Category: The South

  • Whose Hat Is This? First Ever East Coast Tour

    Tedeschi Trucks Band side project Whose Hat Is This? is set to make its first tour down the east coast. The six night tour brings them from New York City down to the Atlanta metropolitan area.

    Whose Hat Is This? is made up of Tedeschi Trucks Band members Tim Lefebvre on bass, Kebbi Williams on saxophone and JJ Johnson and Tyler “Falcon” Greenwell on drums. Their shows combine elements of jazz, funk and electronica into completely improvised sets. Their self-titled debut album was released in April.

    The tour kicks off on Dec. 4 at New York City’s Rockwood Music Hall and continues for six consecutive nights down the coast until they close it out on Dec. 9 at Gate City Brewery in Roswell, Georgia. This tour sees the band coming off two sold out shows at New York City’s 55 Bar in October. The only other Northeast show is Dec. 5 at Johnny Brenda’s in Philadelphia.

    The tour was booked with assistance from Craft for Causes who partner the craft brewing community with live music ventures for charitable experiences.

    Whose Hat Is This? East Coast Tour Dates
    Dec. 4 – Rockwood Music Hall – New York, NY
    Dec. 5 – Johnny Brenda’s – Philadelphia, PA
    Dec. 6 – The 8×10 – Baltimore, MD
    Dec. 7 – Lincoln Theatre – Raleigh, NC
    Dec. 8 – The Pour House – Charleston, SC
    Dec. 9 – Gate City Brewery – Roswell, GA

  • Warren Haynes’ 29th Annual Christmas Jam Lineup Announced

    Artists have been announced for the 29th annual Warren Haynes Christmas Jam. The event will take place on Dec. 9 at its usual stomping grounds at the U.S. Cellular Center in Warren’s hometown of Asheville, NC. Christmas Jam will once again see a stellar lineup at this year’s benefit to help raise money for Habit for Humanity in the Asheville area.

    Headlining the show will be Gov’t Mule, with special guest Ann Wilson form Heart (making her first appearance at the event), who will perform with the band during their set. The holiday jam session will also include Trey Anastasio and Classic TAB, the Avett Brothers, Les Bros. and Blackberry Smoke. Also, special guest musicians Jake Shimabukuro, Holly Bowling, Brandon “Taz” Niederauer, Kevn Kinney, and Mike Barnes will sit in throughout the evening, with more soon to be announced.

    Habitat for Humanity will take the proceeds from the event to help construct energy-efficient new houses along with purchasing and developing land for Habitat subdivisions. The project has raised over two million dollar, and has seen the construction of 36 houses to date. This year’s Christmas Jam House will be built in the non-profit organization’s new 21-house community in Arden (South Asheville). The Grammy award winning artist curated the event 29 years ago and spent the last 19 years working closely with Habit for Humanity in Asheville on these projects.

    A limited pre-sale will be available on Oct 19, where fans can get their hands on four-packs, VIP tickets, and travel packages. Tickets go on sale to the general public on Oct. 26. An increased number of seats in the balcony will be made available during both pre-sale and general sale times. Fans will have the flexibility to leave, and return to their balcony seats and mingle downstairs to the open general admission floor area during the more than seven hour long show.

  • Runnin’ Down a Dream: Remembering Tom Petty (1950-2017)

    Remembering Tom Petty as the venerable wizard of feel-good music, the kind we cranked with the windows down while driving at full speed can bring solace to this tragic loss. “I felt so good, like anything was possible / I hit cruise control, and rubbed my eyes.” His songs were perfect for beach parties, heartache, conflict, and respect. Petty’s songs gave us perspective, relating to us to say, “life will be all right: you will get through this; stand tall and be proud of yourself.”

    tom petty lockn

    Petty was a philosopher, a poet, a troubadour, and a comic. He had a keen sense of humor and did what was right for his fans, even if it meant going to battle against overbearing record company execs. He fought for the common cause and helped all musicians in his wake by keeping industry powers in check. He fought labels to keep cd costs down, including his own first record label, and he succeeded. Most early contracts were rigged against the artists, and musicians often had no choice but to sign their lives away in order to “make it big.” Now the battles are fought against Pandora and Rhapsody, but some of these streaming services are losing the fight as new services take over and fans rally behind artists who are continuing the fight Petty pioneered.

