NYS Music 20​18

Category: Folk/Americana

  • Nobody’s Girl. That’s Right.

    Individually Rebecca Loebe, Grace Pettis and BettySoo are established singer/songwriter/performers, each with a Kerrville Folk Festival New Folk Competition winner title in their pockets. In 2017, Rebecca suggested a joint tour by the three  “just to share the road, share our audiences and have a bit of fun.” That one-off idea was followed by a homemade promo video, a songwriting session, a record deal, and the birth of Nobody’s Girl.

    NYS Music spoke with all three members by phone in late November after a scheduled return to the Towne Crier in Beacon, N.Y. was “snow-poned” due to a heavy dumping of white stuff, canceling the evening’s show and taking our pre-show interview with it.

    After “announcing” ourselves on the line, we were ready roll.

    Mickey Deneher: I think of this as the evolution of Nobody’s Girl. You guys started out as friends. When did you first meet?

    Grace Pettis: We first meet around 10 years ago at the Kerville Folk Festival.

    MD: Each one of you is an award winner (at Kerville.)

    GP: We did all win the (New Folk) competition in different years. (But) that was the first year we all were there and hanging out and just became pals.

    MD: You go to Kerville, do song circles, a one-off tour, a writing session, and then a record deal from the session. Was this just a flash or the progression you where looking for?

    Rebecca Loebe: You pretty much nailed it, the progression of it. Basically it just happened organically and very quickly. That as soon as we got together and started singing together we had this great sort of harmony and chemistry together and just sort of opportunities kept presenting themselves really quickly.

    You know our first co-write was pretty magical. We wrote 3 songs in basically 18 hours that we really liked. When we played them for the folks who owned the recording studio where we had gone to write, they offered us a record deal. At that point we had not even played a gig together. We didn’t have any plans of touring or plans of becoming a band. I think that made it all develop really naturally, the fact that it wasn’t something that any of us where all gunning for. We didn’t have, you know, aspirations to make this the coolest band project ever. We just thought it was fun when we sang together.

    Rebecca Loebe

    MD: Let’s talk about the writing for the EP. All three of you are credited (for the originals). Is that because it is the writing process or do you all have to get in pieces?

    Grace Pettis: We are an equal collaboration at the writing table. Which is such a new and cool experience. I have written with a lot of people. I love co-writing. But I have never been in a band, where all three members are professional songwriters and get so much joy out of that process and can kind of meet each other at the same level as co-writers. That’s just been really fun. All of the songs are true, true collaborations. Like honestly, nobody really takes the lead. Maybe somebody will have an idea, somebody will take it and run with it, and then somebody else will chime in with a different direction and we write them from scratch. Together. Equally.

    MD: You went in for a writing session. You didn’t go in as a band, but you came out as a band.

    BettySoo: We were writing for the three of us to sing together. We definitely had that in mind. I don’t think we were writing like we would scrap a song if it was good and it didn’t feel like it was going to suit the trio that well. But definitely, that was definitely sitting in our minds as we were writing. Whether it was subconscious or whatever, that this was a song for the three of us.

    Grace Pettis: Definitely.

    BettySoo: I’m sure that shaped the process some, whether we were that conscious of it or not.

    MD: So you had the “voices” in your head that you were writing for.

    BettySoo: Absolutely.

    We turned our conversation to the band’s recently released debut recording “Waterline,” which contains 4 original compositions, two covers, and a bonus acoustic rendition of the title track. It was recorded at Studios at Fischer with assistance from some of Austin’s top session players. The EP was released on the Lucky Hound label.

    MD: I’ve enjoyed the EP. The writing, the harmonies, there are different voices in there. I’ve grouped them as I hear the different voices. Tell me about “Waterline” and “Riding out the Storm.” Metaphoric songs? Deep things happening to you guys? Am I thinking correctly?

    BettySoo: “Waterline” is an interesting example of a song that started with one idea and ended up in a completely different place. It started with, I remember really clearly, a chorus idea that I had on Christmas morning last year. I would sing it for you but you would not recognize it. It did not end up in the finished song. I brought the chorus to the group and we thought oh yeah that’s a good starting place, we’ll start with that. We wrote some verses and then we liked the verses that we wrote so much more than that chorus that we had to write a better chorus to match the song.

    I think there is a metaphor in that song about how things change slowly and you can use the waterline as a reference. Gauge how things have changed over time.

