.&nbsp;Rolling Stone&nbsp;lauded Jewell’s “clever writing,” while&nbsp;NPR&nbsp;declared&nbsp;that she has a “sweet and clear voice with a killer instinct lurking beneath the shiny&nbsp;surface,” and&nbsp;The Washington Post&nbsp;mused that “if Neko Case, Madeleine Peyroux and&nbsp;Billie Holiday had a baby girl who grew up to front a rockabilly band, she’d probably&nbsp;sound a lot like&nbsp;Eilen Jewell.”

Eilen Jewell

THE METEORS started thirty years ago as a reaction against the soft rockabilly that was popular at that time, and they have now evolved to become the acknowledged "Kings of Psychobilly". Their audience has continually expanded, and includes not just psychobillies, but everybody from rockabillies and punks, to bikers, and most alternatives. They are the original creators of Psychobilly Music, and although they have spawned hundreds of imitations, THE METEORS are proud to be the only pure Psychobilly band ever. Their songs are inspired by their personal experiences and interests; Horror, Perversion, and Death in general. They list their hobbies as motorbikes, rock’n’roll, and burying the living; amongst their heroes are Michael Myers, Charles Manson and Mark Chapman the man who shot John Lennon. They have now made no less than 40 official albums, and countless singles, not to mention dozens of compilations and re-issues. Many were made in their own recording studio, "In Heaven" a fully working pro studio used by 100’s of bands including some very famous household names and lead-man PAUL FENECH has also released six successful solo albums. (They have also featured in many films and numerous TV shows) Worldwide sales have increased steadily over the years, and they have toured almost continuously to support these releases. Their live show is wild and addictive, (they have done it over thousands of times in fact this year passing their four thousand five hundredth) and has been seen in just about every country in the world, including Japan, several tours of America, and every major city in Europe and Scandinavia even spending a sell out week in Israel, Everybody is welcome at THE METEORS show, and the band make a point that THE METEORS Live is a political or religious free zone. People should come to enjoy the music, and to wreck if they are brave enough! It's wild and sweaty, but nobody gets seriously hurt. They are supported by a flourishing fan base, with thousands of supporters worldwide, who are kept in touch by the website <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.kingsofpsychobilly.com">www.kingsofpsychobilly.com</a> which is updated daily with tours, band news and new merchandise, and there are several internet web sites devoted to them. And they receive daily e-mail from fans from the 4 corners of the earth. Although there have been line-up changes over the years, (PAUL FENECH being the only original member) the search for the perfect combination is now over. THE METEORS are a known name, experienced, professional working band, with an established audience. Their most recent release is "Hell Train Rollin’" from 2009. Whatever you do, don’t forget Only THE METEORS Are Pure Psychobilly

The Meteors

The follow-up to 2021’s rustic, folk-tinged Green to Gold, Blight asks many questions without offering easy answers. Over the course of nine new songs, the Antlers’ founder and primary songwriter Silberman reckons with our passively destructive tendencies – absentminded pollution, unwitting wastefulness, and the inadvertent devastation of the natural world. But despite its heavy themes, Blight is far from a punishing listen. With its adventurous arrangements and persistent momentum, it plays more like an iridescent odyssey.The album was recorded over the course of a few years, with the lion’s share tracked and produced in Silberman’s home studio in upstate New York, a compact outbuilding perched at the edge of a neighbor’s sprawling hayfield.“So much of the record was conceived while walking these massive fields,” he says. “I felt like I was wandering around an abandoned planet.”And in a sense, Blight does feel like science fiction, sounding as if it were delivered from the near future. The album is a work of meticulous world-building, teeming with ear candy and surprising stylistic shifts. While many songs begin with sparse elements— a fingerpicked guitar, hypnotic organ stabs, or a nimble piano melody — they rarely remain tethered to their foundations. They often reimagine themselves partway through, shifting mid-track from gentle ballad to throbbing electronica, only to land somewhere entirely different by the end.Silberman has been confronting weighty matters ever since The Antlers’ 2009 breakthrough Hospice, an unrelentingly heavy concept album about a child cancer patient and her caregiver that addressed psychological abuse and post-traumatic stress with explicit detail and unflinching vulnerability, resonating equally with those grieving loved ones and rocky relationships. The album’s ambitious sonics— an unlikely amalgam of intimate folk confessionals, haunted soundscapes, and sky-scraping post-rock— belied its modest origins: Hospice was mostly recorded alone in Silberman’s Brooklyn bedroom, with an economy of equipment and hardly any expectant audience. The surprise popularity of Hospice placed the Antlers on a rapid ascent, touring globally, playing major festivals, and supporting such luminaries as The National and Explosions in the Sky.The music that followed grew The Antlers’ sizable following while resisting the impulse to rehash their initial success. The electronic pop of 2011’s Burst Apart, the aquatic psychedelia of 2012’s Undersea EP, and the brass-laden soul of 2014’s Familiars all embraced the band’s ingenuity while simultaneously subverting expectations, expanding the band’s emotional palette beyond the morose rage and desperation that characterized Hospice to reveal a playful expansiveness. The Antlers further pushed the boundaries as a live entity, trading the lush orchestration of their ambitious recordings for wall-of-sound maximalism and thunderous dynamics.Sadly, Silberman was forced to scale back after an unexpected hearing incident left him temporarily deaf in one ear and hypersensitive to sound. Putting The Antlers on pause, he made 2017’s Impermanence, a meditative and minimal solo album, pairing his then-fragile voice with gentle guitar and an abundance of silence. After regaining his hearing and recovering from vocal cord surgery, Silberman and longtime drummer Michael Lerner revived The Antlers for 2021’s Green to Gold, a collection of songs notably devoid of the darkness that characterized the band’s previous work.Following Green to Gold, Silberman honed his collaborative chops, including co-producing Wild Pink’s critically-acclaimed breakout ILYSM. Shortly thereafter, he released the debut album from Cowboy Sadness, his instrumental band with David Moore (Bing &amp; Ruth) and Nicholas Principe (Port St. Willow).During these intervening years between Antlers albums, Silberman and Lerner kept busy as well, releasing a series of free-standing singles unified by The Antlers’ gift for acid-dipped timbres, shape-shifting production, and impressionistic imagery.“These singles were metaphysical songs about connection with nature, which in turn put me in touch with all the ways that nature is under threat,” he says. “The smell of wildfire smoke on a sunny afternoon, the sound of chainsaws on a hike through the woods — these contradictions became impossible to ignore.”Whereas The Antlers have previously dealt in extended metaphors, Blight now takes a more direct approach. In “Calamity,” for instance, Silberman asks point-blank: “Who will look after what we leave behind?” The final and perhaps fundamental question posed by Blight appears in the penultimate track, the tragically relevant futuristic hymnal&nbsp; “A Great Flood”, in which he wonders: “Will we be forgiven should there come a great flood to drown out our decisions?” This question hangs in the air unanswered. Blight invites listeners to consider it for themselves, as if the survival of the natural world is in their hands, slowly slipping through their fingertips.

The Antlers

Valentine is “a record in pursuit of love,” says Courtney Marie Andrews. But love, it turns out, “is a lot more than I gave it credit for,” she explains. “It’s built over years, it’s built with trust, with changes, it becomes something new and unrecognizable, the deeper you go.” Written at the junction of intense endings and beginnings in her life, Valentine demands more of those we love and reveals a stronger, wiser, and more clear-eyed Courtney Marie Andrews in the process. It is both lush and elemental, precise in its construction but rich with sonic and lyrical layers. In love and on Valentine, there is no quarter for empty gestures.From her very first recordings, to her 2016’s breakthrough Honest Life, to 2020’s Grammy- nominated Old Flowers and her most recent Loose Future, Andrews has been celebrated as an artist who challenges herself, and who finds new interplays of Folk and Americana. “As a songwriter you can make the same record over and over again,” Andrews says, “and I’m notinterested in that. I make records to stand alone and stand apart from each other.” Co-produced with Jerry Bernhardt and recorded almost entirely to tape, Valentine features complete in-studio performances, hinging on performance rather than perfection. “We thought a lot about Lee Hazlewood, about Big Star’s Third and Fleetwood Mac’s Tusk” says Andrews, and that constellation of stars is apparent here. Valentine feels elegant, disciplined and balanced but never cold, always vulnerable and human.“I was in one of the darkest periods of my life, and songs were the only way I could reckon with it,” says Andrews. “I felt cursed, and the only mental cure felt like songwriting and painting.” The near-death of a loved one loomed over everything, and while that person eventually recovered from both sickness and psychosis, Andrews was more sure that death was coming than recovery. Her grief was acute, volatile. The decline coincided with a new romance, but rather than lift her up, the two emotional poles seemed to bleed into each other to sow doubt, trouble, even obsession. “I was grappling with what I felt sure was death, and with the end of that relationship,” Andrews explains, “while I was also grappling with something new but quiteunstable. Here was this new relationship evolving alongside the collapse of another.”The result was what Andrews describes as limerence, but a somehow empowered limerence: consuming and fierce, piled high with insecurity and fantasy, and filling every inch of a space she feared was hollowing out. It was painful, she says, and not far off from the pain of grief. But through her own exploration of music and art, Andrews found a way to grow stronger inside this feeling. “I didn’t want to slink into my pain, I wanted to embrace it, own it.” The songs that emerged are devotional in their lyrics but defiant in their energy; it’s the very sound of a woman standing in her first wisdom.That high-wire balance permeates Valentine, and lead single “Everyone Wants to Feel Like You Do” embodies it fully. A Petty-esque drumbeat marches under an indictment of the all-too- common type of man, the type who feels they can move through the world however they want without consequence. Here, Andrews’s singing is classic honey-and-vinegar; she may soundsweet, but rest assured you’re gonna hear about it. “It’s this funny double-edged thing,” says Andrews, “because you do want to feel like that person, but you’re not sure if you should because it’s a person so disconnected, without a care in the world or a care for other people. I played the guitar solo like I didn’t care in that song,” she continues. “I thought ‘I’m just gonnaplay it like I don’t give a shit what anyone else is doing.’” When Andrews sings “Don’t make yourself small, baby, take up space” on this summer’s “Cons and Clowns”, the softness in her voice lands as both a whisper and a dare. “Little Picture of a Butterfly" is another example, one where the reclamation of power in the lyrics (“Soulmates what a pretty thought / but either you do, or you do not”) mirrors the same in the music. “It’s such a trad song in a lot of ways,” saysAndrews, “but we added flute, we added organ and all these Brian Wilson harmonies.” Those additions set the song alight, building on the insistent tempo and bassline and climbing to an expansive, sky-high final act.Album closer “Hangman” opens with an echo and a note that hits like an arrow. Andrews sings insistently “tell me now, tell me now, tell me now,” but it’s not a plea, it’s a threat: I can love you with defiance, and without sacrificing who I am. It’s not “love me back”, it’s “love me or don’t.” “Keeper” is the only co-write on the record, and its backstory reads like a short film. “I was atdinner with a dear friend,” says Andrews, “and I was really going through it. I asked her if I’m a keeper, and we both just started crying. We wrote the song then and there, line by line over dinner. I went home and put a melody over it after.” There’s a desperation to “Keeper”, even in its lovely, melodic sighs. It’s insistent, worn out from chasing a love that isn’t sure.Valentine is also Andrews’s most sonically explorative record – she plays flute, high strung guitars, myriad synths, and she draws heavy inspiration from her art outside of music. Andrews is a vivid poet and an accomplished painter, and across Valentine you can feel these disciplines interwoven, everything feeding the beauty and clarity of everything else. It’s unexpected, then, that Andrews only recently appreciated the centrality of her power as a singer. “Historically my favorite artists weren’t looked at as singers,” Andrews explains, “they were looked at as writers. And I sort of dissociated myself from singing; I chose to use it when it behooved me, but I wasn’t connected with it.” But the more interdisciplinary her work became, the more that belief seemed to dissolve. “Singing is another stroke,” she says, “the most direct line to your heart. Everything is color, texture. The way you sing can change everything, for both you and the people listening.” Andrews’s voice is gorgeous and acrobatic always, but on Valentine it finds a newdepth, an assertiveness that brings new dimension to its biggest anthems and its softest moment.Andrews is, and has always been, unafraid to say the thing. Her songs are challenging but compassionate, they welcome us in but push us to venture out. And this, in the end, may do the most to explain Valentine as both a theme and title. Andrews rejects the objectification of love, the love filled with gestures and objects instead of trust, mess, and growth. In doing so, shedelivers her most beautiful and loving album to date.From the first moments of Goodbye Long Winter Shadow, layers of strings, woodwinds, acoustic guitar and the warm anchoring voice of Maia Friedman blossom as if to say “you are here.” The lush arrangements and sage lyricism are an enveloping statement of intent. They carry the devotion to nature Friedman fostered growing up in California’s Sierra Nevada with a new mother’s exploration of time and transformation. Friedman spent months developing the language of the album, pursuing the music she envisioned with characteristic patience. Produced with Philip Weinrobe (Adrianne Lenker, Florist) and Oliver Hill (Magdalena Bay, Helado Negro), the result is chamber pop abounding with melodic intimacy, a world whereinstruments bob and weave around the heart-stopping clarity of Friedman’s voice.Though 2022’s acclaimed debut Under the New Light was the first album under her name, the California-born, New York-based singer, songwriter and multi-instrumentalist has honed her sound for years as a member of both Dirty Projectors and Coco, the shared project of Friedman, Hill and Dan Molad. Where her debut was built from collaborative improvisation,Goodbye Long Winter Shadow is a collection of songs in the classic sense. Intimate instrumentals punctuate its running time and emphasize the sonic palette of the orchestral arrangements. Friedman’s lyricism and writing here is timeless, tightly composed and interspersed with surprising harmonic turns. If not for the heightened quality of its recording by Weinrobe, it might have been made decades ago; it’s Nico’s Chelsea Girl for today.Goodbye Long Winter Shadow is full of elegant evolution as Maia Friedman, in the refinement of her craft and her new identity as a mother, finds new depths to explore. At turns it feels both fresh and like a private press record unearthed for cult listening. It marks new heights for a songwriter operating with supreme confidence, and she sings: “Now the curtains hang open / in the window, flowers bloom in their vase / for once in my life I’m in love again / and my love is here to stay.”

Courtney Marie Andrews

Haley Heynderickx and Max García Conover made their second collaborative record in the spirit of Woody Guthrie. From opposite corners of the country, the two songwriters spent a year sharing songs while reading Woody’s words and biographies, slowly exploring a patchwork of Americanism to see where their stories fit. García Conover, half-Puerto Rican, and Heynderickx, half-Filipina, found themselves with this collection of music about the legacy of colonialism, generational identity, commercialism, and the slippery target of addressing social equity in song. Heynderickx’s precise, delicate eloquence met García Conover’s vivid, angular poetics in a barn in Vermont, where this record was recorded directly to tape in five days. With guitars, voices, and some found percussion, they played the record straight through, channeling Woody’s union of spontaneity, sweetness, and defiance.

Haley Heynderickx & Max Garcia Conover

ULTRA SUNN, THE BRUSSELS DUO MAKING WAVES ACROSS THE USA AND EUROPE. FRONTMAN SAM HUGE AND KEYBOARDIST GAELLE SOUFLET, NOW JOINED ON STAGE BY ALEXIS ANDRIGO, BLEND MODERN EBM/NEW BEAT WITH KILLER COLLABORATIONS (FRONT LINE ASSEMBLY, TWIN TRIBES, KONTRAVOID,…) AND NODS TO LEGENDS LIKE FRONT 242 AND NITZER EBB. THEIR CHART-TOPPING HIT "KEEP YOUR EYES PEELED" PUT THEM ON THE MAP, AND THEY’VE BEEN UNSTOPPABLE EVER SINCE, PERFORMING EVERYWHERE FROM LOS ANGELES TO SÃO PAULO TO BERLIN. NOW, ULTRA SUNN HAVE ANNOUNCED THEIR HIGHLY ANTICIPATED NEW ALBUM, SET FOR RELEASE ON OCTOBER 3, 2025, FOLLOWED IMMEDIATELY BY AN EXTENSIVE EUROPEAN AND NORTH AMERICAN TOUR. THE MOMENTUM IS ALREADY ELECTRIC THANKS TO THEIR LATEST SINGLE, "THE BEAST IN YOU", WHICH IS QUICKLY BECOMING A NEW FAN-FAVORITE AND CLUB ANTHEM. EXPECT A HIGH-ENERGY LIVE SHOW WITH DEEP AND POWERFUL VOCALS ON HARD-HITTING BEATS WHERE EVERYBODY IS CELEBRATED, SEEN AND LOVED. BETWEEN THEIR SOUND OF BELGIUM HERITAGE AND BOLD MODERNITY, ULTRA SUNN IS NOT TO BE MISSED