    Early in my formative years, I enjoyed watching my friends in Final Warning rehearse and perform Tom Petty and the Heartbreakers’ “Breakdown” countless times, while Adam Sandler gave us his best Tom Petty impersonation, complete with the twangy accent and rock moves. His basement was where I followed my first band, becoming the band’s light guy and roadie. Petty was the lovable rocker we all related to. He crafted songs that were simple, catchy, and about real life: powerful, inspiring, soothing, and enlightening. His fans felt like he was their best pal, and that he spoke to us through his music. Petty was one of the greatest artists, with the uncanny ability to reach our hearts and alter our minds. In his music was great wisdom and peacefulness, but also a sense of celebration, confidence, and courage.

    “Petty was a giant. Damn the Torpedoes is one of the greatest rock albums of all time, and certainly would have been the best album of the 80s, if it were released 3 months later.” (Peter Lavallee, lead guitarist of Final Warning) That was Petty’s third studio album, his most popular and highly-acclaimed, which was certified triple platinum in the US and reaching #2 on the U.S. charts. Every song on it was a masterpiece. Petty didn’t write fillers – he wrote every song to strongly stand on its own.

    “I first worked with the Tom Petty Camp at The Hangout Music Festival. I became friends with Josh, who looks out for the band and tour. I gave Tom and his wife a ride from the tour bus to the headliner dressing room compound and upon introducing myself with ‘Hi, I’m Tony’, Mr. Petty nasally replied ‘Hey, I’m Tom.’ Fare thee well, Tom Petty, and thank you for fueling our FM radio memories for all those decades with simplistic truth. You are loved and will be missed.” (Tony Hume, tour manager, artist relations, and operations for Bonnaroo, Karl Denson’s Tiny Universe, The Fox Theatre, Wanderlust, and All Good, among many others).+Remembering Tom Petty

    Petty was inducted into the Rock and Roll Hall of Fame in 2002, and inducted his friend, the “Dark Horse” himself, George Harrison, in 2004. He had countless friends in the music industry, being likeable, approachable, and one of the hardest-working performers and songwriters of all times. Petty had more top 10 hits in Mainstream Rock than any other artist in the chart’s history, with 28 total top 10’s. Petty has been on the charts 48 times since the chart’s inception in 1981 (source: Billboard). Petty was competing against The Rolling Stones and The Who, and has scored top hits in 5 different decades, selling over 60 million albums worldwide.

    In his last year, Petty played 53 shows in 2017, and has performed over 1,000 shows in his lifetime. Petty has appeared and recorded with Bob Dylan, George Harrison, Johnny Cash, Stevie Nicks, Roy Orbison, Steve Winwood, Lucinda Williams, and countless other music legends. One of Petty’s first guitar teachers was Don Felder of The Eagles, a fellow citizen of Gainesville, FL, where Petty was born on October 20, 1950. Early on, Petty was so impressed by The Beatles that after seeing them, he dropped out of school at 17 to play bass with his new band, The Epics. They soon evolved into Mudcrutch, who had 2 of the Heartbreakers, Mike Campbell and Benmont Tench, along with Tom Leadon on guitar and Randall Marsh on drums. They recently played a sold-out show at The 930 Club in DC on June 6, 2016, having been recently reformed in the summer of 2007. (Washington Post).

    Remembering Tom PettyPetty directly influenced Dave Grohl, who has covered ‘Breakdown’ 69 times. Petty influenced many other prominent artists, including Ryan Adams, Bon Jovi, and Taylor Swift, who wrote, “To me, Tom Petty represented a kind of songwriting I idolised: complex simplicity. His hits have defined rock radio since the Seventies, and he never stopped writing great music. It said so much in the lyrics, the concepts, the stories, the message, the nuances … but always brought you back to a hook that got stuck in everyone’s head. He motivated thousands of guitarists to learn to play just because they wanted to be able to play ‘Free Fallin”. Count me as one of them.” (NME Music).

    Because of his huge popularity, Petty played the largest festivals, including headlining acts at Bonnaroo in 2006, alongside The Allman Brothers Band, Stevie Nicks and the Black Crowes. Petty was enthusiastically greeted by his devoted fans, who chanted the words to every song with unity and pride. I had the great fortune to experience the power of this rock icon first opening for The Grateful dead in the mid to late 80s, a few other shows throughout the decades, then more recently at New Orleans Jazz Fest in 2012, and again at Lockn’ Festival in 2014. I covered that year for NYS Music, and was lucky to catch this shot as Tom looked right at me, with an elvish grin and a gleam in his eye.