    BettySoo

    MD: “Bluebonnets” (a Raina Rose composition) is an opening up of what I want to become? I haven’t been there? This is what I’m going to be?

    Grace Pettis: That’s an interesting take. I think at the time, we were left kind of writing toward a theme in terms of let’s write five songs that all fit into a theme. We just were all writing from out experiences in life and some themes just came naturally out of that. When we decided to play “Bluebonnets,” it was mostly just because we all loved the song and we loved the songwriter Raina Rose. Rebecca suggested that one. I tried it on, cause it kind of fell to me. It was time for another song where Grace is singing lead. I was sort of tooling around with it. As I was playing it, I had always liked that song and I had know of it for maybe a decade, as I was playing it, I fell more in love with it as I was singing it because it just sounds like this classic Texas country song. To me it sounds like a Willie Nelson song or Townes Van Zandt song or something like that. It just sounds like classic and there is so much heart in it. So I feel like it sings itself almost.

    MD: “Call Me,” (Blondie cover) fun song, great song. What brought that to the EP?

    Rebecca Loebe: I think it came out of a conversation on what kind of songs we wanted to cover. We were talking about writers who inspire us; women who inspire us. We sort of all stumbled into our admiration of Debbie Harry, who is the driving force behind Blondie and an absolute badass, and Grace mentioned that she had been rehearsing “Call Me” and thinking of covering it. We pulled it up and listened to it and it really clicked with all of us. We sat, spent an hour working on an arrangement, and it was just so much fun using all our voices and BettySoo’s incredible electric guitar to come up with a version of that song that really feels like us.

    Grace Pettis

    MD: Let’s talk about the band name. Who came up with that? (All three start laughing.)

    BettySoo: That may have been the most full on equal part labor.

    Grace Pettis: Yeah.

    BettySoo: That thing (band name) that we wrote, even more than the five (songs.) Because we didn’t intend to be a band at first, we just thought we’re three pals going out on a kind of co-bill tour; that was nothing that we spent a lot of time working on. We were writing songs thinking it would be a special moment in a show. All of a sudden we find ourselves with this record deal, and realized we were a band and like, oh shoot, if we are going to put out a record, we have to have a band name.

    None of us were quite satisfied with the first name that we had, Sirens of South Austin, because we really just thought of that as a tour name. And, oh my god, we went through dozens and dozens and dozens of band name ideas. I think if we all didn’t love each other so much we would have killed each other (laughs.) What a way to come up with a band name. That was the most angst-ridden discussion we probably had as a band. Maybe that’s fitting, because your name is really such an identity marker. It’s how people will judge you before they meet you, trying to make that impression about having a name you are proud of. That you feel conveys all of your personalities but also who you are as a new entity. It was really hard to land on one thing. We also started listing a bunch of songs and albums and different titles of books and all kinds of things that were references for us. I think Grace at one point had mentioned the Bonnie Raitt song “Nobody’s Girl” and surprisingly it was something all of us could agree on. As time goes by, I think we have all gotten even fonder of it.

    Rebecca Loebe: It definitely says something. It says something quickly. It speaks to all of our character and the roots were building as a band.

    Grace Pettis: I liked it because it was versatile. It sounds fun. Sounds like it could be a pop band. But then it also has a bit of a bite to it.

    MD: It’s a statement.

    Rebecca Loebe: Definitely.

    MD: What’s on tap for 2019?

    RL: We’re doing a few international trips in 2019, including a tour in Europe (that) we are really excited about. We are going to be touring The Netherlands, Germany & Ireland. We’ve gotten some sweet requests to play shows. We will be in Texas in March and touring in the summer.

    Nobody’s Girl’s “Waterline” is available on the band’s website, ITunes, and at their shows. As for that canceled show at the Towne Crier, they’ll be back (but I think there is an no-snow rider in the contract).

  • The Ballroom Thieves Warm the Rochester Winter Once Again

    The Ballroom Thieves returned to the Arbor Loft in Rochester for another show put on by Honest Folk. They stopped by last winter, Valentines Day to be exact, and were back for another frigid Rochester night. The folksy trio was back to let Rochester warm its souls next to their rich musical fire while the cold and snow settled in for the long haul outside.

    They’ve been busy during their ten-month absence and brought with them two new EPs, one of originals and one of covers. The set borrowed heavily from the new material so the show varied greatly from their previous visit and they continued to showcase their evolution as a band.