ULTRA SUNN

Not a Show

The Besnard Lakes - The Besnard Lakes are the Ghost Nation “They are always different; they are always the same.” As John Peel once famously said about the Fall, perhaps the same can apply to the Besnard Lakes? Peerlessly consistent, familiar and with a purity of vision and level of quality that is hard to rival in modern music. Except, they are not always the same. Not at all. New album The Besnard Lakes are the Ghost Nation illustrates this perfectly. Yes, the same sound world is present; the keening, lilting vocals of Jace Lasek and Olga Goreas foregrounded, but there is a lightness and optimism at play. Perhaps a somewhat disingenuous sense of hope, in a world where it is currently often in short supply. “I feel like it's a very formidable title, symbolic of the times,” says Jace. “It's talking about the death of nations, the threat of Canada being the 51st state. There is the desire to be left alone, to let community be community, all of those things that feel like they might be under siege; that's what the ghost nation is.” The band confirm this was partly in response to their last album, 2021’s The Besnard Lakes are the Last of the Great Thunderstorm Warnings. “The last record was so heavy,” reflects Jace. “There was so much weight and heavy themes, like my dad dying. It was just death everywhere on that record. This album doesn't really seem to be that. To me, it seems very playful.” The opening track ‘Calling Ghostly Nations’ has everything you would want from the band: the opening drone, a slow build with a warped girl group Phil Spector feel, initial vocals from Olga before Jace’s falsetto arrives. The song takes its time starting and leaving, the outro dissolving into chatter. Lyrically, it considers the history of human progress: “It's always been something in my mind; are we evolving, or are we devolving as a society ? As much as we move forward, have we forgotten the things that are important because we've moved forward so fast?”. This idea has come up before, going all the way back to ‘And This Is What We Call Progress’ on 2010’s …are the Roaring Night. Although there is a sense and acknowledgement of the wider world, the band do not look at it as a ‘political’ album: “We definitely try to keep our politics out of our music, and although this is probably slightly more present, it's still obscure in that we try to keep our lyrics fairly ambiguous”. A good example of this is the dazed, soothing ‘Chemin de la Baie’. Underpinned by a wonky arpeggio, the surging chorus is perhaps the most ‘pop’ they have ever been, again channeling that inbuilt confidence, imploring us to “Hold those thoughts and run away”.&nbsp; This is followed by ‘Carried It All Around’, whose clanging, chiming guitars combine with stabs of Mellotron cello. Ideas and images come in and out of focus - “We were ragged and incomplete” - leading to a chorus that is reminiscent of Low, the voices combining as one. The final line, “We’ve been lazy for centuries, carried it all around”, harks back to the overarching themes of the album, whilst bringing in online activism and the perception of progress. “We see people thinking that they're actually doing a lot of good,” adds Jace “but they are just commenting on things, progressing towards laziness. The footwork is what needs to happen to make things better”. During the writing and recording process, the band returned to their “vault” of ideas captured from the hard drive constantly recording in their studio (two song skeletons, for ‘In Hollywood’ and ‘Battle Lines’ even dating back to sessions from …are the Roaring Night). “Things that for whatever reason, we couldn't figure out how to finish or didn't think were appropriate for the records. So we went through it, to focus and put these things together, because we know they're good, and a lot of the songs came together really fast.” The rest of the band (drummer Kevin Laing, keyboardist Sheenah Ko and guitarist Gabriel Lambert) were more involved in shaping the recordings: “We put the arrangements together, but we left things pretty open ended, and then the band went up to Lost River Studio (run by Rebecca Foon, of Esmerine and ex-A Silver Mt. Zion) where we spent five days just fucking around and partying, hanging out with everyone’s family members there.” On how they decide who sings which song, or part, Jace admits that “it is usually determined by me and my failure to be inspired”, crediting Oggy (Olga) with “such a great ear for melody and this incredible way with arrangements if I’m stumped”. Oggy agrees that “it works for us in that sense, that we're able to kind of seesaw off each other when we're putting together the songs”. The gradual build of ‘Pontiac Spirits’ is a masterclass of patience and release. Piano flutters for the first two minutes, stuttering like typewriter keys awash with Mellotron flute and brass, a slow climb before the drums finally kick in after five minutes. “I had an idea of it being like a Spiritualized ‘Shine A Light’ kind of thing, because Lazer Guided Melodies is one of my all time favorite records,” says Jace “and I've always been trying to get there with Besnard Lakes. And so this record, I said, let's try to make it Spiritualized / Spacemen 3 simple.” It also includes the best way to introduce a guitar solo; what sounds like tweeting (or screaming?!) birds, notes strangled from the fretboard. This striving for simplicity is also inherent in ‘Battle Lines’, which has a Spoon-like groove about it, the piano setting the pace, providing a rigidity in addition to their usual fluidity, woozy Mellotron whispers dipping in and out. “Sometimes there isn't a lot left for anybody else to do,” admits Jace “because I get my grubby hands on it and I just fill it up with crap because I'm a maximalist at heart.” On this song they tried to keep the track count down, to realise that “when we think we're in a good spot, let's stop”. The yearning closing refrain - “Don’t want to be left without it, don't want to be left without your love” - sounds like a stadium singalong that should be echoed by thousands. In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most. Ben JonesMay 2025<hr>Gold Dust are more than a band. They’re a family. In a time of greater isolation and existential anxiety, they form a vital community. It wasn’t always this way. Gold Dust started four years ago as a solitary solo endeavor – a way for Western Massachusetts musician Stephen Pierce to branch out from his roots in DIY punk and explore a longtime fascination with traditional folk and psychedelia. After releasing two records, 2021’s self-titled and 2022’s The Late Great Gold Dust, Pierce welcomed new voices into the fold. Their collective effort, In the Shade of the Living Light, is the story of four people at a crossroads in their lives. They may never find the answers, but they have found solace and unconditional support in one another. Joining Pierce are Ally Einbinder (guitar, formerly of Potty Mouth), Adam Reid (drums, of Nanny), and Sean Greene (bass, of The Van Pelt). As a four-piece, Gold Dust springs out of the cloistered interior and transforms into a dynamic force. In the Shade of the Living Light embraces you with captivating guitar squalls and warm vocal harmonies, steady rhythms, and an innovative blend of influences, from traditional folk to West Coast psych, alternative punk, jangle-rock, and ‘90s college rock. “I look at this as a band starting to figure out who they are by leaning into regionalism,” Pierce says. “That's something that I miss, when different parts of the country and world would have distinct sounds and musical movements coming out of the communities, usually having something to do with their surroundings, be it geographical or cultural. Our rural part of the state is so culturally different from the more metropolitan part of MA; I've been pretty intentional pulling together from all the various music from around the world that influences me and tie it to something specifically evocative of rural New England.” Just as much as Pierce has given Einbinder, Reid, and Greene a creative platform and emotional sanctuary, the rest of the band have likewise encouraged the guitarist to push himself to release this collection. Initially, Pierce never thought he’d want to record the deeply personal tracks that make up In the Shade of the Living Light, a title with regeneration in mind and inspired by the writings of 11th century philosopher Hildegard of Bingen. “‘In the Shade of the Living Light’ means a lot of things to me, independent of what it might have meant to Hildegard.” Pierce says. “For me, making peace with these songs and turning them into something else – there's light in the shade, and there's shade in the light.” “It's a complicated record for me… I opened doors that I hadn't before, confronted darkness and came to terms with what's possible to come to terms with,” Pierce continues. “That's why I initially wanted to move past these songs quickly—they were tethered to the circumstances of the time. But, you know, strange things are born of chaos. Sometimes illuminating things. Things that, though difficult, are worth engaging.” Building out his vision for In the Shade of the Living Light, Gold Dust brought in an extended family of contributors, with production by Justin Pizzoferrato, with whom the band recorded at Sonelab in Easthampton, backing vocals from Gretchen Williams (Kindling), Meghan Minior (Ampere), and Josh Robbins (Late Bloomer), Fred Thomas on vocals and synth, Anthony Saffery (Cornershop) on sitar, Drew Gardner (Elkhorn) on vibraphone, and J Mascis, who plays electric sitar on “An Early Translation of a Later Work.” Finally, Sean Yeaton of Parquet Courts provided the liner notes, which come enveloped in an accompanying album zine. Mascis’ winding sitar solo closes out “An Early Translation of a Later Work,” a kaleidoscopic rocker Pierce reveals acts as a sonic bridge to a future Gold Dust record. “As far as my guitar playing goes, I'm prouder of that song than I think I am of anything else that we've released so far,” he adds. “For me, that's the song that heralds where we are as a band, and what the path ahead might look like.” Meanwhile, opener “Whatever’s Left” kicks in with stunning guitar-work that brims with urgency and feeling before cascading into Pierce’s even-toned vocal. As they anticipate the release of In the Shade of the Living Light, Pierce’s gratitude to his bandmates is palpable, both for their urging to record these songs and for encircling him with their unconditional love and support. “If left to my own devices, these songs would stay on the shelf. I wouldn't have reevaluated them,” he says. “Ally, Adam, and Sean encouraged me to revisit these songs, and I'm super grateful for that… Fundamentally, however, I think that the story of this record isn't so much about an individual. For me, it's the story of a band.”&nbsp;<hr>

The Besnard Lakes

Get ready for a winter night of Jamgrass to warm your soul. Local Groovegrass legends Jatoba are joined with some of the hottest up &amp; coming pickers on the Jam scene Armchair Boogie!Jatoba is a high-energy groovegrass bluegrass trio that has been captivating audiences since their formation in 2008. Hailing from Brattleboro, Vermont, the band consists of John Jamison (guitar, mandolin, vocals), Jason Scaggs (guitar, banjo, vocals), and Jeff Richardson (upright bass, vocals). Known for their unique musical chemistry, the members of Jatoba bring uniqueness to their songwriting and compositions and seamlessly communicate through spontaneous composition and improvisation, bringing an unpredictable and dynamic element to their performances.Influenced by their roots in the Blue Ridge Mountains of Virginia and the mountains of Vermont and New Hampshire, Jatoba has shared their music up and down the East Coast. They have provided direct support for celebrated acts like the Jeff Austin Band, Greensky Bluegrass, Trampled By Turtles, Rusted Root, The Kitchen Dwellers, The Infamous Stringdusters, and Leftover Salmon, and have been featured at festivals such as Northlands Music Festival and Frendly Gathering, with recent recognition from Rolling Stone.The band’s versatility is evident in the multi-instrumental talents of each member, enabling them to craft rich, layered soundscapes infused with dynamic bluegrass rhythms that distinguish them within the genre. Their signature style merges intricate, original songwriting with tight three-part harmonies, driving tempos, and even the occasional touch of beatboxing, delivering a fresh and innovative approach to bluegrass music. With over a decade and a half of performing in theaters and festivals across the Northeast, Jatoba continues to evolve and excite with their distinctive groovegrass bluegrass sound and spontaneous improvisation, winning over new fans at every turn.&nbsp;Jamgrass, newgrass, funkgrass, whatever you want to call it— Armchair Boogie is rapidly becoming one of the country’s hottest acts. With an unbounded sound, this Wisconsin-based quartet is known for their powerful harmonies, timeless originals, and choice covers, along with unforgettable live performances. Listed as a “Must-See Roots Artists at Bourbon &amp; Beyond'' by The Bluegrass Situation who wrote, “We recently caught this jammy Wisconsin outfit at Earl Scruggs Music Festival, where they burnt down their late-night set.”&nbsp;Armchair Boogie is Augie Dougherty on banjo with Ben Majeska acoustic &amp; electric guitars backed by tight, driving rhythms of Eli Frieders on electric bass and Denzel Connor on drums. This unconventional lineup enhances their lightning-fast bluegrass, allowing them to freely venture into the realms of funk or country. A band on the verge, Armchair Boogie is excited to independently release their 4th studio recording, Hard Times &amp; Deadlines, on March 15.&nbsp;&nbsp;

Jatoba/Armchair Boogie

Moon Hollow- High energy Western Mass AmericanaMorrissey Blvd.- Soul Pop TrioClay Pigeons-&nbsp;Folk/Country/Bluegrass from Belfast

Moon Hollow/Morrissey Blvd./Clay Pigeons

&nbsp;It’s been 20 years since Vic, Tommy, &amp; E-Ball started The&nbsp;Koffin&nbsp;Kats in their parent’s basements and played for beer in local Detroit bars.&nbsp;A psychobilly/punk band with influences ranging from The Damned to The Stray Cats, The&nbsp;Koffin&nbsp;Kats have covered a lot of ground,10 records, a few member changes, and close to 3,000 live shows from international touring.The band has been continuously touring and releasing music. 2023 will see new music releases from the band while they celebrate 20 years of somehow keeping it all together for Rock and Roll.You can keep up with&nbsp;Koffin&nbsp;Kats on all of the social media outlets. The band likes to keep it “old school” and suggests you check out their website at&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.koffinkatsrock.com/">www.koffinkatsrock.com</a>&nbsp;for all official information on news and tours.&nbsp;&nbsp;American rock and garage rock musician Playboy Manbaby is well-known and hails from Phoenix. Playboy Manbaby has carved itself an own identity in the rock world with a sound that is gritty, primal, and unrepentant. Their energetic live shows, melodic riffs, and thought-provoking lyrics that address topics of societal injustice and personal suffering are what define their music. Playboy Manbaby, who drew inspiration from a variety of musical genres and influences, has solidified their position in the rock genre with their own sound. Their devotion to pushing the limits of what is possible in rock music is reflected in their music, which is a reflection of their constant passion for the genre. Playboy Manbaby never ceases to enthrall audiences with their contagious enthusiasm and unmatched talent. Overall, Playboy Manbaby is a major player in the rock and garage rock music genres. They have a devoted fan base and have received favorable reviews thanks to their commitment to their art and distinctive sound. Playboy Manbaby is certain to make waves in the music industry for years to come thanks to their talent and dedication.The Rumours are a rock band based out of Waterloo, IA. The once, straight-up Rock N Roll band finally made-out with Punk -- leaving you beggin' for more with their Kick-In-The-Face look &amp; sound. The baddest GOILZ you’ll ever see.

Koffin Kats

Shakedown CITI returns for another night of deep Dead cuts and spot on harmonies!

Shakedown CITI

Big Yellow Taxi is a one of a kind musical experience. There is no other ensemble playing the music of Joni Mitchell with the dedication and imagination that BYT brings to every show. Created to explore Joni's amazing music from its early folk roots to her pop masterpieces to her jazz influenced compositions, Big Yellow Taxi brings Joni's music alive.​The band features the expressive and soaring voice of Teresa Lorenço. Teresa's vocals pay homage to Joni's sweet, husky, and bell-like voice delivering an emotional journey through Joni's expansive catalog.​The mission of the band is to present a show that immerses the audience in an intimate journey through many of Joni's best loved and most powerful songs: a performance beyond mere imitation, to delve into Joni’s musical intensity and genius, to leave audiences entertained, moved, and elated.Big Yellow Taxi began performing together in 2021 and is based in the Northampton, MA area. The band is led by vocalist Teresa Lorenço and features John Cabán on Guitars, Robert Sherwood on Keyboards and bass, Candy Green on Vocals and Percussion, Joe Fitzpatrick on drums and Rich Cahillane on Bass and Guitar.&nbsp;

Big Yellow Taxi

We’re back again for another installment of our annual Thanksgiving Eve Hip-Hop Blowout featuring JARV! With Coyote ReverieNahte RenmusSubtexRobscure

3rd Annual Thanksgiving Eve Hip-Hop Blowout JARV 

Echoes of Floyd is a professional Pink Floyd tribute act that specializes in the accurate reproduction of the band’s legendary sound. Meticulous in detail, EoF faithfully reproduces the iconic songs and albums from Floyd’s vast catalog.

Echoes of Floyd

JD Pinkus is an American bassist best known for his work with American punk band Butthole Surfers from1985 to 1994 and since the 2009 reunion.In 1990, he and Butthole Surfers' lead vocalist Gibby Haynes released Digital Dump, the only album from their psychedelic house music side project The Jackofficers.​Upon leaving Butthole Surfers, Pinkus worked full-time with the Austin trio Daddy Longhead, which he had assembled during his waning months in the band, and which included longtime Atlanta associate Jimbo Young on guitar and Rey Washam on drums. Daddy Longhead retired after 10 years, leaving Pinkus free to explore other projects including Skinny Leonard and Areola 51. Pinkus played with Helios Creed on his albums NUGG: The Transport [1996] and Activated Condition [1998], and has also collaborated with Bad Livers frontman Danny Barnes several times in a live setting.&nbsp;JD Pinkus then co-founded the band Honky who went on to record five albums and are still currently active.​Pinkus also performs with Pure Luck,who released a self-titled release in 2017 on Heavy Feather Records. He leaves his bass to play Banjo and Guitar in this project. On their 30th anniversary tour in 2013, Pinkus joined the Melvins in place of Jared Warren (on paternity leave) as well as performing with the opening Honky. He subsequently joined the Melvins full-time, touring with them in 2014 in support of the album Hold It In, which also featured Butthole Surfers founder Paul Leary, and again in 2015. He also plays on the song Captain Come Down which was first released in 2015 on Chaos as Usual, a split release with Le Butcherettes, and later included on the 2016 album Basses Loaded.​In 2018, JD Pinkus released a solo album, Keep on the Grass on cassette tape on Danny Barnes Minner Bucket Records and later Vinyl and Compact Disc through Heavy Feather Records. It was recorded entirely on banjo and features a rendition of the song Bride of Crankenstein from the Melvins album Hold It In.The Keep on the Grass album release show was with Sleep in San Pedro on September 15th 2018.​&nbsp;On February 12, 2018, the Melvins announced that Pinkus would be joining them, alongside current bassist Steven McDonald (Redd Kross), on their next album and subsequent tour. Released on April 20, 2018, the aptly titled "Pinkus Abortion Technician" features both bass players and four songs written or co-written by Pinkus. In May of 2021 JD Pinkus and Daddy Longhead released another album titled ‘Twinkle” which was originally recorded but not distributed in 1998.&nbsp;JD Pinkus second solo “Space Grass” banjo album was released on August 20th 2021 titled “Fungus Shui.” The album was written, recorded, and mixed by Pinkus himself at Plastic Cannon Studio in Asheville, North Carolina. The album was mastered by Kramer. Fungus Shui LP's were released on Shimmy Disc and CD's available through Heavy Feather Records.​JD Pinkus teamed up with the artist Tall Tall Trees&nbsp;to release the collaborative psychedelic banjo album "Ponder Machine" on June 30th 2023 through Shimmy Disc Records.​JD Pinkus's newest release, five years in the making, "Grow A Pair" will arrive worldwide June 7th 2024 via Shimmy Disc with guest artists forming The JD Pinkus Bludnerbuss.​Born from the swamps and underpasses of the American South, Yes Ma’am merges Depression Era blues, Jazz and Bluegrass with instrumental virtuosity and the raw, emotional storytelling of early punk rock. Matt’s soulful voice and authentic stage presence have made him a muse for the traveling community and solidified his legendary status as street-corner royalty. His sound has shaped a generation of musicians, whether he’s performing solo or with a rotating ensemble of folk punk’s finest. Yes Ma’am is a force that demands attention.