    Thank you for your musical magic, may you rest in peace, Tom.

  • Carrie and The Cats IBC Fundraiser at Big Kahuna

    The fundraiser held on the evening of September 30 at the Big Kahuna in Huntington, NY was filled with many talented acts joined together by an appreciation of music and support for fellow musicians. The event was organized by the headlining act, Carrie and The Cats, the winners of the 2018 International Blues Challenge and are representing Long Island this January at the national competition that will be held in Memphis. TN.
    Carrie and The Cats are a ‘new-school’ blues band from Long Island, New York. They are led by the incredible talent of Carrie Lynn Wicks and feature Will “Wee Wee” Bart on guitar, Bill “Bad Bones” Hanley on  tenor/alto Saxophone, Joe Conserva on bass, and Russ Benjamin on drums. The band had its start in early 2016. It channels the soul and passion of classic acts like the Allman Brothers, Grateful Dead, and Aretha Franklin, while adding a flair reminiscent of Amy Whinehouse and John Mayer Trio.
    Carrie and The Cats
    Throughout the evening there were contests held with gift baskets and raffles auctioned off, including two members of the band themselves. The money being raised is all going towards the many expenses accumulated to travel the five musicians and musical equipment over 1,000 miles from home to the Volunteer State.
    In support of Carrie and The Cats, there were performances by: The Proletarians, Good Luck LapisThe Chris Ruben Band, Necter, and MJT.  The Cats covered such ambitious songs including ‘I Feel Good (I Got You)’ by James Brown, ‘Hit the Road Jack’ by Ray Charles, ‘Hound Dog’ by Elvis Presley, and ‘Ain’t No Sunshine’ by Bill Withers. The crowd danced and applauded vigorously upon hearing these tunes played. The group also had some fantastic originals mixed in that exemplified their synchronization to one another and rooted influences. The originals performed that night were titled ‘Bad Company,’ ‘All Over Town,’ ‘Groove It,’ ‘Trapped Under Ice,’ ‘Gotta’ Go,’ ‘Don’t Know How,’ ‘Cross Roads,’ ‘No Peace in Me,’ and ‘Sunny Day.’ 
    Carrie and The Cats
    One in particular, that really harnessed the group’s essence and musicianship was “Crossroads.” The song was a mid-tempo ’50s and 60’s inspired doo-wop and soul ballad with a rock edge. Guitar arpeggio, heavy sax and groovin’ beat filled the swells of the ballad. Carrie’s voice is very acrobatic, infusing controlled rasps with a beautiful high range. Her vocals resonated with the style of the king and queen of soul, as she belted and swayed to the music on stage. Bill and Will each shared the limelight with intricate and sustained power that came from their sax and guitar. Each of them soloed and improvised on numerous tracks and the audience held praise. Joe Conserva and Russ Benjamin delivered smooth backbone in rhythm support and a well mannered tempo, keeping the set running smoothly.
    Here is a glimpse of their performance during the night.

    Carrie and the Cat’s music and EP ‘All Over Town‘ can be found on all major music streaming services Spotify, Apple Music and SoundCloud.
    The group is extremely excited and grateful for the awesome experience and if you wish to help them raise money in an effort to hit their goal, you can! Donate here. Any amount helps and donations over $15 include a signed copy of The Cat’s album, opportunities to hear them perform and a chance to book them to play a full length set at any event.
    For more info visit their website
  • Photo Gallery: Lockn’ 2017

    LOCKN‘ 2017, held annually at Infinity Downs Farm in Arrington, Virginia, draws lovers of funky jams, old school blues, and gritty hard rock from all corners of the country. This year, residents from every single state migrated to the mountainous landscape on a late summer weekend, August 24-27. Beautiful sunny weather with a scattering of clouds provided much welcome shade as festival goers danced and mingled, sampling a variety of local brews and food. All-star jams and vibrant performances by local artists studded the four-day event with excitement and musical release.photo gallery lockn 2017

  • LOCKN’ 2017 Day 3: Music Unites in Tumultuous Times

    A gentle breeze wafted across the festival grounds to keep festival goers cool on Saturday for the third day of LOCKN’ 2017. Nashville group Los Colognes helped start off the day at the Relix stage a bit before noon, with a few enthusiastic dancers already in the mood to move. One older gentleman with a silver ponytail beneath a weathered safari hat and donning a brown kilt pranced around the gravel pit directly in front of the stage.