    On their very first visit to Rochester, back at Abilene, cellist Calin Peters had only recently joined the band. She was a bit shy and hesitant to take control musically. But if Tuesday night was your first time seeing the band, you might determine that the band was built around her specifically. Her beautiful voice led a seeming majority of the tunes and commanded attention unlike any other time we’ve seen them.

    Drummer Devin Mauch and guitarist Martin Earley were both recovering from colds while Peters was limping and in a brace from a minor tour van incident. They jokingly were running at a collective 230%, though you wouldn’t know it from their output. On newer material like the raucous and meandering “Can’t Cheat Death,” the deep fuzzed out blues “Fistfight,” and the bubbling, bouncing and building “Almost Love” they were as energized and active as ever.

    They threw some great new covers in the mix as well. Earley took the stage alone mid-set for a solo take on Tom Petty’s “Time to Move On” while Peters lead the band on Bahama’s spectacular “Lost in the Light,” which is featured on their just out EP, Covers.

    The show ended with a “fake” encore of “Bury Me Smiling,” but there was nothing fake about this show. Honest through and through, including some highly detailed band introductions, including individual Q and A sessions, including such deep dive topics as pets, eating habits and high school accomplishments.

    A short opening set by Odetta Hartman married electronics with acoustic folk. Drummer/percussionist Jack Inslee laid down landscapes of sound ranging from seaside and train noises to banjo melodies to backing choruses, while Hartman’s angelic voice and banjo, guitar or fiddle floated above. Inspired by the wedding-esque surroundings, they eschewed their usual spooky setlist for a more love-based repertoire.

    Ballroom Thieves, Arbor Loft – Rochester

    Setlist: Anybody Else, Can’t Cheat Death, Saint Monica, Only Lonely, Time to Move On (Tom Petty), Bartering, Trouble, Fistfight, Lost in the Light (Bahamas), Do Something, Almost Love, Bury Me Smiling

  • Hearing Aide: Jackson Cavalier ‘Spellbound’

    Jackson Cavalier is well-known in his hometown of Rochester as a solo act. As a one-man band he has won the city’s Best Busker contest year after year. With guitar in hand and harmonica at the ready, he keeps time with his toes tapping at the tambourine and a rustic suitcase bass drum. His first solo LP entitled Full Moon sounds a lot like his live act, but with a few extra touches. Now, within a span of less than a year, Cavalier has released his second full-length solo album, Spellbound.

    Like the black and white labyrinthine album art, the music at first seems deceptively simple. It soon becomes apparent to the listener that the songs are comprised of multiple layers of acoustic texture and lyrical meaning. Spellbound comes out of the gate at a full gallop with the title track, an acoustic song heavy on guitar and harmonica. The Southwest-inspired finger-picked tune sets the tone for a bewitching tale about trying to avoid a spell, but finding it’s too late. The shanty sets the tone for the entire 12-track album, which shares the common theme of being enchanted – whether by love, death, or even time itself.  

    Cavalier uses the medium of Indie Folk Rock to take listeners on a journey through an anthology of timeless tales. “Mt. Hope Blues” is set in the hills of Rochester’s Victorian cemetery, and told from the perspective of a ghost watching his beloved pick wildflowers for his grave. The boot-stomping song “Sister Prim” tells a story of revenge by a woman scorned. “Razor Wire Death Song,” the one single pre-released before the album, is perhaps the most poetic: “I see the reaper grim and tall / scythe and cloak and horse and all. / He’s not a specter on a hill to be feared, / he’s standing right in front of me beside this mirror.” Later in the album Cavalier reels it way back for the sparse and sentimental ballad “Ribbons.”

    Whereas Cavalier’s earlier original songs with his full band The Fevertones had a more traditional Americana folk styling, with accompaniment by violin and upright bass, his sound has evolved into a distinctive style of folk rock with country flair. The songs on Spellbound have a rich, full quality, in part from the addition of Thomas Draper on bass guitar and Joey Small on drum kit & auxiliary percussion. The tunes are accentuated by a subtle (and sometimes not-so-subtle) sprinkling of melodica and Glockenspiel.

    The harmonious pairing of the music and storytelling has a mesmerizing effect. The result of Cavalier’s adept musicianship is a work that has come by its name honestly, as it truly leaves the listener spellbound.

    Spellbound is available for purchase on Bandcamp or streaming on Spotify. Follow Jackson Cavalier Music on Facebook for the latest news and events.