JD Pinkus 

After introductions from our Board Chair and Executive Director, we will award SEVEN local producers with BCTV awards for the hard work they’ve done with and for our community media center. This event is free and open to the public – all are welcome.

BCTV turns 50!

Richard Thompson’s musical influence cannot be overstated. Having co-founded the groundbreaking group Fairport Convention as a teenager in the ‘60s, he and his bandmates invented the distinctive strain of British Folk Rock. He left the group by the age of 21 which was followed by a decade long musical partnership with his then-wife Linda, to over 30 years as a highly successful solo artist. In 2011, Thompson received an OBE (Order of the British Empire) personally bestowed upon him by Queen Elizabeth II at Buckingham Palace. The Los Angeles Times called him “the finest rock songwriter after Dylan and the best electric guitarist since Hendrix” and Rolling Stone has named him one of the Top 100 Guitarists of All Time. He has received lifetime achievement awards for songwriting from the BBC Radio 2 Awards, the Americana MusicAssociation, and was awarded the prestigious Ivor Novello Award. His song “1952 Vincent Black Lightning” was named one of TIME Magazine’s “100 Greatest Songs Since 1923.” A wide range of musicians have recorded Thompson’s songs includingRobert Plant, Elvis Costello, R.E.M., Sleater-Kinney, Del McCoury, Bonnie Raitt, Tom Jones, David Byrne, Don Henley, Los Lobos, and many more. His massive body of work includes many Grammy nominated albums as well as numerous soundtracks, including Werner Herzog’s Grizzly Man and 2019’s The Cold Blue. His genre defying mastery of both acoustic and electric guitar along with engaging energy and onstage wit continue to earn him new fans and a place as one of the most distinctive virtuosos and writers in Folk Rock history. On May 31, 2024 Richard Thompson will release the anticipated ShipTo Shore, his first studio album in six years.

Richard Thompson

Richard Thompson’s musical influence cannot be overstated. Having co-founded the groundbreaking group Fairport Convention as a teenager in the ‘60s, he and his bandmates invented the distinctive strain of British Folk Rock. He left the group by the age of 21 which was followed by a decade long musical partnership with his then-wife Linda, to over 30 years as a highly successful solo artist. In 2011, Thompson received an OBE (Order of the British Empire) personally bestowed upon him by Queen Elizabeth II at Buckingham Palace. The Los Angeles Times called him “the finest rock songwriter after Dylan and the best electric guitarist since Hendrix” and Rolling Stone has named him one of the Top 100 Guitarists of All Time. He has received lifetime achievement awards for songwriting from the BBC Radio 2 Awards, the Americana MusicAssociation, and was awarded the prestigious Ivor Novello Award. His song “1952 Vincent Black Lightning” was named one of TIME Magazine’s “100 Greatest Songs Since 1923.” A wide range of musicians have recorded Thompson’s songs includingRobert Plant, Elvis Costello, R.E.M., Sleater-Kinney, Del McCoury, Bonnie Raitt, Tom Jones, David Byrne, Don Henley, Los Lobos, and many more. His massive body of work includes many Grammy nominated albums as well as numerous soundtracks, including Werner Herzog’s Grizzly Man and 2019’s The Cold Blue. His genre defying mastery of both acoustic and electric guitar along with engaging energy and onstage wit continue to earn him new fans and a place as one of the most distinctive virtuosos and writers in Folk Rock history. On May 31, 2024 Richard Thompson will release the anticipated ShipTo Shore, his first studio album in six years.Need Tickets? Check out our partners at Cash or Trade- <a target="_blank" rel="noopener noreferrer nofollow" href="https://cashortrade.org/richard-thompson-at-the-stone-church-tickets/event/44b76097-3f1c-49e1-8108-ea935d754cb6">https://cashortrade.org/richard-thompson-at-the-stone-church-tickets/event/44b76097-3f1c-49e1-8108-ea935d754cb6</a>

@ (pronounced “At”) is the folk-pop project of vocalist/guitarist Victoria Rose and multi-instrumentalist Stone Filipczak, who owe their musical bond to the power of text messages. Although the pair initially met years ago, it wasn’t until spring 2020 when they began sending each other music between their respective cities — Rose based in Philadelphia and Filipczak in Baltimore. A few exchanges down the line, Rose sent Filipczak an early recording of a song she’d written called “Star Game” asking him to contribute drums. She didn’t anticipate what he returned to her: “I didn’t like it at first. It felt jarring to hear my music so arranged,” she says. “I almost plotted to end the collaboration.” But it wasn’t long before she came around to the potential of what she and Filipczak could create together.Filipczak’s version of “Star Game” wound up being the second track on @’s debut album Mind Palace Music, initially released in April 2021. Rose admits that she didn’t even think her bandmate would ever want to work with her in a formal capacity, given Filipczak’s niche background sharing bills with artists like Black Pus (Lightning Bolt drummer Brian Chippendale) and Guerrilla Toss. But with his keen, inventive ear for musicianship and Rose’s penchant for confessional lyrics and vibrant melodies, @ grew as an amalgam of their unique musical backgrounds and complementary strengths. In their review of the album, Pitchfork would go on to say “Mind Palace Music is an example of what happens when you take a poignant songwriter who’s careful about her chord progressions and introduce a fellow songwriter who knows the magic of no-frills arrangements.”After the album’s release, @ received well-deserved recognition from Pitchfork, Stereogum, The Fader and many more and became an in-demand live act. Fortunately for fans, @ didn’t wait too long before working on new music. On January 12th, 2024, they released their new EP Are You There God? It’s Me, @. Diverting from their usual acoustic instrumentation, @ go soul-searching on a sonic side quest into more electronic music.

Advance Base is the melancholic soft rock recording project of Chicago, IL singer/songwriter Owen&nbsp; Ashworth (formerly of Casiotone for the Painfully Alone). Using a two-handed arsenal of electric piano,&nbsp; Omnichord, samplers, effect pedals &amp; drum machines, Ashworth builds minimalist, heavy-hearted, &amp;&nbsp; nostalgia-obsessed ballads around his conversational baritone. The warm, electronic sound of Advance&nbsp; Base has been described as "lo-fi," "depressed" &amp; "weirdly uplifting."&nbsp;Animal Companionship, the third &amp; most recent "studio" album by Advance Base, was released September&nbsp; 21, 2018 by Run For Cover Records / Orindal Records. GoldFlakePaint &amp; Various Small Flames both listed&nbsp; Animal Companionship among their favorite albums of 2018. Since then, Advance Base has released Wall&nbsp; of Tears &amp; Other-Songs I Didn't Write, a home-recorded collection of (mostly) country/Americana covers&nbsp; arranged for electronic instruments &amp; Live at Home, a collection of mid-quarantine livestream concert&nbsp; performances &amp; the closest representation of an Advance Base live set commercially available. A new&nbsp; single titled ”Little Sable Point Lighthouse” was released on March 31, 2022.&nbsp;“It’s with no exaggeration we describe Owen Ashworth as one of the most consistent and important&nbsp; songwriters in contemporary indie music. From the earliest Casiotone For the Painfully Alone demos to&nbsp; most recent Advance Base single ‘Little Sable Point Lighthouse‘, Owen has crafted a catalogue of&nbsp; characters and circumstances with few rivals in the modern era. His is an ever evolving body of work which&nbsp; stands out in its deftness and humility and empathy and care, bringing to life individuals from across the&nbsp; spectrum of human experience while remaining unerringly attuned to the tender, fallible heart at the centre&nbsp; of each.” - Various Small Flames&nbsp;"A Raymond Carver short story collection set to music by a Joan of Arc-era OMD" - MOJO Magazine&nbsp;So much of Moontype’s life-affirming magic is from the evolving confidence and relentless creative playfulness of its lead singer and bassist Margaret McCarthy. As the leader of the Chicago indie rock outfit, her music tackles soft and vulnerable emotions with striking clarity and immersive, unorthodox melodies. Their second album, I Let The Wind Push Down On Me, serves as a reinvention for the band—not just for their new and expanded lineup—but for how McCarthy navigates the changes in her own life and the messy feelings she sings about. Out May 23 via Orindal Records, the LP is a patient document of feeling things out, being easy on yourself, and finding the beauty in small moments.bobbie is ambient lo-fi dream pop music from Western Massachusetts. bobbie uses omnichord, electric guitar, vox + loops to create layers / spirals / songs about harmony, lessons, grief, friendship, and trusting the process.&nbsp;

Advance Base/Moontype

🦇 DARK COMMUNION: a dance party for the goths 🦇 Saturday, November 1st at Stone Church w/ DJ sets by DJ DAGON &amp; BURROWSspinning the best in goth, darkwave, EBM, dark techno music and beyond ✨

DARK COMMUNION: a Goth Dance Party

This Halloween get ready for the return of Bearly Dead!Grab your tickets in advance because we expect this extra special Halloween Spooktacular to sell out quickly!Not just another Grateful Dead cover band. A cosmic exploration of the Grateful Dead catalog! Bearly Dead, Boston-based quintet, performs a concert-style show that celebrates the journey of the Grateful Dead from their earliest records until their final tours. The band delivers a full-spectrum concert experience filled with danceable energy and world-class musicianship. Each and every Grateful Dead member is honored through a collection of classics, b-sides, deep cuts, and exploratory jams. Holding true to the spirit of the music, Bearly Dead frequently adds to their 250+ song catalog and continues to showcase authentic, spontaneous improvisation – live and in-person – making each show a wildly unique Grateful Dead experience you do not want to miss.Boojum&nbsp;(noun) - a highly dangerous sub-species of snark. - an art band from Brooklyn specializing in dramato-funkology, the intersectional study of improvisational performance, musical composition and stagecraft, chiefly remembered for a series of controversial theatre performances in the mid-2030’s.Boojum features Chris Mackin (guitar, vocals), Josh Santiago (guitar, vocals), Sarah Elaz (bass, vocals), and Mike Coiro (drums, vocals), with lyrics crafted by Chris's brother, Thomas Mackin, a poet and translator.

Bearly Dead

<h3 style="text-align: start">Stone Church &amp; Epsilon Spires Present</h3>Claudio Simonetti's Goblin<h3 style="text-align: start">Performing the live score to Dario Argento's "Deep Red"</h3>Composer Claudio Simonetti has written, recorded and performed some of the most influential scores and soundtracks in horror, including Suspiria, Dawn of the Dead, Demons, Tenebre and many others, with his seminal work still informing the genre to this day. This year, Simonetti's Goblin celebrates the 50th anniversary of Dario Argento's 1975 classic, Deep Red / Profondo Rosso by performing Goblin's iconic score to a special screening of the film followed by a short set of quintessential Goblin songs/scores set to clips of their cinematic counterparts. 50 years after its release, Deep Red / Profondo Rosso and Goblin's masterpiece of a score are both the stuff of legend that laid the framework for a myriad of horror scores to come. Get your tickets now before they are gone.

Claudio Simonetti’s GOBLIN

It's almost every queer's favorite time of year! Halloween Season! Whether you're a ghost-with-the-most or a to-cool-for-school-ghoul, come out to this wicked dance party and cabaret at the Stone Church to do the Monster Mash with your nearest and dearest. Dress in your most elaborate costume to compete for some exciting prizes.with DJ Tishhh!!! With an unwavering love for the dance floor, DJ Tishhh takes you through a historical journey of dance music. From the soulful melodies of disco and funk to the hypnotic punchy beats of house and techno, every song is carefully selected to curate a space that welcomes you to release yourself from trepidation and surrender through movement and connection.Your MC, Patty Cake, the 1950s housewife you dream aboutand bring your $$$$ to shower these fabulous performers:Jaime V Anita Cocktail Kira Kandy Jasmine D'Luxat The Stone Church Sliding Scale $10-20 notaflofThis party is for queers and allies ages 18+

Bratt QDP- Villain's Ball

Circus Trees makes music that is rooted in the wastelands of suburbia, reflective of their own personal pains and tragedies, but relatable to humans of every age, culture, and lifestyle. Their music is equal parts inspiring and heartbreaking, with an alchemic style combining the best and most brutal elements of grunge, emo, shoegaze, pop, and indie resulting in a breath taking, tear making, ear shattering sound of sadness that will echo in your heart for days on end.The early rumblings of the band Match began during the lockdown of 2020 in Brattleboro, Vermont, with composer and multi-instrumentalist Aaron Chesley asking his friend and fellow musician Gabe MacFarland to write some lyrics about kids wanting to go out and ride bikes against the backdrop of the horrendous predicament society was experiencing. Subsequently, songwriters Jenny Crowell and Aaron began a long period of composing and recording, culminating in an album of material to be released in early 2024. Gabe and Marcel LeClaire were soon added on bass and drums to complete the live band. We appreciate your help in sharing our “space age relationship songs to help you navigate the void” with the rest of the world.Dearest is the solo project of Dharma Ramirez.&nbsp;

Circus Trees/Match/Deerest

Join us in a celebration of the music of Ozzy Osborne as Pioneer Valley rockers Outer Stylie bring the music of Black Sabbath to Stone Church!But that’s not all, you also get The Whoremoans tribute to The Ramones!

In OZ We Trust- Outer Stylie's Tribute To Black Sabbath

Michael Roberts has been writing songs for decades. He's studied folk music in America, Mongolia, and Uganda, settling down wherever in the world he is and making every place he goes the better for it. His longest running project is a truly unique honkytonk ensemble called The Rear Defrosters; I'll save you some time: they're the best goddamn country band in New England, and maybe anywhere. Mike's a wily and wiry amalgam of Michael Hurley, Link Wray, and Roger Miller. With both his voice and guitar he is playful, deft, and inspired. Roberts' affable nature, experience, and reputation has afforded him the uncanny ability to attract the best players around, creating a veritable force of reliable, energetic, and ripping bandmates. At this point in their storied career, the band are a cohesive unit, and they realize these songs both like technicians and mind readers, each holding their end of the songs with soft and sure hands, allowing for the confident creativity that one finds in the great combos throughout time. The Way Down is their first LP of original songs and it goes a long way to delivering the full breadth of their capabilities as a crucial unit. You get heartfelt accompaniment and intricate solos ranging from subtle to fiery, though always within the container of the song. Generally I've always felt that it is pretty impossible to ask for this caliber of songwriting, and even if you get it, how could you expect such a deep outfit to themselves become equitable conduits? The source is real, and Roberts has tapped it by way of Texarkana, stoner pill-popping truck drivers, the real old-time country, bluegrass, rockabilly, and the outlaw set, all filtered through his worldly adventures and the brains and hands of this wonderful band. --Eric GagnePointe Noir&nbsp;finds its rhythm deeply rooted in Southwest Louisiana.&nbsp;Cannon Labrie&nbsp;(accordion) is a long-time Cajun and Zydeco player who also plays with Yankee Chank and Planet Zydeco.&nbsp;Katie Trautz&nbsp;(fiddle) and&nbsp;Chris Hollis&nbsp;(guitar) are seasoned old-time players who eventually drifted south to the bayou to learn the musical traditions there.&nbsp;&nbsp;Jay Ekis&nbsp;(guitar) plays everything from indie folk to heavy metal, always with his amp turned way up!&nbsp;&nbsp;Helen Doyle&nbsp;(bass) has never been anywhere near Louisiana and is pleasantly surprised to be in a Cajun band.&nbsp; Michael Bradshaw&nbsp;(drums) can also be heard behind the Zydeco soul of Mango Jam, Vermont surf rockers Barbacoa and many more.

The Rear Defrosters- Album Release

Fiery Balkan brass, irresistible beats, Roma (Gypsy) accordion wizardry, and virtuoso jazz chops make Slavic Soul Party! NYC’s official #1 brass band for BalkanSoul GypsyFunk.&nbsp; These nine musicians pump the sounds of New York life through a Balkan brass filter, making new music out of immigration, integration, and ingenuity.&nbsp; The band's Tuesday night residency at Barbès in Brooklyn, going for over 22 years, has become a destination for music fans from around the world, and is famous for "delivering a great time." (New York Times)&nbsp; In November 2024 SSP! released their seventh album, a collection of original material titled “Extended Play” on the Diskonife label."Anytime musicians study traditions deeply, and then free themselves to follow their own whims, it's a beautiful thing. But when it comes to the brass band fusion of Slavic Soul Party! that's just the beginning.&nbsp; With razor-sharp precision, juggernaut force, and a healthy dose of playfulness, these guys start out in overdrive and never let up... Slavic Soul Party! offers a gutpunch to preconceptions about traditional music, world music, pop music, dance music, but I'll tell you, this is one gutpunch you'll enjoy." (Banning Eyre, NPR's All Things Considered)

Slavic Soul Party!

Kalbells is a supergroup merging the talents of Kalmia Traver (Rubblebucket), Angelica Bess (Body Language), and Sarah K Pedinotti (LIP TALK).Sprouted as Kalmia’s solo debut “Ten Flowers" (2017) the act quickly evolved into an all-star groove collective, touring extensively in the US, Canada &amp; the UK, taping a Tiny Desk concert and winning over fans with their cheeky lyrics, warm &amp; dreamy bedroom pop moods, deeply funky bass lines and powerfully tight vocal harmonies. The second album, “Max Heart” (2021), harnesses this magnetic power for a collection of songs that are packed with inspired tension and daring surreality. Whether live or in the studio, Kalbells is a testament to the magic of creative synergy.“Crackly and tactile, it feels like a dazzling celebration” - FADER“The joie de vivre is palpable.” - NPRErica Eso is a Brooklyn and Kingston, NY-based project led by composer / vocalist / producer Weston Minissali. Minissali has participated in New York’s music scene for more than decade as a member of projects like avant-rock post-pop band Cloud Becomes Your Hand (Northern Spy, Feeding Tube) and chimeric musique concrète experimentalists VaVatican (NNA Tapes), while his work at the head of Erica Eso has manifested with varied ensembles on albums including 2019 (Ramp Local, 2015) and 129 Dreamless GMG (NNA Tapes, 2018). Minissali’s music under the Erica Eso banner fuses compositional strategies of the avant garde, including the use of microtonal note voicings and advanced synthesis, with songwriting in the vein of art pop. His lush, tightly structured songs teem with melismatic topline melodies, layered vocal harmonies, and fast-shifting narrative arcs, all built over a sturdy instrumental foundation. 192, the first Erica Eso release with Hausu Mountain, captures the project in the quintet formation that solidified in 2017 and rigorously rehearsed in the years that followed. Their recordings and the live shows from this period, which culminated in their final performance in this configuration in October of 2019, document the music of Erica Eso at a peak of live band complexity and near telepathic collaborative energy, giving life to Minissali’s music with a more solidified ensemble of hands and voices than ever before.