    Not to be outdone, a toddler sporting a billowing batman cape and brandishing a brightly colored parasol flitted about observing the black fabric flap wildly behind him. Los Colognes conducting their own dance on stage, showcased their instrumental finesse in the way they would carefully build up the momentum in their sound, which kept the crowd engaged in their performance.

    A very enthusiastic crowd flocked to the field to see Pigeons Playing Ping Pong fly away with some energetic funky grooves that got the entire pit jumping to the beat. Ping pong balls were flung through the air in every direction, just as some toss glow sticks during their favorite jams. Lead singer Greg Ormont adores his flock, as Pigeon fans are fittingly named, as evidenced by the warm gratitude he expressed to the crowd throughout the set.


    Attendees raged to their animated cover of “Psycho Killer,” and solicited loud cheers when Ormont, Jeremy Schon (guitar) and Ben Carrey (bass) all spun in unison with their instruments, clearly having as much fun on stage as the crowd was below. At one point Ormont proudly decreed, “I think it’s officially FLOCKN’!” Their performance of “Couldn’t We All” immediately brought Charlottesville back to people’s hearts as the band repeated the line “couldn’t we all just get along” before Ormont, arms outstretched, paused briefly and smiled widely before diving back into their spritely brand of jam.

    Virginia native Keller Williams took up residence on the main stage with a guitar and some pedals to loop in his own effects. He put forth a low key, but upbeat set as people mulled about, many lounging happily in the dusty grass. A woman tapping on a hand drum offered it to the curious toddler gazing in her direction, mesmerized by the toy, but unsure what to do with it. The scene painted a heartwarming snapshot of the countless friendly interactions igniting across the festival grounds as complete strangers crossed paths and became friends.

    The energy shifted drastically as Greensky Bluegrass emerged, standing almost shoulder-to-shoulder armed with their instrument of choice, emitting their powerful barrage of mountain music. Some audience members displayed their sense of humor carrying poles with an assortment of figures mounted atop. One of the most recognizable was none other than the beloved character Wilson, the white volleyball marked with a blood red handprint from the movie Castaway. It’s owner freely passed Wilson on a stick to anyone desiring to dance with it.

    Lead vocalist Dave Bruzza took a moment to appreciate playing the festival and commented, “This is awesome. I watched this from my couch last year.” The crowd laughed and cheered in response, recognizing Bruzza’s supremely upgraded festival experience from last year. Greensky closed out their set with “Atlantic City” to loud cheers of the crowd, beautifully timed with the sunset as their last views of the crowd were awash in glimmering golden hues.

    Once again the main stage rotated to unveil John Butler Trio, who opened their set with “Cold Wind.” Butler then addressed the crowd stating, “Before we go any further, we’d like to pay our respects to the Native American people whose land we’re on today,” referring to the lands of Nelson County that the Monocan tribe originally called home. Butler is well-known for tying social, environmental and political issues into his songs, and his audience enthusiastically responded. He dedicated his next song “I’d Do Anything (Soldier’s Lament),” expressing, “To all the soldiers, may they call come home.”

    Following that he lightheartedly explained, “The intro to this next song is called ‘My Little Pony on Crystal Meth.’ I want to see that image at least once in my life. I dunno why I want to see that, but I just do.” He then quickly transitioned to “Better Than,” followed by “I Used to Get High.” Again Butler addressed to crowd to say, “On the day we arrived in your country we witnessed a whole bunch of bigotry… So we dropped this new song and it’s very fitting. It’s called “Bully.” The tune embarked with an electric guitar distortion that sounded like an emergency siren before engaging in a heavy hard rock sound.

    Next Butler brought out his acoustic for his meditative solo of “Ocean,” a full hand of long fingernails picking furiously as the crowd swayed. Butler continued to tie political awareness into his performance, at one point stating, “This is a great time to be playing music,” in reference to the power of creativity to fuel positive change within the community.

    Classic rock legend, John Fogerty, singer and songwriter of Creedance Clearwater Revival, pulled out all the hits in an explosive set opening with “Green River,” “Born on the Bayou” “Suzie Q” and “Who’ll Stop the Rain.” A jovial gentleman then trotted across the stage for an accordion solo as the crowd cheered him on. The band followed with “Lookin’ out My Back Door,” and Fogerty continued to wow the crowd with his non-stop energy, building momentum and at some points mixing rapid elements of punk rock into his performance.