  • 2019 Newport Folk Fest Sells Out, Begins Lineup Announcements

    2019 Newport Folk Festival tickets went on sale last Thursday and completely sold out all three days within a matter of hours. This news is not particularly surprising as the festival has been selling out with increasing quickness over the past few years. But it is no less incredible, particularly since not a single artist had been announced. You can read our review of last year’s festival to get a sense of why it is a special event that garners such fervor among it’s fans new and old, old and young.

    If you missed the on sale, don’t fret, there’s still a chance. In one of many moves the organizers have employed to fight the ever present threat of scalpers, the festival set up its own fan-to-fan resale site, hosted by Lyte. Sign up for a spot in line and hope for the best. It might seem like a long shot, but it has proven to be a very successful system in the past, so sit tight. And definitely be wary of any other resellers. Since tickets haven’t even been issued yet they are most definitely not real.

    Newport is a festival of surprises, and in a pleasant surprise, soon after the sell out they revealed the festival’s finale set. Entitled “If I Had a Song,” the set will celebrate what would have been festival co-founder Pete Seeger’s 100th birthday with a singalong.

    This set will surround hate, and force it to surrender. In what would have been our co-founder’s 100th year, we could think of no better way to celebrate Pete’s spirit in a time where we need each other now more than ever, than to do so with a celebratory sing-along. We’re stronger when we sing together, so we intend to do just that for this year’s festival finale.

    The festival also announced that on behalf of every artist playing this year, the Newport Festivals Foundation will make a donation to a music education charity of the artist’s choice. In honor of this set, the festival will be making a donation to Beacon Advocates for Music in Seeger’s hometown of Beacon, NY.

    Dear Folk,

    This is an important day for the festival and the foundation because we are sharing our vision for 2019 and beyond with you, our folk family.

    Sixty years ago, our event defined the modern day festival paradigm, which is so prevalent today. Yet we feel that our own understanding of what it means to be a festival needs to be reexamined. Are we empowering artists? Are we supporting the next generation of musicians? Are we inspiring our fans? In short, can we be doing more?

    While we’ve laid the groundwork as a non-profit in recent years, it has become clear that the increasing burden to sustain music education in America is falling squarely on communities like ours.

    Therefore, we are making a commitment to partner with every artist playing Newport Folk this summer on donating to a music education cause of their choosing. That’s right, EVERY ARTIST.

    Yes, it’s going to be a challenge, but together we’re confident we can make a difference, because that’s what families do for each other.

    Grateful,

    Jay Sweet, Executive Producer

    Usually the lineup would start trickling out starting in January or February, but the festival just announced the second artist for the 2019 lineup. Gregory Alan Isakov, the indie-folk musician from Colorado will return to the Fort after his last appearance in 2014. He is slated for an appearance on Saturday, July 27 and in his honor the Foundation will be making a donation to the Columbine High School guitar class.

    Stay tuned for more lineup announcements!

  • The Strand Center Theater: From Vaudeville to Rock and Roll

    Located in the center of downtown Plattsburgh, The Strand Theater is a historical landmark that has been the cultural heartbeat in the North Country for almost a century. Opened on December 29, 1924, as a Vaudeville theater featuring stunning architecture and interior design. The Strand Theater provided the community with theatrical and musical productions of all types and was considered the “Pride of Northern New York.”

    The Strand went through some changes over the years. In the 70’s the theater was renovated in such a way that it became a two-room movie theater, and eventually a four-room theater. The changes covered the original interior design. The beautiful and ornate features were no longer visible, and the theater took on a different feel. The theater struggled financially and went on to change hands several times until in 2004 when the North Country Cultural Center for the Arts purchased the building. This was the beginning of a ten year, four-million-dollar restoration project.

    The Strand Center Theater

    Years of hard work, public and private grants, donations, and the dedication of the community has paid off. Now known as The Strand Center Theater, the venue is flaunting the ornamental design meant from its inception in 1924. Two highlights from the restoration include the replica of the original chandelier, donated by Swavorski Lighting, and a 1924 Wurlitzer organ. The Wurlitzer was donated by Leonard and Louise Johnson of Hingham, MA, owners of the Colney Theater in Philadelphia. A group of volunteers refurbished the 1924 instrument and it is now fully functional and an astonishing sight.