Kalbells/Erica Eso

After a series of indie releases and growing buzz in the Atlanta music scene, Shawn Mullins’ critical and commercial breakthrough came when 1998 Soul’s Core shot him to fame on the strength of Grammy-nominated No. 1 hit, “Lullaby” followed by AAA/Americana No. 1 hit “Beautiful Wreck” from 2006’s 9th Ward Pickin’ Parlor. His song, “Shimmer” was used in promotion of the 2000 Summer Olympics in Sydney and was included on the Dawson’s Creek soundtrack. His co-write “All in My Head” from 2008’s Honeydew was featured in episode one of the hit TV sitcom “Scrubs.” Mullins also co-wrote the Zac Brown Band’s No. 1 country tune “Toes.” In early 2002, he formed supergroup The Thorns with Matthew Sweet and Pete Droge. “No Blue Sky” from the resulting album, is a modern day classic. For the 20th anniversary of his breakthrough album, Shawn revisited the music of Soul’s Core by recording two new versions of the album. He calls this Soul’s Core Revival. This is not a remix or a remaster of the original, but rather brand new recordings with new arrangements of the songs – one album is stripped down solo performances, some on guitar, some on piano and maybe one a cappella and the second is a new studio recording with his full band, Soul Carnival.&nbsp;Jennifer Lynn Simpson is a Los Angeles based singer/songwriter who first sang on stage with Julio Iglesias at the age of 9 and has been writing music since then. A Native southern Californian who has lived all over the United States, Jennifer combines traditional singer/songwriter style with old country and Americana sounds. Jennifer has co-written songs with many amazing artists, including Alyssa Suede And Miles Zuniga of Fastball. Jennifer and Miles recorded their 30A songwriter festival award-winning song together, South Walton Paradise. Jennifer is also currently working with legendary strings arranger and composer, David Campbell on a song she co-wrote for a major motion picture. Recently, she’s toured opening for 80’s icon Rick Springfield and recorded her debut album, produced by herself, Grammy-Award winner, Matty Spindel, and his partner Jeff Gross.

Shawn Mullins

The B-52.0's ("the bee fifty two point oh's")Get ready to dance your way through a technicolor time warp with The B-52.0s, a high-energy tribute band celebrating the quirky charm and irresistible grooves of the original B-52's! This Western Massachusetts seven person supergroup (including members from <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.instagram.com/home__Body">Home Body</a> and Fleetwood Whack) cover classics and deep cuts from the iconic queer "trash culture" rock group The B-52's, whose quirky sound straddles punk, new wave, surf rock, and dance floor kitch. From “Rock Lobster” to “Love Shack,” this fun-loving group faithfully recreates the band’s iconic sound while rocking the outrageous outfits, sky-high wigs, and retro flair that made The B-52s a new wave legend. With infectious beats, campy vocals, and a stage presence as bold as their beehives, The B-52.0s deliver a party-ready performance that’s part concert, part time machine, and all-out fun. Come for the classics, stay for the wild ride!+ <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.instagram.com/home__Body">www.instagram.com/theb52.0s</a>— Zepptunes are a valley based Led Zeppelin tribute band fronted by lead vocalist Ursula Elmes. This four-piece rock outfit uses minimal arrangement to pull off Zeppelin's iconic classics, allowing the essence and energy of the music to shine through. The resulting performance is one of sonic power, musical virtuosity, and full flavored fun that guarantees audience connection!

B-52.0s + Zepptunes

“This album was truly a risk and a chance encounter. It played out like a spring storm in Eau Claire, Wisconsin.”About half-way through the recording of Sean Rowe’s excellent new album, The Darkness Dressed in Colored Lights (Fluff &amp; Gravy Records), he and producer Troy Pohl were taking a break. They were holed-up in Eau Claire, Wisconsin, working at Brian Joseph’s studio, Hive, which is situated on a remote acreage of rolling green hills. While catching their breath, they noticed a minivan that had turned off of the rarely traveled road adjacent to the property and onto the grass, driving straight towards them. It pulled so close that it almost touched the picnic table. A stout and somewhat menacing man emerged, who did little to calm suspicions when he spoke.“You ever been on TV?” he asked.Rowe, thinking that’s exactly the kind of thing someone might say before murdering you, replied, “I actually have. Have you?”“Yep, back in the early 90’s, I was on David Letterman twice.”“Oh yeah, for what?”“Stupid Human Tricks — I could pour two beers at once without using any of my appendages.”Troy and Sean nodded in recognition and without another word, the man climbed back into his minivan and drove off. As he was pulling away, Brian Joseph came sprinting across the yard to see what was happening. They recounted the head-scratching tale of their brush with a minor celebrity and after some failed attempts to make sense of it, went back to the business of making a record.A blessing and curse of a curious mind paired with a sense of adventure is that one becomes a collector of stories. Some, like this, play out over the course of a few minutes while others, more profound and complex, take years to untangle. Rowe, an artist and nomad at heart, has made himself into the perfect repository for spun yarns of every variety — hysterical, terrifying, heartbreaking, mystifying, and ridiculous — and on this record, he makes it clear that at some point it’s hard not to feel them all at once.The album’s title is taken from its first single, “To Make It Real.” “All this darkness, dressed in colored lights. Everything is wrong but you look so damn beautiful tonight.” It’s a relatable couplet that illustrates the paradox between what once was and what now is, while the chorus howls in response to being lost in the inbetween. “When you lose your way, when you lose your face, when you’re paid in full for what you used to steal. When you lose that love, when you lose your mind, well then oh my God, you make it real.”While “To Make It Real” was forged from the despair that comes from losing yourself to heartache, “Little Death” recognizes that both in spite of and because of such events, it’s possible to find yourself again. Here, Rowe brushes off the dirt and looks ahead to the freedom of only being accountable to oneself. “A little death, it won’t kill us after all and that’s fine. When you ain’t there, you ain’t there to feel all that pain.” In the chorus, he lists some of what he’s looking forward to. “I’m gonna write a song, gonna phone a friend. I’m gonna fall in love with the road again. I’m gonna wrap my arms around her waist. Work me Lord and wash my sins. I’m gonna fall in love with the woods again. Fix that sorry shape I’m in.”Rowe opened up about some of the work he’s been doing to build a fitter, happier version of himself. “The heaven and hell that swirls around in our head — to a large extent, we make both. So, in realizing that, you begin to realize that you have the ability to decide which one you’re gonna make.” Rowe credits therapy and a guided ayahuasca retreat with helping him to reach this understanding.“Over the course of an intense weekend, I had three profound experiences that stripped away all of my defenses and rationalization, along with the guilt and anger that built up over the course of being a human. Two of those experiences brought me to a place of such intense beauty and peace, while the third showed me the exact opposite. I think that the lessons learned over that weekend are still being revealed but in those moments, I seemed to experience real heaven and hell. Now it’s up to me to choose which one I want to exist in.”The Darkness Dressed in Colored Lights is ripe with both dimensions. It was produced by Rowe’s friend and longtime collaborator Troy Pohl, whom he has known since he was in his early twenties while Pohl was still a teen. The two grew into their professionalism together and here, they make the most of their combined ambition and experience.The studio Hive in Eau Claire, Wisconsin was chosen so that they could work with the Grammy-winning engineer, Brian Joseph (Bon Iver) and for its proximity to a group of musicians that Sean came to admire while listening to Anna Tivel’s remarkable album, The Question, in his manager’s basement studio. That group includes drummer/percussionist, and producer Shane Leonard, along with Jeremy Boetcher on bass, and Ben Lester on keys and pedal steel. Courtney Hartman was flown from Colorado to provide background vocals and guitar. Chris Carey provided additional bass, while John DeHaven, Jeff Nania, and Joel Yannuzzi made up the album’s brass section.Rowe’s admiration for Tivel’s album was not limited to its sonics. The Portland, Oregon label Fluff &amp; Gravy Records, which has released all of Anna Tivel’s albums, is home to The Darkness Dressed in Colored Lights, which will be released on CD and double-vinyl, as well as available on all streaming services on October 8.Derek Sensale is a Vermont-based singer-songwriter blending folk, Americana, and indie rock into warm, introspective songs rooted in place and memory. A &nbsp;smooth, expressive voice and thoughtful lyrics explore personal transformation, the natural world, and the quiet complexity of being human. &nbsp;His performances are intimate and engaging, inviting listeners into a shared space of contemplation and emotional resonance. This year, he took first place in the New England Songwriting Competition’s singer-songwriter category, also earning placements in several other categories as well.

Sean Rowe

For over 50 years Black Uhuru has remained one of the most popular recognized prolific reggae band from Jamaica. The living legends have earned several achievements in the music industry including winning the first ever Grammy Award for reggae music. They’re long success along with having the highest reggae record sales after Bob Marley &amp; the most songs sampled by other artist&nbsp;over the years has allowed them to become Ambassadors of reggae.&nbsp;The roots of Black Uhuru formed in Kingston’s “Waterhouse” District in the late 60’s. It is the home of founder &amp; leader Derrick “Duckie” Simpson along with all the rest of the singers from the group. The original Uhuru’s Swahili for “freedom” were Duckie, Don Carlos &amp; Garth Dennis. The first song was a Curtis Mayfield cover of “Folk Song”. They made only a couple more songs before Don left to pursue a solo career &amp; Garth joined Wailing Souls. The two were replaced by Michael Rose &amp; Errol Nelson both from Waterhouse. They recorded the debut album “Love Crises” in 1977 for Prince Jammy later re-released as “Black Sounds of Freedom”. Errol later left the group to join the Jays &amp; was replaced by female singer Puma Jones.&nbsp;This new line-up is when the band began to collaborate with Sly &amp; Robbie &amp; developed the “classic Uhuru” sound of the 80’s. A unique style full of heavy drum &amp; bass, sharp keys, loud guitar riffs &amp; long instrumentals filled with whirly background effects &amp; the signature “wow&nbsp;oh-oh oh’s” echo. It was during this period they signed with Island Records. They began touring internationally &amp; started receiving worldwide attention. They recorded some of their most popular albums like “Guess Who’s Coming To Dinner” “Sensimelia” &amp; “Chill Out”. The album “Red” was voted #23 for Rolling Stone Magazine list of 100 greatest albums of the 80’s. And history was made when they won reggae’s first grammy award in 1984 for the album “Anthem”. Shortly after the grammy Michael left the group to go solo.&nbsp;Another Waterhouse resident named Junior Reid became the new lead singer. Two albums were released&nbsp;“Brutal” nominated for grammy &amp; “Positive” with Ras Records. These albums included popular hits like “Dreadlocks on the Mountain” “Fit You Haffi Fit” &amp; one of the groups first music videos “Great Train Robbery”. Sadly due to ill health Puma passed away in 1990. Around this time Jr. Reid was having visa issues unable to tour.&nbsp;During the mid 90’s the original members reunited. Four albums were released “Now”,&nbsp;“Iron”, Storm”, “Mystical Truth” &amp; “Strongg” all nominated for grammy. They made an award-winning music video for “Tip of the Iceberg” that featured rap star Ice-T &amp; another video for “One Love” featuring Louie Rankin. They performed live on television for VH1 a cover version of Jimmy Hendrix “Hey Joe”. In 1994 they won the Diamonds Awards for Excellence. Unfortunately, the group began to dispute over band legal rights &amp; went to court in the late 90’s. Duckie won the rights to the name.&nbsp;As the new millennium approached Duckie found Andrew Bee’s once again from Waterhouse. Bee’s first tour with the band was in 1996 in Brazil. They released two albums “Unification” in 1998 &amp; “Dynasty” in 2001. In 2002 they reunited with Sly &amp; Robbie for an international world tour &amp; released a live album/dvd “Dubbin it Live”. The group resurfaced in 2010 &amp; has been touring extensively throughout Europe, South America &amp; the United States. In 2012 they performed in a Broadway musical in Los Angeles called “Loving the Silent Tears”. In 2013 Duckie was awarded a lifetime achievement award from the IRWMA. In 2017 they released a new single &amp; music video “Jah Guide” a Peter Tosh tribute that featured Bugle.In 2018 Black Uhuru released&nbsp;“As The World Turns” the newest album after 15 years. It was nominated for “Best Reggae Album” at the 61st Grammy Awards. For the first time it featured Duckie on lead for the entire&nbsp;album.&nbsp;To support the album the band headed on a major&nbsp;US Tour &amp; Hawaii.&nbsp;During the&nbsp;East Coast&nbsp;leg of the tour&nbsp;they&nbsp;appeared live on NPR’s Tiny Desk Concert series where they&nbsp;performed a new single “I See You” taken from the “Tropical House Cruises to Jamaica Reloaded” album produced by Sean Edwards of Contractor Music. Two music videos "Chalice" &amp; "War Crime"&nbsp;were filmed by Benji Cooper for the album both featured on Reggaeville.&nbsp;Right before the pandemic Black Uhuru&nbsp;went on a small West Coast Tour with Dylan's Dharma &amp;&nbsp;Etana where they performed at the&nbsp;One Love Festival in Long Beach. During&nbsp;the "lock-down" the band was idle all of 2020.&nbsp;Duckie did one&nbsp;live stream performance for Kumar's Kulture Walk St. Bess live video stream&nbsp;series&nbsp;during reggae month.&nbsp;In 2021 Black Uhuru released a new single "Jamaica to Here" mixed by&nbsp;Shaquille "Skunga" Kong, "Med Dread" &amp; Mark "Jah Servant" Giles.&nbsp;Early this&nbsp;year in 2022 Black Uhuru just&nbsp;released a&nbsp;new full length album titled&nbsp;"New Day" &amp; music video for "Brand New Day"&nbsp;that features the members of Dylan's Dharma band. Partnering with Law Records the album was produced by King Hopeton&nbsp;at his Double Lion Studio in Helltown California &amp;&nbsp;mixed by&nbsp;Jermaine "Ajang" Forde with Dylan's Dharma band as the&nbsp;Executive Producers.Three&nbsp;music videos were made for the album&nbsp;"Top Ranking",&nbsp;"Gal Next Door" &amp; the title track "New Day" all filmed by&nbsp;King Hopeton.&nbsp;After the Pandemic Black Uhuru got back on the road in 2022. Starting with a small West Coast US Tour with Dlyan's Dharma in the Spring. Then in the Summer they&nbsp;headlined the&nbsp;Puerto Rico Reggae Festival at the Tito Puente Amphitheater. And finished a major US Tour in the Fall.&nbsp;In 2023 Duckie&nbsp;released a new track titled "Teaching of his Majesty" that features Jah Mason from Boxy Records. Black Uhuru went on one small US West Coast Tour &amp; headlined the Truckee Reggae Fest.&nbsp;Award-winning slide guitarist, Joel Veena, and singer of the reggae band Rhythm Inc, Simon White, ride the riddims with DJ Selector D in an unprecedented fusion of reggae, hip-hop and Indian slide guitar.Listen to Joel Veena: <a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">https://vibe.to/joelveena</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">JoelVeena.com</a>Listen to Simon White &amp; Rhythm Inc:&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">https://rhythminc.bandcamp.com/</a>Listen to Selector D:&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">https://archive.org/details/@selector_d</a>

Black Uhuru

Composer and performer Zoë Keating has spent the last 20 years exploring the landscape of sounds a string instrument can make. She coaxes sounds out of the very edges of her cello, adeptly layering them into “swoon inducing” (San Francisco Weekly) music that is unclassifiable yet “a distinctive mix of old and new” (National Public Radio). She is known for her use of technology - which she uses to record and sample her cello onstage and in the studio - and for her DIY approach - composing, recording and producing her works without the help of a record label.Born in Canada, Keating started playing the cello when she was eight and went on to pursue electronic music and contemporary composition as part of her Liberal Arts studies at Sarah Lawrence College. After graduation she moved to San Francisco and built a career as an information architect and data analyst while moonlighting as a cellist in rock bands. Keating eventually combined her love of music and technology, using a computer to live-layer her cello and performing for late-night parties in the San Francisco warehouse in which she lived.Keating’s recorded works have achieved a surprising degree of popular ubiquity for a DIY artist. Her self-produced albums have several times reached #1 on the iTunes classical charts and spent many months on the Billboard classical charts. Her recordings are used as bumper music for NPR’s Morning Edition, as the theme music to OnBeing, as the thinking- music of the Sherlock Holmes character on CBS Elementary, in HBO's hit drama White Lotus, in countless documentaries and in tens of thousands of online videos of everything from professional and amateur dance performances to rock climbing and gaming videos.Keating also composes for TV, theater, film and dance. She co-composed, along with Jeff Russo, the score for the HBO movie “Oslo”, which earned them an Emmy Nomination in 2021 for Outstanding Music for a Television Movie. Her latest projects include scores for PBS's 2022 series "Searching: Our Quest for Meaning in the Age of Science" and the drama "For The Love of a Woman", by Italian director Guido Chiesa, scheduled for release in 2024.In addition to her recordings, Keating performs to rapt audiences around the world. Each performance is unique as she spontaneously improvises around her pieces, demonstrates how she makes them and tells the stories behind them.A vocal advocate for the rights of artists and creators, Keating writes and speaks often about copyright and the mechanics of the music industry economy. She was elected a governor of the San Francisco chapter of the Recording Academy, named a Young Global Leader by the World Economic Forum and served as a boardmember of CASH Music, a nonprofit organization that built open source digital tools for musicians and labels.As a cellist Zoë has played with a wide range of artists, including Imogen Heap, Amanda Palmer, Guy Sigsworth, Tears for Fears, DJ Shadow, Dan Hicks, Thomas Dolby, Sean Ono Lennon, John Vanderslice, Rasputina, Pomplamoose and Paolo Nutini.Zoë currently lives in Burlington, VT and is working on another album for release in 2024."...a distinctive mix of old and new -- layers of sound, that feel more like orchestrations than a solo instrument. " - National Public Radio"Swoon-inducing. Like taking a triple-shot of Absinthe before stepping outside of the bar just in time to see the sun exploding." -SF Weekly"... uses live looping to transform solo performances into multipart masterpieces." - Electronic Musician"...sublime minimalist music with a pop sensibility" - San Francisco WeeklyAwards:Creative Capital Foundation, 2009. Performing Arts grant San Francisco Artsfest, 2005. Emerging artist award Belle Foundation, 2005. Artistic development grant World Economic Forum, 2011. Young Global Leader Television Academy, 2021, Emmy Nomination for Outstanding Composition for a Movie (Original Dramatic Score)