    Widespread took to the stage for a jam that pushed into “Fishwater” which included Buffalo Springfield’s “For What It’s Worth,” “Who Do You Belong To?” and the ending of “Fishwater” to start the night off. Other highlights of their energetic headlining set included Dylan’s “A Hard Rains Gonna Fall” and a monster verison of “You Should be Glad” to end it.

    When Joe Russo’s Almost Dead took the stage, Bob Weir joined shortly after “Althea” for “Black Throated Wind” and a “Jack Straw” that pushed Bobby’s limits as he was sweating and gave a look of relief when the build up finally paid off and he could simmer things down into to end “Straw.” A stellar version of “The Wheel” included a ‘Benevento/Russo Duo-esque’ jam for the ages and Weir joined the band for the finale of the expected “One More Saturday Night.”

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  • Kings and Queens of Rock Reign at Lockn’ 2017 on Day 2

    As the Friday morning migration of early risers dispersed to acquire their first fix of caffeine at Lockn’ 2017, the fairly priced $3 cups were a welcome relief from the $9 beers that drained wallets the night before. Local rock group Sun-Dried Opossum, aided by the climbing heat of the mid-morning sun, beckoned attendees out of their tents and campers toward the Relix stage.

    Marcus King Band followed, upping the rock and roll intensity even more, to a noticeably larger crowd. The Relix field’s undulating topography provides varying levels that aid people further back in viewing the stage, but also offers some rather slanted footing that can make it trickier to find a comfortable place to stand. But patrons weren’t letting that stop them from gathering to soak in the sultry southern rock led by Marcus King. His rough around the edges vocals accompanied by trumpet, sax and organ blended to form a rich and mature sound. The heavy rock made a fitting soundtrack for the crowds dragging footsteps, weighed down with the increasing heat.

    New York band TAUK brought a level of sophistication with their polished sound, releasing beautifully executed instrumentation with a slightly spacey, ethereal tone. Accompanied by some much appreciated cloud cover, they provided the perfect soundtrack for the web of frisbee throwers flinging their tiny UFO’s through the air on the main stage field.

    The tribal soul vibes of Sinkane mellowed out the atmosphere with a lighthearted sound as people mingled, sprawled out in hammocks between whatever trees they could claim, and made the whole show field feel like one giant living room shared by all.

    The main stage welcomed Blackberry Smoke as it’s first performer of the day. They put out a satisfying performance of savory southern rock before Jim James completely switched up the energy with a solo acoustic performance. Despite his softer sound, he had a way of focusing the crowd’s attention with thought-provoking sentiments.

    He opened his set with an acoustic rendition of “Young at Heart” before paraphrasing the Nelson Mandela quote: “No one is born hating another person because of the color of his skin, or his background or his religion. People learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite.” He explained it’s a quote he’d been thinking about a lot recently. He poignantly followed it with a tune about people making the same mistakes over and over again.

    Brandi Carlile took to the stage next and exploded through the speakers with a full band and really tight, controlled sound that laid a strong foundation for her unbelievable vocal ability. There was a lot of love for Carlile at the start of her set, but as she bounced around on stage, exuding positivity and grace, she quickly won over a lot more hearts too. The crowd was in awe to the point that she took notice and expressed to the crowd, “This is some of the best energy I’ve felt on stage.” The mutual love and respect between Carlile and the adoring crowd continued to grow throughout her set.

    After each song she wistfully tossed her guitar pick into the crowd, to the cheers and delight of many. One of her set highlights was an acoustic rendition of “The Eye.” She sung in a three-part harmony with two of her bandmates whom she has been performing with for fifteen years. They happen to be twin brothers, and she humbly introduced the tune exclaiming, “They are amazing singers and they could be standing at this center mic any day of the week and we’re about to show you why.”