    The Strand Center Theater

    Not only has the theater completed its restoration and is sporting its fancy facelift, but The Strand Center Theater also has a new Executive Director creating quite a buzz in Plattsburgh. Mr. Bob Garcia relocated from New York City to Plattsburgh and is the first permanent director for The Strand in three years. Mr. Garcia has an impressive background in theater and production. He worked at Radio City Music Hall and Madison Square Garden in finance positions for many years. Mr. Garcia has much enthusiasm about the future of The Strand and has great ideas about ways to make the theater more and more successful with each event.

    The Strand Center Theater

    Recently Mr. Garcia brought Dave Mason, Traffic co-founder, Rock and Roll Hall of Fame Inductee to The Strand. Dave Mason is a rock legend, having an artist of this caliber grace the stage in Plattsburgh was a huge honor. Between his unsurpassed guitar playing, storytelling and great sense of humor, Mason gave the audience one of the best shows to date. Receiving several standing ovations throughout the night Dave Mason’s performance brought an undeniable, tangible energy to the theater. The seated crowd ended the evening on their feet and dancing in the aisles.

    The following weekend The Strand Center Theater welcomed another world-class musician. Ronnie Earl & The Broadcasters brought their classic soulful blues to Plattsburgh, and it was a show the audience won’t forget. Earl is known for his old-school style, mesmerizing fans since he started playing in the 1970’s. B.B. King has stated, “…he is one of the most serious blues guitarists you can find today. He makes me proud!” Another top-notch performance for The Strand, with many more to come.

    The Strand Center Theater

    The Strand Center Theater is excited to announce that The Allman Betts Band set to perform on March 30, 2019 and Lonesome Traveler, a concert version of the acclaimed off-Broadway musical with special guest star and Folk Legend Peter Yarrow, the only living member of Peter, Paul & Mary. The musical tells the story of Americana music over the years. More event listings including comedy shows, ballet, theater, art and orchestra events can be found at the venue’s website.

    The future of this historical theater in the North Country is bright. With Mr. Garcia at the helm, continued passion and support of the community, this venue is bringing back the heartbeat in downtown Plattsburgh.

  • Fritz’s Polka Band announces 19th album

    Celebrating 40 years of performing, the Verona-based Fritz’s Polka Band will release its 19th album, Hey! on Friday.

    Recorded at SubCat Studios in Syracuse over the course of several weeks this fall, the album marks a bit of a departure for the band. Of the twelve original tracks included on what was originally planned to be a double album, half stick to the band’s namesake style.   The other half spans various styles lead singer/accordionist Fritz Sherz and his bandmates, Gabe Vaccaro (bass/vocals), Frank Nelson (guitar) and Mike Faraino (drums) have dipped into throughout the years while busting open the polka band stereotype.

    Several guests make appearances on the new album, including SubCat Studios owner Ron Keck and previous Fritz’s Polka Band collaborator, Rocko Dorsey. Those familiar with Guns ‘n Roses guitarist Slash’s solo outings will recognize the name Todd Kerns. Kerns is the bassist in Slash’s band, Slash featuring Myles Kennedy and the Conspirators and a friend of Sherz. He contributed guitar tracks to the title song written by Sherz. The song eschews the typical polka format for more of a Flogging Molly-style Celtic vibe.

    (L-R) Mike Faraino, Todd Kerns and Fritz Sherz

    The new album hits this Friday, Nov. 30 on all major streaming services and will be available for purchase at all Fritz’s Polka Band gigs or through Sherz himself. For more information, follow Fritz’s Polka Band’s social media channels of visit their website here.

    Social Media: Twitter I Facebook I Instagram

  • Pop-Fest 518 Showcases Original Local Talent

    Pop-Fest 518 takes place at The Linda on Saturday, Dec 1 from 7-10 pm. Featured in this evening of eclectic musicians are Blockhouses, Sydney Worthley, Pop-Clique, Sarah Kohrs & Coyote, and Daniel Conley. While students can get a $10 ticket at the door with ID, all-ages $15 tickets can be purchased through The Linda’s Pop Fest 518 event page. This one-night show not only showcases original work by performers native to the 518 area, but admission goes towards the upstate arts community fostered by the Columbia Arts Team.

    Blockhouses

    The pop trio Blockhouses will groove the audience followed by festival-seasoned, 16 year old Sydney Worthley, who takes the stage to build on that energy with her country/rock infused lyrics. Expect a blast to the past as the internationally recognized Pop-Clique takes concert-goers back with a ’60s flavored vibe. A new face joins the stage with them as notorious singer/songwriter Liv Cummins makes her Pop-Clique debut on Dec. 1 at Pop-Fest 518.