Zoë Keating

MATT HECKLER is a solo multi-instrumentalist that barely fits into any ordinary musical category. He tends to keep to the darker side of Appalachian mountain music and early bluegrass but listen long enough and you’ll soon be transported to the mountains of Eastern Europe or a dimly lit bar in Ireland where they honor those who have passed with a gently swaying a cappella ballad.After touring almost nonstop for years in support of bands like Devil Makes Three, Lost Dog Street Band, Flogging Molly, and others, HECKLER, like the rest of us, got sidelined by the ongoing global pandemic. With the newfound time off, he set to pushing creative boundaries in his home recording studio as far as his mind would allow. Each fiddle, banjo, and guitar track carefully put in place all the while retaining the grit and energy reflected in his live shows. Paired perfectly as the sequel to After The Flood, the Blood, Water, Coal album is a defining release in his career.Blood, Water, Coal was performed and recorded by MATT HECKLER with upright bass and backing vocals provided by Jeff Loops (Lost Dog Street Band). While recording Blood, Water, Coal, MATT HECKLER released The Magnolia Sessions outdoor live set – the maiden release for the now popular series – which made it to #9 on the Bluegrass BillboardCharts. The Magnolia Sessions was still charting upon the release of Blood, Water, Coal, which debuted at #3, leaving HECKLER with two albums running on the Billboard Charts simultaneously.HECKLER writes, “I started working on this album over a year ago in my home. Ran into a lot of snags and problems inherent in self-recording, but being alone, just a mic and my instruments, was the only way to capture the raw emotions this collection of songs holds for me. Some of these tunes were written over a decade ago, most of them in more recentyears. Others took years to write. But now that it’s done, I can confidently say this album is the perfect sequel to After The Flood.”

Matt Heckler

Five years since her debut album Delivery, Mikaela Davis has moved away from her hometown of Rochester, shared the stage with the likes of Bob Weir, Phil Lesh, Christian McBride, Bon Iver, Lake Street Dive and Circles Around the Sun and entered a new decade. But it’s the ever-evolving relationships between her closest friends and bandmates that has propelled the Hudson Valley-based artist onto her new album And Southern Star––a truly collaborative effort that ruminates on the choices we make, and the people we always come back to.Davis earned her degree in harp performance at the Crane School of Music, and has molded her classical music training to create an original and genre-bending catalog that weaves together 60s pop-soaked melodies, psychedelia and driving folk rock. She met her bandmates at pivotal moments in her life––drummer Alex Coté in childhood, guitarist Cian McCarthy and bassist Shane McCarthy in college, and steel guitarist Kurt Johnson in her early twenties. It’s the band’s collective step into adulthood that has informed much of And Southern Star’s thematic landscape.&nbsp;Navigating the periphery of past selves, the coexistence of isolation and excitement in a new environment and the tension of growing away from what we thought we wanted is tackled with a luscious, kaleidoscopic grace. And Southern Star picks apart the reflection we used to recognise, while trying to build a new one. “I finally feel like this album is more me than anything else that’s been released,” Davis says, adding that producing the album along with her four bandmates allowed them to carve out their own ideas, rather than someone else’s. Despite playing together for over a decade, it’s the first time the five-piece have appeared on a full length album together.&nbsp;The bones of And Southern Star was recorded at Old Soul Studios with Kenny Siegal, a person who was an integral part of Davis’ move to the area. The rest was recorded by Cian McCarthy at Horehound Mansion, adding to the album’s intimate nature. The album was mixed by Mike Fridmann at Tarbox Road Studios, who is lovingly nicknamed as the ‘silent sixth member of the band.’&nbsp;Davis describes the band’s bond as “meditative and telepathic,” adding that although many of the songs were written individually across the past few years, something instantly clicked once they were together. Opener “Cinderella,” written by Coté and Davis, begins with Davis’ distinctive harp plucks and ethereal vocals. It’s a sonic choice that directly points to Davis’ solo beginnings, before blossoming into the textural patchwork of the band’s contributions. The fairytale wanderings of the song peel back in the album’s dream-like canopy, where tracks offer an otherworldly escape from the constraints of reality.&nbsp;The album, however, doesn’t shy away from the very real, lingering fog of solitude and uncertainty that comes with entering new chapters. “Far From You,” written by brothers Cian and Shane McCarthy, introduces a stark spotlight, with ghostly vocals and gentle piano accompanying the weight of loss. “Oh but if I was to meet you in the moonlight,” Davis laments before the song offers a tentative optimism through a stirring, psychedelic instrumental outro, written by Davis, that’s full of bright percussion and driving harp and guitar. This optimism lingers on “Home in the Country,” also written by Cian McCarthy, where rousing harmonies and honky-tonk frills encourage us to seek out the blue skies beyond the heavy clouds.&nbsp;“Promise” was crafted by Davis and Coté years ago as she was illustrating the pains of a close friend, but soon found herself relating it to her own life. Like the evolutionary tint of the album’s scenery, And Southern Star reckons with the changes that creep into a hairpin bend. “The Pearl” is there to anchor these dizzying shifts, as steel guitar and glittering harp creates a frame around the core-memories that shaped us. “You will always feel like that inner child,” Davis explains. “Sometimes you’ll forget about them but then it hits you.”And Southern Star is an album that toes the liminal space of growing into ourselves, while tugging at parts of the past that we’re desperate to keep. Moving forward, and accepting change, is one of the most painful parts of renewal and we can often find ourselves stuck in the difficulty of it all. Davis, along with her band, understands that while these bumps may hurt at first, they’re not forever and just like the message of album track “Saturday Morning”: &nbsp;sometimes “the illusion of darkness breaks its spell.”Since 2023, Lily Seabird’s life has been in perpetual motion, spending nearly half of that time on the road performing her own music and as a touring bassist. While she thrives in transit, back home she is anchored by “Trash Mountain,” a pink house surrounded by other artists situated on a decommissioned landfill site at the back of Burlington’s Old North End. Here, Seabird has found belonging, friendship, and inspiration. It’s a place that hosts artists, puts on shows, and has been passed along in her friend group for the better part of the decade. It’s a symbol of transition and stability: something always evolving and growing but never losing its soul. It's only fitting that Seabird named her new album Trash Mountain, as it also contains its namesake's qualities. Over nine delicate but sturdy tracks of intimate folk rock, she pares her songwriting down to its most resonant essentials. It’s an album of unwelcome exits and uncertain futures, but there’s resiliency and hope at its core.

Mikaela Davis

Bob Mould – Here We Go CrazyWhen he calls, Bob Mould is finishing work on his 15th solo album, Here We Go Crazy. A distillation of the unfailing melodic skill, the emotional lucidity and dynamic fluency he’s developed over more than four decades, it’s also a typically bold realignment of his sonic paradigm. Its turbulent vignettes are scored by Mould’s familiar bruised tunefulness, but the sound is pared back to its fundaments, 11 songs blistering past in just over 30 minutes. “I’ve stripped things back to what excited me as a young guitarist,” he explains. “The energy, the electricity.”Part of the inspiration for this more primal aesthetic is the heavy itinerary of touring he’s lately undertaken, several years spent circling the globe, either in the company of bandmates Jon Wurster (drums) and Jason Narducy (bass) or just by himself. “I was really throwing myself in the songbook and feeling where the audience is at,” he says. “And they were really responding to this very simple, just-me-and-a-guitar setup. And I thought, maybe I shouldn’t be overcomplicating things, ‘word’-ing or ‘craft’-ing it up. Just grab for the simple bits of life we still have control over: our emotions, our relationships.”After shows, Mould would hang out signing merch and talking to fans. “Sometimes people bring a lot of their lifetime emotional content to me,” he says, “like they’ve compressed all this coal into a tiny little diamond. Sometimes I’m surprised at the weight of it, the heaviness. I’m like, ‘I’m here for you. I’m listening.’ I’m shocked and grateful they share so readily with me. I don’t know what I did to earn that trust.”Mould has earned that trust with every record he’s made, channelling his own “lifetime emotional content” for songs of wisdom, honesty and volcanic intensity. His first band, Hüsker Dü, bared his angst over furious noise and turbulent melody, an indelible influence on generations that followed. But by the time Nirvana infiltrated the mainstream, Bob Mould had already moved on, having sequestered himself in a farmhouse to lick his wounds and learn new ways to sing his songs. His solo debut, 1989’s folk-rock masterpiece Workbook, was a record of depth and sophistication. Then he pulled another sharp turn, his power-trio Sugar alloying his most melodic songs with his fiercest noise, yielding his most commercially successful work yet.&nbsp;Over the solo career that followed Sugar’s own mid-90s flameout, he’s displayed a maturing gift for songwriting, transcending the ‘alternative’ tag and recognised alongside key influences like Pete Townshend and Pete Shelley. He’s adrenalized classic forms, alchemised angst into something addictive and powerful. “I’m just trying to figure myself out,” he says. “After 64 years of life – 55 spent writing songs – it’s what I do.” The concepts that shaped the songs of subsequent albums reflect those years. The ruminative Beauty &amp; Ruin (2014) and Patch The Sky (2016) were written in the wake of losing his parents and other loved ones. 2019’s Sunshine Rock was a homage to the early Capitol singles of the Beatles and the Beach Boys, constant companions through his turbulent childhood. The terse, political Blue Hearts (2020) was written and recorded amid the dying days of the first Trump administration.Here We Go Crazy, meanwhile, arrives at another moment of uncertainty, a time of disruption and fear. Mould sees the songs unfolding like the three acts of a play, each act exploring distinct but related themes. The first handful of songs concern “control versus chaos”, Mould explains. The opening title track contrasts images of nature – deserts, mountains, fault-lines – with the tumult of human life. Inspired by a riff that Mould says “sounded like a fistfight”, ‘Neanderthal’ is “a snapshot from inside my head as a young kid: growing up in a violent household, everything being unsettled, feeling that fight-or-flight response at all times,” while ‘Breathing Room’ is “about feeling isolated, cramped-up, and literally needing that breathing space”.&nbsp;The furious, dynamic ‘Fur Mink Augurs’ signals the second act, where the darkness descends. The song channels claustrophobia, and “the cold, crazy, late-winter feeling I grew up with in the Adirondacks and in Minnesota. When the cabin fever really sets in deep – when the permafrost is set and it never gets warm – you become frayed, and things can really unravel, quickly.” ‘Lost Or Stolen’ chronicles lives undone by “people losing themselves in their phones,” Mould explains. From this focus, he pulls back and digs into “ideas about depression, addiction, self-medication and collapse… The words just fell out of me.” This anguished middle-passage of the album concludes with the cathartic ‘Sharp Little Pieces’, exploring “the end of innocence, the idea of a young child’s trust being violated. For those of us who lost trust as children, it disappears in a flash, and we spend years struggling to regain that innocence. And maybe it never comes back.”The song ends bluntly (Mould says the album’s “lack of sophisticated ornamentation is key – I was trying to stay out of the way of the songs, to strip away all the things I used to think were important, all those extra colours and complexities. I didn’t want to get deep into decorating the tree. I wanted to keep it simple, to use the simplest words”), raising the curtain on the closing act. The theme here is lifting oneself out of the darkness; ‘You Need To Shine’ is a song about “looking for the bright sides, the good parts of life, despite everything that’s happened”, Mould says, a sentiment borne out by the song’s spirited holler that “all that madness doesn’t matter anymore”. ‘Thread So Thin’ is “about trying to protect the one you love, and trying to feel protected”, Mould explains, while the closing ‘Your Side’ is a powerful love song from the edge of the darkness, Mould howling “If the world is going down in flames, I want to be by your side”. “We're heading into a great unknown here,” Mould says, of the wider geopolitical and climate anxieties that inspired these songs. The message here is, simply, focus on that which can save you and deliver you from this moment. “This album talks a lot about uncertainty, helplessness, being on edge,” Mould adds. “How much can we control? How much chaos can we handle? In the end, the answer, the remedy, is placing your trust in unconditional love.”Mould knows Here We Go Crazy is an album freighted with darkness; “There’s soothing melodies, and there’s lyrical discomfort,” he deadpans. “It’s manic, frantic, complex.” But no one ever came to Bob Mould for good news, for the easy answers. Pop music runs through his veins, as surely as the electricity that drives his chiming hooks into the realms of distortion, but he’s here to give you the truth, his truth. To give you songs that ring true when howled against a tornado of guitar, that compress all that “lifetime emotional content” into some kind of sonic diamond. There’s eleven of those precious gems here, sculpted to make the heaviness easier to bear, somehow. Treasure them.

Bob Mould Solo Electric: Here We Go Crazy

Tropical Fuck Storm formed when guitarist and vocalist Gareth Liddiard and bassist and vocalist Fiona Kitschin’s previous band, The Drones, went on hiatus in 2016. Joined by guitarist, keyboardist, and vocalist Erica Dunn and drummer Lauren Hammel, the group has released a string of critically acclaimed albums and gained a reputation for their incendiary live shows.Acidic, acerbic, anarchic; Tropical Fuck Storm’s command of wordplay, undercut by snarling guitars, pulsing rhythms, and explosive salvos, populates a hinterland between light and dark. The vocal interplay between Liddiard and the soaring harmonies of Kitschin and Dunn creates a teetering balancing act that’s intensified by the frantic narratives that evolve from their collective psyche.Perennial&nbsp;is an art punk three-piece from New England. The band’s sound – built from the sharp minimalism of guitar, electric organ, and drums – is a kinetic collage of mod pop, 90s post-hardcore, post-bop jazz and 60s soul. The band’s ferocious live show – quick and electrifying – has already become the stuff of DIY legend, short bursts of manic energy with barely a moment to catch your breath: not to be missed.&nbsp;Perennial’s new album,&nbsp;Art History&nbsp;is available everywhere that&nbsp;chic&nbsp;modernist punk is sold.

Tropical Fuck Storm

ACTORS&nbsp;began by releasing a string of popular singles, starting with “Post Traumatic Love” in 2012 and building a dedicated fanbase while eschewing a debut album release for the band’s first six years of existence. In 2018, the&nbsp;Jason Corbett-led foursome signed with Toronto-based&nbsp;Artoffact Recordsand released its long-awaited debut,&nbsp;It Will Come to You, quickly becoming one of the marquee acts on the label and following with their sophomore release 'Acts of Worship' in 2021. In Late 2020,&nbsp;ACTORS&nbsp;announced a new single, “Love U More,” with Juno-Award winning director&nbsp;Peter Ricqcontributing his talents to the accompanying video. Songs like “L’appel du Vide,” “Slaves,” “Face Meets Glass,” and “Bury Me” are bangers that glisten via Corbett’s production job: infectious beats propelled by the warm layers of synth, bass, and drums contributed by the rest of the band. Corbett writes, produces, mixes, and masters all&nbsp;ACTORS&nbsp;music at his own Vancouver studio,&nbsp;Jacknife Sound&nbsp;and names David Bowie as a fundamental influence – Bowie’s sense of confidence and creativity are in full effect on&nbsp;It Will Come to You. Much more than a retro act, this is music that stands all on its own, full of life and complete with unforgettable hooks. Perhaps best described as a “post-post-punk” band,&nbsp;ACTORS&nbsp;belongs in the mix alongside bands like&nbsp;The Soft Moon&nbsp;and&nbsp;Cold Cave.&nbsp; ACTORS&nbsp;have spent the last several years touring the USA, Canada, and Europe, while hitting many of the best-loved festivals, including&nbsp;Amphifest,&nbsp;Wave-Gotik-Treffen,&nbsp;Cold Waves,&nbsp;Substance,&nbsp;Death Disco,&nbsp;Verboden&nbsp;and many more.”

ACTORS

<a target="_blank" rel="noopener noreferrer nofollow" href="https://open.spotify.com/artist/53PYmJ7bACIX8gkVoTkCIr">Simon Joyner</a>, a legendary American songwriter with 19 albums under his belt, has been praised by artists like Gillian Welch, Kevin Morby, and Conor Oberst. He'll be touring with a powerful live backing band for this run.Joining him is&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://anniversarygroup.com/Leah-Senior">Leah Senior</a>, a celebrated Australian songwriter admired by King Gizzard &amp; the Lizard Wizard, Jeff Tweedy, and&nbsp;Rolling Stone.