    Next the band picked things up with “Hard Way Home,” followed by an energetic rendition of “Folsom Prison Blues,” which she sang in an effortless flutter between sweet and smooth to gruff and rusty vocals. Carlile remarked right after, “Momma’s getting’ to old for that shit,” and the crowd hollered in laughter at her sincerity, and ability to level with the crowd. Her conversational style between songs allowed her to genuinely connect with the audience. She played “The Mother,” a song off her new album about the impact of having a daughter. Jim James came back out to duet with her and their mutual respect for each other provided the glue for great stage chemistry. Next she dedicated “The Story” to Charlottesville before ending her set by covering “Going to California,” which she sang effortlessly because she is the queen of country rock.

    Phil Lesh and The Terrapin Family Band came out next to the utter joy of the very Grateful Dead-centric crowd. Their mellow rock sound was punctuated by a sea of cheers as fans recognized their favorite songs and proudly brandished their vibrant tye dyes. Gov’t Mule followed with more heavy rock, aided by the sharp vocals of Heart’s Ann Wilson during a one-two punch cover of “Immigrant Song” aptly followed by “Black Dog.”

    Wilson took a moment to express, “We judge each other by what we have or how successful we are, but that’s complete and utter bullshit. So let’s take it all back.” Wilson and Gov’t Mule then went into a deep bluesy, “I Don’t Care What You’re Wearing,” as a man donning a glitter-laden jellyfish hat paraded through the crowd at just the right moment.

  • LOCKN’ 2017 Day 1 Recap

    As the sun lowered behind the Blue Ridge Mountains, bathing the show field and it’s patrons in an opulent cloak of sun-kissed finery, the Mount Zion First African Baptist Choir paraded onto the main stage to welcome patrons to the 2017 LOCKN’ Music Festival. A sense of contentment swirled with eager anticipation permeated the crowd as the National Anthem and “Amazing Grace” drifted through the air.

    A moment of silence in honor of recent events in Charlottesville unified the respectfully silent crowd before local group Kendall Street Company took to the stage to get into the festival groove with some homegrown, incredibly danceable tunes. Their tight instrumentation and seasoned rock sound defied their youthful visage boldly displayed on the larger screens bordering both sides of the stage. Lead vocalist Louis Smith uttered the lyrics, “We are here now, so come along,” an inviting sentiment as patrons continued to accumulate near the stage. At one point Smith exclaimed, “I need to get things that fit tighter on my head. I’ve lost my glasses, I’ve lost my hat.” It was a fair representation of his energetic performance.

    Luckily LOCKN’ provides a general store on the grounds with a variety of essentials  for anyone, musicians and attendees alike, if they find themselves lacking something they can’t do without. Umphrey’s McGee did not seem to forget anything behind, producing an incredibly lively follow-up to Kendall Street Company. As night fell, the show field continued to populate with head banging humans, approving with jovial cheers and applause as Umphrey’s flooded the audience with dazzling lights and heart pumping jams.

    As Umphrey’s first set concluded, the stage gracefully spun 180 degrees as The String Cheese Incident flawlessly picked up where Umphrey’s left off, with no time wasted.   Lead vocalist/guitarist Keith Moseley donned a flat brim with a hooded sweatshirt and sunglasses, as if trying to remain incognito while playing their unique brand of bluegrass rock to thousands of spectators. During their set, some crowd members couldn’t resist the urge to release handfuls of vibrant glow sticks through the inky air despite being banned on festival grounds. They are a time-honored tradition that will die hard despite known environmental and personal health hazards. During their performance of “Texas,” the rhythm provided an almost salsa-like feel that even reflected in the bouncy footwork of the more enthusiastic dancers in the crowd.

    Umphrey’s and String Cheese each produced one more set seamlessly sharing the stage as festival goers danced, mingled, sampled the vast assortment of food and brews provided by local restaurants and breweries. At the conclusion of String Cheese set two, another seamless transition to the Relix stage took place as The Disco Biscuits took up residence to carry on the heavy and never-ending musical stimulation that LOCKN’ executes so well.