Simon Joyner x Leah Senior

Devendra Banhart (b. 1980, Houston, Texas) lives and works in Los Angeles. An internationally renowned musician considered a pioneer of the “freak folk” and “New Weird America” movements, Banhart has toured, performed, and collaborated with Vashti Bunyan, Yoko Ono, Os Mutantes, the Swans, ANOHNI, Caetano Veloso, and Beck, amongst many others. His musical work has always existed symbiotically alongside his pursuits in the other fine arts.Banhart emerged seemingly out of nowhere in 2002 with his first CD collection, Oh Me Oh My…The Way the Day Goes By the Sun Is Setting Dogs Are Dreaming Lovesongs of the Christmas Spirit, compiled by Swans frontman Michael Gira for his Young God label from homemade recordings the itinerant Banhart had amassed as he traveled the world. He was born Devendra Obi Banhart in Houston, Texas, but spent his childhood in Caracas, Venezuela; as a teenager, his family returned to the States, relocating in Southern California, where he soon became enamored of skateboard culture.&nbsp;Music was always a passion for Banhart, and he discovered it in ways both magical and haphazard. As a boy in Caracas, says Banhart, “I was surrounded by salsa, merengue, cumbia, some bossa nova—that was ubiquitous, you’d hear it on any street.” In high school, Banhart became obsessed with rocksteady, bluebeat, and ska, which he’d learned about via skateboarding videos. Finishing high school, he thought he would pursue a visual arts career so he enrolled at the San Francisco Art Institute, but he soon dropped out in favor of exploring music. He has, however, successfully maintained a parallel career as a visual artist: Banhart’s distinctive, minutely inked, often enigmatic drawings have appeared in galleries all over the world, including the Art Basel Contemporary Art Fair in Miami; the San Francisco Museum of Modern Art; the Palais des Beaux-Arts in Brussels; and Los Angeles’ Museum of Contemporary Art and Nicodim Gallery.San Francisco had an indelible influence on Banhart; the flamboyant dressing he adopted that entranced the fashion crowd (and fueled the “freak folk” and “New Weird America” labels the press attached to him) was inspired in part by the seriously subversive cross-dressing culture of San Francisco’s legendary performance troupe the Cockettes.Like former label-mates Caetano Veloso and David Byrne, Banhart has embraced an astonishingly wide range of musical ideas, from folk to blues to the avant garde. He extols the late Arthur Russell, a relentlessly eclectic artist who was impossible to pigeonhole in his brief lifetime, and Banhart has brought back into the spotlight forgotten artists like late-’60s singer Vashti Bunyan, whose psychedelic folk he championed. He has collaborated with Brazilian legends Os Mutantes, the Swans, ANOHNI, and Beck, among others, and has engaged in art projects like conceptualist Doug Aitken’s monumental 2012 Song 1 video installation on the façade of the Hirschhorn Museum in Washington, DC.For Banhart, his career remains “an adventure and an exploration.” Banhart admits, “I don’t really take care of my voice, but, just like with playing guitar, you get more familiar with it, and you get better at it. I’ve always said that I’m very good at not knowing how to play the guitar but, really, it’s just that I’m very comfortable with the utter uncertainty of my approach.”Kath Bloom is some kind of legend. She comes from a special place where country, blues and folk are made beautifully translucent and emotive. Highly regarded but a bit of a mystery. The Connecticut basedsinger/songwriter has a special gift - her almost supernaturally beautiful, wavering soprano is one that has to be heard, she has a clear transparent moonlight tone combined with an earthly raw qualitythat can silence a room.Kath made some very very limited edition albums in the 70’s and 80’s with the amazing (and equally dreamlike) guitarist Loren Mazzacane Connors, full of songs that float and melt into the ether. Impossiblybeautiful. However, music was put on the back burner as life changed and she raised a family, trained ‘problem horses’ and taught special music programs to kids. Just as she was starting to write andrelease CDs again, Richard Linklater decided to use her song ‘Come Here’ in his 1995 film ‘Before Sunrise’. Life altered - not much - but the public consciousness was rightfully tweaked. Slowly her oldrecordings and new material have been seeping back into the world. This includes a special tribute album by artists such as Josephine Foster, Bill Callahan, Devendra Banhart, Meg Baird and ScoutNibblet. Since 2017 she has been recording and performing with New Haven, CT based guitarist David Shapiro

Devendra Banhart (solo)

Shannon Lay’s music is shored by radical empathy. After 15 years of writing, recording and performing her singularly gentle songs in venues around the world, the self-taught singer-songwriter is most concerned with how her music may help people in emotional and spiritual need. In a world of persistent change, Lay’s goal is to have concentrations of love and energy in her work that double as a helping hand or a voice whispering “everything is going to be ok.” The singer’s abiding belief is that immense change also means invaluable transformation and permanent relief. Intention is her North Star. Hailed by publications such as Pitchfork, The Guardian, SPIN and Uncut magazine, Lay’s solo albums, including “Geist,” “August”, “Living Water,” and “All this life goin’ down” are noted for their thoughtful and entirely tender reflections on life’s big questions. Her seraphic voice has drawn comparisons to British folk icons Anne Briggs, Sandy Denny and Vashti Bunyan. Though an old soul, Lay aims to meet her listeners in the present. For her, creating a song, a recording or a live performance that is relatable and communal is of the utmost importance for we are constantly in flux and those unknowns, met with compassion, can be beautiful.—Meernaa is the musical project of Carly Bond, a Bay Area native known for her introspective and genre-bending music. Her sound blends Americana, indie-pop, and classic R&amp;B, often exploring themes of self-examination, addiction, and loss. Bond's emotive vocals and elastic melodies, paired with lush arrangements, create a distinctive sound that has been praised for its depth and accessibility.__<a target="_blank" rel="noopener noreferrer nofollow" href="https://suneinyneeenan.github.io/Enhydrax/">elie mcafee-hahn</a> (b. ’96) is a songwriter living in Brattleboro, VT. elie is a founding member of the <a target="_blank" rel="noopener noreferrer nofollow" href="http://pcotandy.org/">People's Coalition Of Tandy music &amp; art label</a>, one-half of the trailblazing guitar duo <a target="_blank" rel="noopener noreferrer nofollow" href="https://bluedish.pcotandy.org/">BLUE DiSH</a>, proud member of the <a target="_blank" rel="noopener noreferrer nofollow" href="https://ruthgarbus.bandcamp.com/album/alive-people">Ruth Garbus Trio</a>, far-out keyboardist of the adventure-some <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=7oE0NNVFQro">Illusionary Dreams</a>, and a devout member of Intangible Shirt Company. Where Music can be found, you can expect to find this musician raring and ready to go. In 2024, they released two solo albums: <a target="_blank" rel="noopener noreferrer nofollow" href="https://tandy.bandcamp.com/album/no-sun-on-main-street">No Sun on Main Street</a> &amp; <a target="_blank" rel="noopener noreferrer nofollow" href="https://tandy.bandcamp.com/album/change-ringing-in-america">Change Ringing In America</a>. The third album of the trilogy –&nbsp;Share The Music – is forthcoming, and will be out in due time!

Shannon Lay & Meernaa

Friday September 5th The EDD return with another helping of fresh VT craft space rock!

The EDD

Vision Video is a post-punk goth rock band from&nbsp;Athens, Georgia that injects modern malaise into classic sounds of the late 70's and 80's. The band pays homage to classics like the Chameleons and The Cure, while also bringing a refreshing modern element to the genre. Thematically their music explores the effects of trauma on the human psyche and finding stability and agency in an insane world. Having served in Afghanistan with the army and as a firefighter in the civilian world, lead singer and guitarist Dusty Gannon is no stranger to the darker proclivities of humanity and death itself. "I wanted to write music that helped people remember that it's okay to not be okay, but that also doesn't shy away from taking a stern look at the darker aspects of our flawed human existence." says Gannon. The band's first two records were met with much critical praise, such as that from Pitchfork stating they create "dreamy tune tailor-made for the sort of wallflower who sprints to the dancefloor the instant the DJ drops “Age of Consent” or “Primary” at Goth Night" Their debut LP "Inked in Red" and second LP "Haunted Hours", were recorded and mixed by Tom Ashton of The March Violets at his Sub Von Studios in Athens, Georgia.Vision Video will soon record their next LP "Modern Horror" at&nbsp;Maze Studios in Atlanta headed by&nbsp;Grammy award winning producer Ben Allen.<hr>Born from the shadows of the pandemic, Dutch Experts is the creative alter ego of Brattleboro, Vermont-based singer/songwriter Hannah Hoffman. Hoffman channeled her isolation and inner turmoil into a sonic catharsis, experimenting with layered synths and electronic rhythms crafted in GarageBand, birthing a soundscape both equally haunting and danceable. Inspired by goth icons like The Cure, ethereal voices such as Kate Bush and Cocteau Twins, and contemporary darkwave, indie rock, pop and post punk&nbsp;acts, her music fuses 80s retro‑synth textures with modern production. Her debut EP, 'Bound by This' received critical&nbsp;praise for its cinematic, emotionally intense sound: A&amp;R factory calling&nbsp;it, “one of the most cinematic soundscapes possible in our lifetime". Currently in the process of recording her first full-length album,&nbsp;Hoffman continues to expand her sonic horizons, establishing Dutch Experts as a compelling voice in the contemporary darkwave/synth-pop revival.

Vision Video

Johnny Mullenax, a Tulsa native, grew up in a musical family. He started playing the guitar at age 5. In his teens, he followed his family to the Walnut Valley Festival in Winfield, Kansas. In typical Johnny fashion, he showed up with just a guitar and ended up sleeping in a standup base case. At 18, he used a friend’s ID to get into a club where he was part of a live hip hop band backing rappers. According to Johnny, “Life is too short to play one style of music, and if you have an opportunity to try something different then you should give it a shot.”Claiming wide-ranging influences from AC/DC and The Ramones to John Coltrane and Parliament, Johnny calls his genre bending sound a funky country bluegrass good time for working folks.

Johnny Mullenax

Magnolia Boulevard has blossomed through devastation since forming in 2017. In the beginning, front-woman Maggie Noelle played in a bluegrass band, although she’d been yearning for a creative outlet to let loose like her idols Bonnie Raitt and Susan Tedeschi. She met co-founder Ryan Allen and the vision was formed for a rock ‘n soul band tied to their Appalachian roots. Together, they pushed through the turmoil of COVID-19 that devastated the music industry, the sorrow following the death of their beloved drummer, and the joys of welcoming Maggie’s daughter into the world. Much like the band members of Magnolia Boulevard have endured the highs and lows of the past few years, so has their music. The band’s emphatic and empowering anthems of love, self-discovery, grief, and uncertainty serve as a lesson to us all about life’s unpredictable nature and how to better live in the moment so we can appreciate everything and everyone around us before they’re gone.

Magnolia Boulevard

Dryads and Faeries and Bears, oh my! For all of you nature-starved and fantasy-loving freaks, this QDP takes inspiration from both natural and supernatural forest phenomena.Aug 22nd 9 pm-1:00 am 18+ $10-$20 Suggested / NOTAFLOF Stone Church 210 Main St Brattleboro, VT 10 pm Pop-up Cabaret DJ Wooly Mar DAYS.EYE on Projections Performer line-up TBAThe venue is wheelchair accessible.

Four years on from the release of their unexpectedly self-assured debut album, NYC based Nation of Language have attracted a rapidly growing international audience via their danceable and impassioned take on new wave, post-punk &amp; shoegaze genres. Following the critical acclaim of their their first LP Introduction, Presence, its 2021 follow-up A Way Forward pushed them to a wider audience—landing them their late-night TV debut on The Late Show with Stephen Colbert and a string of sold out tours—and their 2023 record Strange Disciple has continued this momentum, landing Rough Trade’s coveted #1 album of the year spot. Now a mainstay atop lists of the best live acts of recent years, the band continueto charge synth-first into their latest chapter as a major festival draw at recent iterations of Austin City Limits Festival, Desert Daze, Pitchfork Festival, Primavera Sound, Corona Capital, Outside Lands, Bonnaroo and many others.On new album Longest Day of the Year, Dari Bay is a perpetually shifting art project posing as songs, an ongoing thought experiment disguised as a band. Burlington, Vermont-based artist Zachary James launched Dari Bay as a solo vehicle in 2015, acting as sole songwriter, producer, player of every instrument, and exacting architect of how each sound was placed.Early output was raw and often unhinged, but Longest Day of the Year finds Dari Bay assuming a new form as James folds his experimental spirit into what at first appear to be neutral, unassuming tunes.

Nation of Language

When three musical titans collide, expect fireworks. That's exactly what happens with&nbsp;Tu-Ner, a progressive rock supergroup that's anything but conventional. This trio unites&nbsp;Trey Gunn's&nbsp;ethereal Warr guitar,&nbsp;Pat Mastelotto's&nbsp;genre-bending percussion, and&nbsp;Markus Reuter's&nbsp;revolutionary touch guitar into something entirely new.If you've lost yourself in a&nbsp;King Crimson&nbsp;album, you'll recognize&nbsp;Gunn&nbsp;and&nbsp;Mastelotto's&nbsp;sonic fingerprints.&nbsp;Gunn, who's woven his distinctive textures through collaborations with&nbsp;John Paul Jones&nbsp;and&nbsp;David Sylvian, brings that same boundary-pushing spirit to&nbsp;Tu-Ner.&nbsp;Mastelotto's&nbsp;hybrid acoustic-electronic drumming - which drove both&nbsp;King Crimson's&nbsp;experimental journeys and&nbsp;Mr. Mister&nbsp;and&nbsp;XTC's&nbsp;chart success - lays the foundation for the group's sonic adventures.Completing the triangle is&nbsp;Markus Reuter, whose custom-designed touch guitar creates vast musical landscapes that defy categorization. Think of him as an architect of sound, crafting expansive environments where his bandmates can explore and experiment.Live,&nbsp;Tu-Ner&nbsp;is less concert, more expedition into uncharted territory. The trio's improvisational chemistry transforms each performance into a unique journey, showcasing not just individual mastery but the telepathic interplay that comes from musicians at the peak of their craft.Don't expect the familiar.&nbsp;Tu-Ner&nbsp;offers something rarer: a genuine adventure that pushes progressive rock into bold new territory.

Tu-Ner

After an impressive 2010s run of albums that earned him a devoted fanbase, accolades from outlets like The New York Times, Fresh Air, and Pitchfork, and a place in the upper echelon of modern Americana singer-songwriters, John Moreland has already taken two unexpected turns this decade, both of which highlight his fierce artistic independence. First, he released a brilliant and sonically layered folk-electronica meditation on modern alienation, 2022’s Birds In The Ceiling, that took some of his fans by surprise. Then, after wrapping up a difficult tour behind that record in November 2022, he stopped working entirely. He took an entire year off from playing shows and didn’t use a smartphone for 6 months. “At the end of that year, I was just like ‘Nobody call me’. I needed to not do anything for a while and just process,” Moreland says. After nearly a decade in the limelight, constantly jostled by the expectations of his audience, the music industry, and anonymous strangers online, he carved out some time to rest, heal, and reflect for the first time.The result of that unplugged year at home is 2024’s Visitor, a folk-rock record that is intimate, immediate, deeply thoughtful, and catchy as hell. Moreland recorded the album at his home in Bixby, Oklahoma, in only ten days, playing nearly every instrument himself (his wife Pearl Rachinsky sang on one song, and his longtime collaborator John Calvin Abney contributed a guitar solo), as well as engineering and mixing the album. “Simplicity and immediacy felt very important to the process,” he says.This is a return to the approach Moreland took on his breakthrough albums, 2013’s In The Throes and 2015’s High On Tulsa Heat, both of which were largely self-recorded at home with a small cadre of additional musicians. Echoes of these early albums can be heard on Visitor (Moreland makes a passing reference to In The Throes’ opening track “I Need You To Tell Me Who I Am” in two different songs on Visitor), which finds Moreland shutting out the noisy world outside, and the even noisier digital world in his pocket, to reconnect with a muse that’s had to increasingly compete for his attention in the intervening years. Visitor charts his journey back to this muse. If Birds In The Ceiling’s theme was alienation, Visitor’s theme is un-alienation.<h4 style="text-align: start">Tulsa, Oklahoma songwriter Ramsey Thornton is just getting started. His introspective and conversational lyricism mark his welcome to the burgeoning songwriter renaissance. An immediate and gentle warmth in his voice propelled his cover of Paul Simon’s “Graceland” to Spotify’s playlist Bluegrass Covers.</h4><h4 style="text-align: start">&nbsp;However, it is not only in the lyrics, where Ramsey says he “takes note of the overheard,” but in the intricate compositions that accompany them. “Fingerpicking banjo and guitar is central to all of my songs. I pay close attention to rhythmic intricacy,” he said of the music he writes to induce the words. Adding, “Most of the time a guitar or banjo part will come first.”&nbsp;</h4><h4 style="text-align: start">&nbsp;His introduction to music began at an early age with the drums, and he became a multi-instrumentalist in his late teens. At 26 years-old, Ramsey has been writing songs now for a few years, releasing his self-titled EP in 2022. With influences from Nick Drake to Neil Young and Paul Simon, Thornton’s style is decorated with a fun and earnest spirit, turning even the everyday into a touching, beautiful experience.&nbsp;</h4><h4 style="text-align: start">&nbsp;“I often use songwriting as a tool to draw out subconscious thoughts—helps me sort out the things heavy on my mind, even if they’re hanging out in the background,” he said about the songs he writes. Currently his debut EP and some choice covers are available for streaming everywhere. Ramsey signed to La Honda Records in July 2024 with promises of new music.&nbsp;</h4>

John Moreland

The PSB are a satanic bluegrass band from KCMO. They are suspicious of traditional bluegrass and play a style of gothic folk, punk and thrash metal. Often involving cannibalism and murder, their lyrics focus on themes of satan, misery and the joys of deathMama Said String Band— a Louisville, Kentucky based 4 piece bringing their own brand of bluegrass with a focus on vocal harmonies and contemporary instrumentation. Honest songwriting any listener can relate to. Learn More. "It's rare these days to find a syndicate so musically bizarre yet dreamy and whimsical.Gipsy Rufina rolled and rambled around last 20 Years, playing thousands of gigs across Europe and South America, USA and daring sometimes tours in countries where few others did.Hoboing in a pure outlaw troubadur spirit he constantly toured from 2004, picking the lines of his narrative, coming from his life, obscure sometimes, simple others&nbsp;

Pentagram String Band/Yes Ma'am/Gipsy Rufina

Vermont natives Saving Vice are coming to the Stone Church in celebration of their upcoming big single "Year of the Snake," available 6/27. Saving Vice are a powerhouse metalcore band formed in 2017, featuring guitarist and founder, Robbie Litchfield, vocalist Tyler Small and drummer Sam Whelton. Their music is eclectic to say the least, featuring everything from brutal breakdowns to emotional, clean choruses.

Saving Vice- Year of the Snake Release

Experience an authentic and heartfelt take on the music of the Grateful Dead with Mind Left Body. Combining an undeniable love and attention to the shimmering details hidden in a bountiful universe of live repertoire, Mind Left Body seeks to provide their audience with the opportunity to traverse the music multitudes of the Grateful Dead canon.Mind Left Body is a western Massachusetts’s based ensemble specializing in thoughtful interpretations of classic Grateful Dead music. Hailing from the Pioneer Valley, performances showcase vocal harmonies and expansive musical explorations while also staying deliberate and focused on the beautiful songwriting talent that propelled the Grateful Dead to the ranks of one of America’s most interesting rock and roll bands.The Giant’s Harp is a neo-psychedelic folk rock artist/band based in Easthampton, Massachusetts.&nbsp; The musicians in the band got together after years of performing and rehearsing with Mind Left Body, local Grateful Dead tribute act that has recently garnered attention for their musical approach. The musicians use The Giant's Harp as a vehicle of pure creative expression through their pursuit of live performances with original compositions.&nbsp; The band attributes it’s artistic style to their expansive musical roots collectively and individually in the classic psychedelic, folk, Americana, and country rock genres.

Celebrate Jerry Week with Mind Left Body: 30th Anniversary of Passing of Jerry Garcia

Whitney is a folk rock/Americana band from Chicago, formed in 2015 by guitarist Max Kakacek and drummer/vocalist Julien Ehrlich following the breakup of their previous band, Smith Westerns . Their music blends elements of folk, soul, and country, characterized by Ehrlich’s falsetto vocals and a nostalgic, summery sound.The band’s debut album, Light Upon the Lake, released in June 2016, received critical acclaim for its warm tones and introspective lyrics. Their second album, Forever Turned Around (2019), continued their exploration of themes like love and friendship, further solidifying their place in the indie music scene. In 2020, they released Candid, an album of cover songs, showcasing their versatility and appreciation for diverse musical influences.In 2022, Whitney released Spark, marking a shift towards a more classic pop sound while retaining their signature emotional depth. The band continues to evolve, captivating audiences worldwide with their heartfelt performances and timeless melodies.Revered in their hometown of Chicago the Mayor of the city created a Whitney day to honour their contribution to the local music sceneWhitney has many international tours under their belt, performing at festivals like Lollapalooza Music Festival, Newport Folk Festival, Coachella Music Festival. They’ve also completed tours across Australasia boasting performances at Australia’s iconic, Laneway Festival. In Europe and the UK, they’ve played Primavera Sound, Green Man Festival, Iceland Airwaves, etc.

Whitney

The Garcia Project stands as a premier tribute band dedicated to faithfully recreating the legendary performances of the Jerry Garcia Band. With a meticulous attention to detail, they reconstruct not only the beloved setlists but also the distinctive tempos, arrangements, and even utilize replica guitars and gear to authentically capture the essence of Jerry Garcia's sound.Comprised of dedicated musicians and passionate fans of Jerry Garcia's solo work, The Garcia Project goes beyond mere homage, striving to transport audiences back to the intimate and transformative concert experiences that defined the Jerry Garcia Band. From soulful ballads like “Mission In The Rain to electrifying jams such as "Deal," every performance is a journey through Garcia's musical universe, faithfully recreated with precision and reverence.Through their commitment to authenticity and musical craftsmanship, The Garcia Project ensures that each show is not just a nostalgic trip down memory lane, but a vibrant celebration of Jerry Garcia's enduring musical legacy. By meticulously recreating the nuances of Jerry Garcia Band concerts, from the gear to the groove, The Garcia Project honors Garcia's spirit of improvisation and musical exploration, ensuring that his music continues to inspire and resonate with audiences everywhere.“They remind me of what it felt like to sing these beautiful songs with Jerry Garcia.”– Jacklyn LaBranch, Singer for The Jerry Garcia Band 1982-1995“They are Jerry’s kindred spirits when it comes to making music.”– Buzz Buchanan, Drummer for The Jerry Garcia Band 1977-1978“…they almost make me feel like I’m back in, say, 1992 at the Warfield."— Dennis McNally, former publicist for the Jerry Garcia Band and The Grateful Dead“They don't merely recreate Jerry's music, as far as I'm concerned, they are channeling it.”— Maria Muldaur, Grammy award winning vocalist that toured with the Jerry Garcia Band 1977-79“The Garcia Project scratches that itch for hearing live renditions of Jerry Garcia Band shows…”— Bob Minkin, legendary Grateful Dead and Jerry Garcia Band rock photographer“These players really get the soul of JGB...”— Andy Logan, Grateful Guitars Foundation, current owner of Jerry Garcia’s “Alligator” guitar“They remind me of what it felt like to sing these beautiful songs with Jerry Garcia.”– Jacklyn LaBranch, Singer for The Jerry Garcia Band 1982-1995“They are Jerry’s kindred spirits when it comes to making music.”– Buzz Buchanan, Drummer for The Jerry Garcia Band 1977-1978“…they almost make me feel like I’m back in, say, 1992 at the Warfield."— Dennis McNally, former publicist for the Jerry Garcia Band and The Grateful Dead“They don't merely recreate Jerry's music, as far as I'm concerned, they are channeling it.”— Maria Muldaur, Grammy award winning vocalist that toured with the Jerry Garcia Band 1977-79“The Garcia Project scratches that itch for hearing live renditions of Jerry Garcia Band shows…”— Bob Minkin, legendary Grateful Dead and Jerry Garcia Band rock photographer“These players really get the soul of JGB...”— Andy Logan, Grateful Guitars Foundation, current owner of Jerry Garcia’s “Alligator” guitar

The Garcia Project

King Parrot are an Australian grindcore band formed in Melbourne in 2010. They have released 3 studio albums: Bite Your Head Off, Dead Set and Ugly Produce.BONGINATOR- TWO-STEPPING NEON WEED DEATH

King Parrot

Formed over two decades ago, the funk six-piece The Motet have learned to work as an interlocking unit, with each member bolstering one another towards the best creative output.This symbiosis has led to a unique style and cohesive musical chemistry, as seen in the band's immaculate live performances and seamless blend of funk, soul, jazz, and rock. With a fervent fanbase in tow,The Motet have sold out shows across the nation,performed six headlining slots at Red Rocks and sets at festivals such as Bonnaroo,Bottlerock,Electric Forest,Bumbershoot,Summer Camp, and High Sierra.But even after their 20+ years of accolades and recognition, the legendary outfit-composed of Dave Watts(drums),Joey Porter(keys),Garrett Sayers(bass),Drew Sayers(keys and saxophone),Ryan Jalbert(guitar), and new singer Sarah Clarke-are still exploring newsonic ideas and finding new ways to showcase each other’s skill sets.The band released All Dayin 2023-an eclectic instrumental voyage threaded by the infectious grooves and immaculate, layered arrangements thatTheMotethave become known <a target="_blank" rel="noopener noreferrer nofollow" href="http://for.Now">for.Now</a> with vocal powerhouse Sarah Clarke in tow,the band continues their journey with their highly anticipated 10th studio album Love Time, out November 15, 2024

The Motet

Little Lies is an 8-piece tribute from Boston performing an authentic playlist of your favorite Fleetwood Mac hits. Join us for a night of romance, drama, and, of course, Rumours!

Little Lies - Fleetwood Mac Tribute

Ducks Ltd. are a Toronto band featuring Australian lead guitarist Evan Lewis and U.K-born, U.S.-raised singer, bassist, and rhythm guitarist Tom McGreevy. As Ducks Ltd., the two thrive on skirting the edges of buoyant jangle pop and driving power pop. Their latest album, Harm’s Way, contains anxious songs that McGreevy explains are “about struggling. About watching people I care for suffer, and trying to figure out how to be there for them. And about the strain of living in the world when it feels like it’s ready to collapse.”Harm’s Way is an undeniable evolution of Ducks Ltd.’s songwriting process. Where their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak were self-recorded and self-produced in a Toronto basement, here, they made an LP in Chicago with producer Dave Vettraino and some of their favorite musicians. These collaborators include Finom’s Macie Stewart, Ratboys’ Julia Steiner and Marcus Nuccio, Dehd’s Jason Balla, Moontype’s Margaret McCarthy, Lawn’s Rui De Magalhaes, Dummy’s Nathan O’Dell, and Patio’s Lindsey-Paige McCloy. Ducks Ltd.’s touring drummer Jonathan Pappo also appears on the LP.The band first showed this collaborative streak on a 2023 covers EP, which featured guests like Mo Troper, Ratboys, Illuminati Hotties, and Jane Inc. that boasted renditions of songs by The Cure, The Feelies, and The Jesus and Mary Chain. Where those songs started as ideas on days off from tour, Harm’s Way is also a product of writing on the road while supporting acts like Nation of Language and Archers of Loaf. “When we got signed, we had played maybe five or six shows ever,” says McGreevy. “After last year, it’s well in the hundreds. Those things change your perception of your own music and songwriting.”This well-earned and road-tested confidence made the making of this LP their most intuitive and organic yet. “Our relationship is built on trust and we don’t let our egos come into the creative process in any way,” says Lewis. “We have this really great thing where every decision with the band is filtered through both of us. Here especially, we really figured out how to make something that truly sounds like us.”

Ducks Ltd

Not long after crossing beyond the neon into Al’s Tavern, one might catch murmurs drifting up and down the bar during Dean Johnson’s bartending shifts – nudges and whispers that he might just be the best songwriter in town. “Wait ’til you hear him sing. Just don’t ask him to do it, because he won’t. He might do another show this year, but probably not.” Al’s regulars, howsoever biased, speak of his talent like a family secret – Seattle folklore. How many times, and for how many years, has Dean elusively replied to some variation of the question, “When will there be a record?”The phrase “hidden gem” would seem appropriate here, but it’s a misnomer when talking about Dean Johnson. He shines bright, in plain sight, and it was only a matter of time before people stopped to take a look. Dean’s gentle and passionate approach to songwriting has inspired many, and his work provides the listener the opportunity to believe once more that a song can be more than the sum of its parts. If you catch even a phrase of his melodies or the sobering tone of his voice, it waltzes its way into your heart like a letter written, signed, sealed, and delivered just for you.His debut album Nothing for Me, Please was recorded at Mashed Potato Records in New Orleans with the help of Sam Gelband and Charlie Meyer, Dean’s bandmates in The Sons of Rainier; as well as Mashed Potato regulars Sam Doores, Duff Thompson and Steph Green. The record is a hazy, relaxed daydream – anthems for those who know the sweetness and coldness of quiet moments, the power and the pain of love. Whether you’ve been waiting patiently these many for Dean to release these songs, or you’re just now coming across his work for the first time, the name Dean Johnson, much like his songs, won’t soon leave your mind.Nothing for Me, Please is out now on Mama Bird Recording CoThree years after the release of her critically acclaimed debut, Putting On Airs, Nashville-raised singer-songwriter Erin Rae shares an intimate, honest, and playful version of herself through her sophomore album Lighten Up. Produced by Jonathan Wilson, and recorded in the musically hallowed grounds of California’s Topanga Canyon, the album represents a sonic and inner shift for Rae. In it, she embraces more of her influences, like baroque-pop, cosmic country, and indie-folk songs while mirroring a more compassionate self-view she calls “accepting my humanness”.Although she grew up in a musically oriented family, Rae’s pursuit of music happened by accident. After being gifted a Martin acoustic guitar on her 18th birthday, Rae decided to drop out of college after just one semester. Her goal at the time had little to do with making music into a career, and everything to do with spending more time and energy with the community of musicians and writers she knew back home. Looking back on those days, she recalls the initial high of playing live at an open mic during winter break and realizing, “this is how I connect with people. I have to pursue this.”Rae has continued to connect with people through her music ever since, performing at mainstays like Newport Folk Festival, Red Rocks Amphitheater, and sharing stages with Father John Misty, Hiss Golden Messenger, Jenny Lewis, Jason Isbell, and Iron &amp; Wine. The success of Putting On Airs also earned her a nomination for Emerging Act of The Year at the 2019 Americana Music Awards alongside other trailblazing artists like Yola, Jade Bird, and J.S. Ondara. When the Covid-19 pandemic called a halt to touring, Rae took advantage of the opportunity to revel in a wide range of musical influences she had absorbed since the making of Putting On Airs, sitting in an un-rushed space while deciding which direction she wanted to take her music next.

Dean Johnson/Erin Rae

Join us as we wrap up another session of our Grrrls 2 The Front Sound Engineering class!This show gives our graduates the chance to run production for a whole show from load in to load.This lineup features one of our current BrattRock favorites Emily Margaret Band along with two act featuring GTTF sound class alums, Button Mechanic &amp; Sisyphean FeatEmily Margaret Band creates a cozy R&amp;B groove coupled with soulful storytelling, and intimate, stirring vocals. Their songs wrap you in the comfort of a timeworn hand-me-down sweater that is once again back in style. Their performances include original songs together with classics from artists they love including Amy Winehouse, Joni Mitchell, Stevie Wonder and Bill Withers. Follow them on Instagram @<a target="_blank" rel="noopener noreferrer nofollow" href="http://emily.margaret.music">emily.margaret.music</a> for news on their latest shows and the upcoming release of their EP.After two years of making music solo under the moniker 'analog boy', Riley got tired of billing under a gendered name and started playing with friends as 'sisyphean feat'. Original song writing inspired by folk, punk, hardcore, and country and driven by frailed banjo and vocals, these songs may be performed solo or with a group as circumstances allow. This is for the trans kids

Grrrrls 2 The Front Graduation Show

Continuing the promotion of their acclaimed April, 2024 release Mustard n’Onions on Mack Avenue records, Ghost-Note is led by Drummer Robert “Sput” Searight and Nate Werth of Snarky Puppy. Their live shows are a tour de force of funk with dazzling solos and air-tight arrangements that will have you dancing and shaking your head in awe.&nbsp;

Ghost-Note

Fievel Is Glauque is an international band led by bandleader and pianist Zach Phillips (US), singer Ma Clément (Belgium), and a rotating cast of musicians spread across the globe. Their sophomore album and label debut on Fat Possum comes out October 25th. It is a live album recorded as an octet consisting of three live takes (no click track) collaged together.This live show will be performed by an octet iteration of Fievel Is Glauque.Flanafi is the musical alias of Philadelphia guitarist Simon Martinez, who plays with artists including Derrick Hodge, Salami Rose Joe Louis, Jazmine Sullivan, and frequently puts out music with his band Pulgas.

Fievel is Glauque w/ flanafi

Sunday June 29th come celebrate our 8th birthday with a Sunday serving of primal dead with Wolfman Jack2 sets of Primal Dead, 6 pm doors, revelations at 7 pm! Come one and all, and rejoice! The Dead has risen..Wolfman Jack is a live music project of musicians from the New England area performing the psychedelic and electrifying Live Dead to Europe 72' era of The Grateful Dead. A true dance band in the style of such legendary venues as The Fillmores', Carousel Ballroom, Avalon Ballroom, Winterland Arena and the Strand Lyceum. They recreate those vintage sets from when the Grateful Dead were first cutting their teeth as a live music act. Don't miss it<img src="https://static.xx.fbcdn.net/images/emoji.php/v9/tbe/2/16/1f3b6.png" alt="🎶">

Wolfman Jack

Cabaret and Dance Party Tix Sliding Scale $15-30 Dance Party Only Tix Sliding Scale $5-15This Pride Month, Brattleboro Queer Dance Party and Cabaret is gearing up for an exciting event on Friday, June 27th at the Stone Church. Entitled “The First Pride Was A Riot”, this event will kick off with a riotous cabaret performance of drag, burlesque, and more followed by a dance party with the infamous DJ LeFox. Performers range from fresh and enthusiastic to seasoned and stoic, all using the theme of Pride and Riots to tie everything together. New this time around, the doors will be opening at 8:30p with the seated cabaret show beginning at 9p. Dancing will follow and extend all the way till 1a. Tickets for the Cabaret start at $15 and for those who just want to dance, tickets start at $5. BQDP utilizes the sliding scale model in order to allow party-goers to pay what feels possible while supporting the costs of the event as a whole. No one will be turned away for lack of funds. This event is for Queers and Allies ages 18+When considering the possible themes for this coming BQDP, producer Patty Cake, aka Francesca Bourgault, knew it had to relate to the current political climate while also bringing the entertainment and joy of a traditional queer dance party. What better way to fight facism than to call it out in public through artistic expression?Brattleboro Queer Dance Party began on a cold and snowy February night in 2017 at Metropolis when Jay Kava Kava/Money Internet (Jack Kavanaugh) and DJ Wooly Mar (Maria Pugnetti) combined forces to throw one helluva party. BQDP is now a thriving dance party and cabaret typically happening on the last Friday of even numbered months at The Stone Church on Main Street. Curated by Patty Cake in collaboration with integral members of our beloved queer community here in Brattleboro, each party is a night to remember. Thumping DJ sets, attendees who costume for the theme to its full realization every time, sassy and heart-stopping drag, burlesque, and performance art, a gorgeous space with vaulted ceilings and the smoothest dance floors, all intersect to bring our queer community together to witness and dance.