  • Dark Star Orchestra Expands on Fall Tour to Include East Coast Dates, Including 20th Anniversary Show in Albany

    Dark Star Orchestra rolled out more 2017 tour dates. The newly added East Coast performances include a handful of shows in New York, including DSO’s 20th anniversary celebration on November 11 at the Palace Theatre in Albany. The fall dates lead up to a Cosmic New Year’s Run which includes three nights at Philly’s Electric Factory from December 29 through New Year’s Eve. Details and tickets are available at DSO’s website.

    dark star 20th anniversaryDark Star Orchestra Remaining 2017 Dates:

    Sept.21 – San Antonio, TX – The Aztec Theatre
    Sept. 22 – Austin, TX – Stubb’s Austin
    Sept. 23 – Dallas, TX – House of Blues Dallas
    Sept. 26 – Salina, KS – Stiefel Theatre for the Performing Arts
    Sept. 28 – Boulder, CO – Boulder Theater
    Sept. 29 – Boulder, CO – Boulder Theater
    Sept. 30 – Boulder, CO – Boulder Theater
    Oct. 2 – Omaha, NE – Slowdown
    Oct. 5 – Cleveland, OH – House of Blues Cleveland
    Oct. 6 – Cincinnati, OH – Taft Theatre
    Oct. 7 – Columbus, OH – Express LIVE
    Oct. 10 – Grand Rapids, MI – The Intersection
    Oct. 12 – Detroit, MI – The Majestic
    Oct. 13 – Chicago, IL – The Vic Theatre
    Oct. 14 – Milwaukee, WI – Riverside Theater

    Dark Star Orchestra Fall Tour – Part 2 (Newly Announced Dates):
    Nov. 10 – Montclair, NJ – Wellmont Theater
    Nov. 11 – Albany, NY – Palace Theater
    Nov. 12 – Peekskill, NY – Paramount Hudson Valley
    Nov. 14 – Northampton, MA – Calvin Theatre
    Nov. 16 – Portland, ME – State Theatre, Portland, Maine
    Nov. 17 – New Haven, CT – College Street Music Hall
    Nov. 18 – Worcester, MA – Worcester Palladium
    Nov. 19 – Ithaca, NY – State Theatre of Ithaca
    Nov. 21 – Concord, NH – Capitol Center for the Arts
    Nov. 22 – Jim Thorpe, PA – Penn’s Peak
    Nov. 24 – Huntington, NY – The Paramount
    Nov. 25 – Huntington, NY – The Paramount
    Nov. 29 – Richmond, VA – The National
    Nov. 30 – Richmond, VA – The National
    Dec. 1 – Norfolk, VA – The NorVA
    Dec. 2 – Washington D.C. – The Anthem ( ** Recreating Grateful Dead’s 6/14/91 R.F.K. show **)
    Dec. 28 – Montclair, NJ – Wellmont Theater
    Dec. 29 – Philadelphia, PA – Electric Factory – with Dirty Dozen Brass Band
    Dec. 30 – Philadelphia, PA – Electric Factory – with Keller Williams solo
    Dec. 31 – Philadelphia, PA – Electric Factory – 3 sets of DSO

  • Trey Anastasio Band Fall Tour with Halloween Show

    Trey Anastasio will bring his solo band on a six-night fall tour in Las Vegas and California in late October where the tour includes a Halloween show at the Wiltern in Los Angeles.

    Trey Anastasio continues to keep his solo band busy. With four shows already scheduled in mid-September in Northern New England and New Brunswick, he recently announced a string of shows out west in October and November. The tour kicks off with two nights at the Brooklyn Bowl Las Vegas on Oct. 27 and 28. It continues on Halloween at The Wiltern in Los Angeles, only the fourth time the Trey Anastasio Band has played the holiday, the last time being two years ago. He hits up the Observatory OC in Santa Ana, California the next night on Nov. 1. After a night off to travel north, he finishes up his tour with two nights at the Fox Theater in Oakland, California on Nov. 3 and 4.

    In addition to those dates, he also has a pair of orchestral dates in late September in Nashville and Atlanta.

    Tickets for the fall tour are currently available through a realtime pre-sale, which ends Wednesday, Aug. 23. They go on sale to the general public on Friday, Aug. 25.

    Trey Anastasio Band Tour Dates
    Sept. 15 – Harvest Jazz & Blues Festival, Fredericton, NB
    Sept. 16 – Thompson’s Point, Portland, ME
    Sept. 17 – Grand Point North Festival, Burlington, VT
    Oct. 27-28 – Brooklyn Bowl, Las Vegas, NV
    Oct. 31 – The Wiltern, Los Angeles, CA
    Nov. 1 – The Observatory OC, Santa Ana, CA
    Nov. 3-4 – Fox Theater, Oakland, CA

    Trey Anastasio Orchestral Dates
    Sept. 27 – Shermerhorn Symphony Center, Nashville, TN
    Sept. 29 – Atlanta Symphony Hall, Atlanta, GA