BQDP The First Pride Was A Riot

Murphy's Law is an influential American <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Hardcore_punk">hardcore punk</a> band from New York City, formed in 1982. While vocalist Jimmy Drescher remains the only founding member of the band, the line-up has consisted of numerous musicians who have performed with a diverse selection of musical acts across multiple genres, such as <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Skinnerbox">Skinnerbox</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Danzig_(band)">Danzig</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/The_Bouncing_Souls">The Bouncing Souls</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Mucky_Pup">Mucky Pup</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Dog_Eat_Dog_(band)">Dog Eat Dog</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Hanoi_Rocks">Hanoi Rocks</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Agnostic_Front">Agnostic Front</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Warzone_(band)">Warzone</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Cro-Mags">Cro-Mags</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/D_Generation">D Generation</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/New_York_Dolls">New York Dolls</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Joan_Jett_%26_the_Blackhearts">Joan Jett &amp; the Blackhearts</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/The_Slackers">The Slackers</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Thursday_(band)">Thursday</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Skavoovie_and_the_Epitones">Skavoovie and the Epitones</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/White_Trash_(American_band)">White Trash</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://en.wikipedia.org/wiki/Glen_Campbell">Glen Campbell</a>.&nbsp;Murphy's Law came out of New York City's mid-'80s hardcore scene and formed in Astoria, Queens, around vocalist Jimmy G. (James Drescher), but the group's&nbsp; lineup also included guitarists Todd Youth, Jack Flanagan and others; bassists Pete Martinez, Chuck Valle, Sal Vilanueva and Dean Rispler and drummers Doug E. Beans and Eric Arce.&nbsp;&nbsp; The group's self-titled debut, released on Profile in 1986, contained the usual '80s subjects (boredom, alienation, weed, beer, etc.), but the songs were definitely there, and Murphy's Law improved even more with their second album, 1989's Back with a Bong! The band was on the Profile-associated Combat Records for 1991's The Best of Times, but recorded little during the early '90s. In 1995, Murphy's Law came back with the EP Good for Now, and the full-length Dedicated arrived the following year. Best of Times/Good for Now was issued in 2000; The Party's Over came next in the spring of 2001.The band continues to tour the world today. The line up today consists of singer, Jimmy G (James Drescher), Bassist, Big B (Brendan P) and Drummer, Monsta (Walter R). there are several guitar players in rotation at this time, including Larry the Hunter, Gary Bennett, Joe James, Phil Caivano, AJ Novello, and a varied cast of NYHC veterans join us from time to time. New music is being recorded as of spring 2025, with releases scheduled for later in 2025.The Take boasts two old friends from the NY underground scene getting together and providing hard-hitting punk rock. When veterans, Scotty Roberts on vocals/guitars (Spudmonsters, Bloodclot!, Biohazard) and Will Shepler on drums (Agnostic Front, Madball) team together, ears are ravaged and fists are raised high. For their new EP, Live for Tonight, Eric Klinger (Spudmonsters, Built Upon Frustration, Bloodclot!) slings bass to provide low end for The Take’s aggressive, crunching guitars and driving rhythms. These components are propelled by a dark melody in the music and in the ominous vocals.The Take left a deep boot print in the scene with their self-titled debut LP in 2019. Released on Demons Run Amok, who also released Live for Tonight, the record executed eleven abrasive tracks in thirty minutes. Live for Tonight continues the stark sound with lyrics forged in attitude and uncompromising resolution. Drenched in sweat and integrity, the power trio resurrects NY’s brand of hardcore punk. Paying homage to the greats who defined (and tested) the grit of New York, The Take unleash a tenacious version of the music; catchy without traversing into pop. Gruff in throat and riff.Live for Tonight provides four new tracks and an audacious cover of the power pop/glam classic, “Saturday Night is Alright for Fighting”. Outstanding jangly, hardcore bass lines shine as Klinger plays with enough dynamics for them to stand out on their own meandering ways. Roberts’ vocals remain commanding, spouting lyrics of rebellion and rage; check the simply stated, “FU”. Shepler continues to establish himself as an essential foundation as he has for thirty-five years.&nbsp;

Murphy's Law/The Take/Slob Drop

&nbsp;Loaded guns, space heaters, and big skies. Welcome to the lethal littered landscape of Jim Heath’s imagination. True to his high evangelical calling, Jim is a Revelator, both revealing &amp; reinterpreting the country-blues-rock roots of American music. He’s a time-travelling space-cowboy on a endless interstellar musical tour, and we are all the richer &amp; “psychobillier” for getting to tag along.&nbsp;Seeing REVEREND HORTON HEAT live is a transformative experience. Flames come off the guitars. Heat singes your skin. There’s nothing like the primal tribal rock &amp; roll transfiguration of a Reverend Horton Heat show. Jim becomes a slicked-back 1950′s rock &amp; roll shaman channeling Screamin’ Jay Hawkins through Buddy Holly, while Jimbo incinerates the Stand-Up Bass. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots slamming the night away. It’s like being magically transported into a Teen Exploitation picture from the 1950′s that’s currently taking place in the future.&nbsp;Listening to the REVEREND HORTON HEAT is tantamount to injecting pure musical nitrous into the hot-rod engine of your heart. The Reverend’s commandants are simple.And no band on this, or any other, planet rocks harder, drives faster, or lives truer than the Reverend Horton Heat. These “itinerant preachers” actually practice what they preach. They live their lives by the Gospel of Rock &amp; Roll.&nbsp;From the High-Octane Spaghetti-Western Wall of Sound in “Big Sky” — to the dark driving frenetic paranoia of “400 Bucks” – to the brain-melting Western Psychedelic Garage purity of “Psychobilly Freakout” — The Rev’s music is the perfect soundtrack to the Drive-In Movie of your life.&nbsp;Jim Heath &amp; Jimbo Wallace have chewed up more road than the Google Maps drivers. For twenty-five Psychobilly years, they have blazed an indelible, unforgettable, and meteoric trail across the globe with their unique blend of musical virtuosity, legendary showmanship, and mythic imagery.&nbsp;“Okay it’s time for me to put this loaded gun down, jump in my Five-Oh Ford, and nurture my pig on the outskirts of Houston. I’ll be bringing my love whip. See y’all later.” - Carty Talkington Writer/DirectorRev your engines and catch the sermon on the road as it’s preached by everybody’s favorite Reverend. Don’t forget to keep an eye out for the 11th studio album from REVEREND HORTON HEAT, boldly titled Rev, due out January 21st.Blessed with a 65th Grammy Awards nomination for his most recent recording Lucky Man, Nathan and his top-shelf band have more than a 35+ year history as Acadiana’s top R&amp;B, blues, and zydeco ensemble. Whether he is performing at the likes of NYC’s Lincoln Center or Carnegie Hall’s CityWide Concert Series, DC’s Kennedy Center for the Performing Arts, the New Orleans Jazz &amp; Heritage Festival, Nashville’s Grand Ole Opry, Europe’s top blues festivals or down home at his brother’s famous El Sido’s Zydeco &amp; Blues Club in Lafayette, Louisiana, Nathan &amp; the Zydeco Cha Chas never fail to get the audience up and shakin’ a leg to their un-rivaled stomp-down zydeco party!&nbsp;&nbsp;“If you don’t get up and shake a leg, you better call an undertaker - because you’re dead.”&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;-&nbsp; Nathan Williams quoted in Living Blues April 2019&nbsp;

Reverend Horton Heat + Nathan & The Zydeco Cha Chas

Spafford&nbsp;is known for their astonishing improvisational ability and off-the-cuff extended jams, Spafford paints a picture in real-time each night with a musical palette known only to each other. It’s a private language comprised of both their talent as musicians as well as their formidable catalog of influences, spanning 90’s alt-rock radio hits to Steely Dan and The Crystal Method. Each Spafford show is a sonic pilgrimage, the journey of a team of musicians so in tune with each other that a single note communicates intent and purpose. Spafford is amongst the most creative and hard-traveling bands on the contemporary jam scene, performing countless sold-out headline dates along with high profile festival sets at Bonnaroo Music &amp; Arts Festival, Firefly Music Festival, and many others.

Spafford

Suzanne Vega will perform a career-spanning show including favorites like Tom’s Diner, Luka, and many more, plus new material from her forthcoming album Flying with Angels (May 2025).She will be joined on stage by her longtime guitarist, Gerry Leonard (of David Bowie fame), and cellist Stephanie Winters.In addition to standard admission tickets, VIP Packages are also available for sale while limited supplies last. To purchase, add one VIP Add-On to your cart for each person purchasing a VIP package.About Suzanne VegaWidely regarded as one of the foremost songwriters of her generation, Suzanne Vega emerged as a leading figure of the folk revival of the early 1980s. Accompanying herself on acoustic guitar, Vega sang what has been called 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 venues. Known for performances that convey deep emotion, Vega’s distinctive, “clear, unwavering voice” (Rolling Stone) has been described as “a cool, dry sandpaper-brushed near-whisper” by The Washington Post, with NPR Music noting that she “has been making vital, inventive music” throughout the course of her decades-long career.Bearing the stamp of a masterful storyteller who “observes the world with a clinically poetic eye” (The New York Times), Vega’s songs have tended to focus on city life, ordinary people and real-world subjects. Notably succinct and understated, her work is immediately recognizable—as utterly distinct and thoughtful as it was when her voice was first heard on the radio over 30 years ago.<a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/_mWDKenSI98?si=Mkif4qdsJHbSTJoC">WATCH SUZANNE VEGA LIVE ON TOUR</a>

Suzanne Vega - Flying With Angels

“Do you still believe it?” John Ross asks that question after journeying through the wreckage, after singing of thunder rolling down the track and lighting in a bottle. These are tropes, and he knows it. It’s a moment where he’s returning to the ancient wisdom of his classic rock forebears, trying to find the answers all over again. This is the ground Ross travels in “The Fences Of Stonehenge,” the lead single, opening track, and mission statement of the new Wild Pink album Dulling The Horns. The question reverberates across the album: “Do you still believe it?” And what happens when you don’t anymore?Ross’ response is to start anew. From the late ‘10s through the early ‘20s, Wild Pink was on the classic ascension arc. The otherworldly synth-Americana of 2018’s Yolk In The Fur garnered them press buzz and accolades, while the widescreen gloss and scope of its followup, 2021’s A Billion Little Lights, swung for the fences at the cusp of the band’s breakthrough. Then everything changed: Ross received a shocking cancer diagnosis. Wild Pink’s subsequent release, 2022’s ILYSM, was inevitably saddled with the weight of being an album about mortality and love. On the other side of it all, Ross began to reimagine what Wild Pink was.The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I didn’t want to clean up anymore,” he says. “In doing so we’ve arrived at a new place.”After the “digital lacquer” of A Billion Little Lights, Ross had already wanted ILYSM to be more organic and human. But Dulling The Horns takes that prompt further in every way. There will still be occasional synth plinks, sax drones, pedal steel courtesy of frequent collaborator Mike “Slo Mo” Brenner, and even a bit of fiddle. But otherwise, Dulling The Horns is coarse, lived-in, visceral — music intended to be played live, with pounding rhythms and guitars bleeding all over. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era.Greg Mendez is an intuitive songwriter, melodies channeled through ether, a storyteller who across his catalog has chronicled vivid violence and instability — a wallet chain to the head, a crack house arrest, the misdeeds from addiction that hang around like a ghost of past lives — but it's threaded together with love songs, too, with odes to friendship, true dedication, the things that can buoy one through the worst. Mendez has a habit of noticing those things, of finding the light, exacting poetry from even the bleakest, shit-caked situations. In his songs there is an innate ability to balance grit with gentleness, cruelties rewritten through preternatural sweetness, a heart thrumming unendingly, confidently, through the dark.

Wild Pink w/ Greg Mendez

💅 Big Brat(t) Energy: a Charli xcx Rave w/ DJ set by Sir Babygirl 💅 Friday June 13th, 9pm ✨ Celebrating 1 year of BRAT &amp; Brattleboro Pride! ✨A bratty DJ set by Sir Babygirl will bring the chaos to Stone Church for a night of brat anthems, sweaty queer joy, and Charli-core delirium. We’re celebrating the one-year anniversary of Charli XCX’s BRAT—a modern masterpiece of hot girl electronic mayhem—and the brilliance of Brattleboro Pride!Expect: 💚 The iconic album brat in full🕶️ Charli xcx costume contest — may the best dressed Charli impersonator win💒 Slutty Confessional Booth — spill your naughty secrets 💋 💿 Hyperpop, club edits, freaky synths, glittery drama 👠 A dance floor of euphoria and brat(t) liberation 🎧 DJ Sir Babygirl spinning an unhinged, high-glamour set🌈 Come as your baddest self—Y2K icons, raver dolls, and brat(t) babes unite!! 🍸 Full bar | 18+ | Safe, expressive spaceNot just a party—a movement. See you in the pit, brats.

Big Brat(t) Energy: a Charli xcx Rave with DJ Sir Babygirl

Dragged Into SunlightMizmorMeth

Dragged Into Sunlight/Mizmor/Rabbit

BrattRock returns Saturday June 7th

BrattRock

Stoked for our first non New Years Bella’s show since September 2021! Live your fantasy and embrace the stranger side of life with Bella’s Bartok. A band known for raucous theatrical performances and an outspoken political message of finding hope in a world beset by cruel uncertainty. With utter joy, they seamlessly blend a rich cacophony of sound and soul into their music with influences ranging from Punk to Pop; to System of a Down and Queen. Let your freak flag fly high, fiercely and free, throw your societal inhibitions to the wayside and seek comfort in the warm sonic embrace of Bella’s Bartok. We are the night and you are bound to boogie

Bella's Bartok

Rubblebucket’s seeds were sown when Kalmia Traver and Alex Toth, the group’s front persons, co-writers and co-producers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed Rubblebucket, using the project to delve into pop, funk, dance and psychedelia; performances have spanned Bonnaroo to Glastonbury to their self-curated Dream Picnic Festival, and they’ve collaborated with kindred genre-blenders including Arcade Fire and Scissor Sisters’ Jake Shears. Their latest full-length LP ‘Year of the Banana’ is perhaps their deepest and grooviest work yet. It speaks to the power of transforming and adapting relationships in a time when the world needs it most.Year Of The Banana is the stalwart indie band Rubblebucket's 7th full-length recording. Frontperson Kalmia Traver says “People get obsessed with the albums that were never finished because the band couldn’t stay together. But Year Of The Banana is the album that did get finished" –– evidently against all odds and only with the support of "mediators, hypnotherapists, psycho-therapists, life coaches, business coaches, recovery groups, guided hallucinogens."&nbsp;

Rubblebucket Night 2

Rubblebucket

THE SLAMBOVIAN CIRCUS OF DREAMSExplore the depths of Americana "one trippy tune at a time" with New York’s SlambovianCircus of Dreams.Voted "Best Band" by NY’s Chronogram Magazine for their rootsy, rockin’ psychedelia,the Slambovians' deep connection with audiences and exciting live shows are legendary.This Woodstock-tinged Americana has a hint of southern rock, British folk combined withsolid songwriting - a slice of Americana pie that is irresistible! Dylan, Bowie, Syd Barrett,Tom Petty, and The Waterboys can be heard, yet the Slambovians' musicianship andcritically acclaimed songwriting stand on their own. Joziah (the resident shaman ofSlambovia), leads with vocals described as "soothing and bewitching as a snake oiltonic.” Longtime bandmates Tink Lloyd (accordion, cello, mandolin, flute)and guitarist/mandolin wizard Sharkey McEwen bring their own magic to the Slambovianbrew with “a little help from their friends” - RJ McCarty (keys, bass, sax), Bob Torsello(bass), and Matthew Abourezk (drums)."They take the stage by storm!" – NY Times"Longo, a god of the rock underworld!" – John Platt, WFUV Radio "Great songs and awhole lotta heart" – Meg Griffin, SiriusXM "Simply one of the finest American bands" – AllMusic "The cool end of Americana" – Maverick Magazine, UK"Longo is an awesome songwriter" – Garth Hudson, The Band "The best band since theBeatles" – Jim Pons, bassist: Frank Zappa, John LennonVideos:“Tink” - CROPREDY FESTIVAL 2022 <a target="_blank" rel="noopener noreferrer nofollow" href="https://vimeo.com/756231759">https://vimeo.com/756231759</a>"The Grand Slambovians" (Live) <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/rkEnqaOtaek?si=u9liysBaC42RlTxH">https://youtu.be/rkEnqaOtaek?si=u9liysBaC42RlTxH</a>"The Trans-Slambovian BiPolar Express" <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/EEj_Z5zcrew">https://youtu.be/EEj_Z5zcrew</a>?si=G0uIH1YdADHdWpJU

Slambovian Circus of Dreams

Traditionalists or progressives? Fronted by the charismatic Jamaican-born singer and songwriter Nee Nee Rushie, the seven-piece New York band The Big Takeover plays original music that is rooted in and reverent toward the genres and rhythms of Jamaican pop: reggae, rocksteady, ska. They are devotees of Desmond Dekker and the way the old school did it.&nbsp; At the same time, The Big Takeover crosses lines and blends traditions like global pop fusionists. Their deceptively complex arrangements and big hooks connect with the spirit of Motown and the uptown sophistication of the 21st century retro soul and R&amp;B revival scene.“Led by the powerhouse, Jamaican-born singer and songwriter NeeNee Rushie, The Big Takeover's horn-powered global blend reveals deep fluency in reggae and world music, hints of soul and Motown, and their own infectious brand of pop classicism.”&nbsp;—&nbsp;John BurdickPrincess Kikou is a New Hampshire based World Beat group which draws heavily from Afro-Caribbean influences as well as modern Pop and Roots Rock. Made up of a core of musicians: Jon Tshibambi on Bass, Simon Gray on Guitar, John Meehan the fifth on Saxophone, and Garth Tichy on Drums, Princess Kikou also features a rotating ensemble of guest players. Blending together the Indie-Rock origins of a separate project, Blue Motel, and the globe-spanning influences of each of its members, Princess Kikou creates a unique, danceable sound, full of multi-lingual harmonies and syncopated rhythms.&nbsp;

Stone Church

@stonechurch