    The mood changes yet again as Sarah Kohrs & Coyote deliver their take on blues and jazz; the influence of iconic female vocalists Joni Mitchell and Amy Winehouse comes through in Sara Kohrs’s performance. To cap of a great night of 518 artists, Daniel Conley has a large body of work to pull his Americana offerings from as he has launched two albums in the last year.

    The Columbia Arts Team is a non-profit performing arts company that promotes local arts efforts and has partnered with The Linda to make this performance possible. The Linda is committed to growing the arts in New York as it serves as the performing arts studio for Albany-based public broadcast radio station WAMC. There is growing community interest in the cultivation of original, local, musical talent. Pop-Fest 518 gives these unique voices a stage where they can truly shine.

    There aren’t a lot of options for purely original local artists to perform in a concert format…This is music that belongs in a ‘listening’ venue, not a bar. This is music that needs to be heard.

    – Andy Gregory, WEXT Radio’s Local 518 program host.

  • The Egg announces five diverse spring shows

    The Egg recently announced five great musical acts visiting the Capital Region for shows this coming spring. The first is  Americana, rock, and improvisational group Railroad Earth. The group self identifies with rock-and-roll, but their distinct bluegrass influence is undeniable. Who says you can’t have the best of both worlds? You can see this incredible fusion of musical genres yourself Feb. 14.

    Railroad Earth

    Next in the line up is local talent who hail from Albany, the folk group Dannybrook Fair. The three original members recently celebrated a successful summer tour. You can catch the trio during St. Patrick’s Day celebrations on March 14.

    March’s offerings continue at the performing arts venue as Pat Metheny’s recent jazz project Side Eye makes an appearance on March 30. Universally recognized as one of the best guitarists in jazz history, Metheny is joined by pianist James Francies and drummer Nate Smith for this musical experiment. You will not want to miss a performance from the unmatched Pat Mentheny.

    Last, but not least, Candlebox comes to Capital region audiences on Thursday, April 25. The Seattle rock group, who rose to fame in the ’90s grunge scene will be showcasing songs from their sixth album Disappearing in Airports.

    You can find ticket info by visiting the Egg Events Page.

  • Joni Mitchell featured in special Morrison Hotel gallery – JONI

    Beloved singer-songwriter Joni Mitchell is featured in an upcoming Morrison Hotel Gallery entitled JONI. The exhibition is a collection of over a dozen photographers’ work who have captured her essence as a folk pioneer in addition to cultivating her artistic relationships of mutual respect and admiration.

    The opening date for the photography exhibition and sale is Friday, Nov. 16. The event is being held at various locations: the Sunset Marquis Hotel location in Los Angeles, at the New York City gallery on Prince Street in SoHo and the gallery in Maui at Mick Fleetwood’s General Store and restaurant.

    Morrison Hotel Gallery is proud to represent the world-class talents of a group of photographers who together have taken some of the most beautiful and timeless images of Joni Mitchell – an artist who many consider to be one of the greatest songwriters of the 20th century. — Morrison Hotel Gallery co-owner Peter Blachley

    The photos range from Joel Bernstein’s gatefold Hijira album to Amalie R. Rothschild’s concert action shots to Norman Seef’s cover art and various sessions with Joni. Other photographers featuring Joni Mitchell include: Henry Diltz, Graham Nash, Baron Wolman, Bonnie Schiffman, Rowland Scherman, Ken Regan, Jay Blakesburg, David Gahr, and Guido Harari. These priceless images give life to Joni’s musical career from as earlier as 1967 at the Newport Folk Festival, through the late ’90s.

    Aside from being the good friend of a great many gifted photographers, Joni Mitchell is remembered as one of the greatest musical artists of the late 20th century. Mitchell is well-known for her blues and jazz-infused style present in some of her long-praised folk tunes. She recently celebrated her 75th birthday earlier this month so this exhibition could not be more perfectly timed for fans to look back and honor the great Joni Mitchell.

  • Arlo Guthrie’s “Back By Popular Demand” Tour

    Legendary folk music icon Arlo Guthrie brought his Back By Popular Demand Tour to the Paramount Hudson Valley Theater in Peekskill, NY. The tour coincides with the 50th Anniversary of the feature film Alice’s Restaurant, originally released in 1969, starring Arlo as himself.

    Guthrie performed solo and with a full band featuring daughter Sarah Lee Guthrie (guitar, keyboards, vocals) and son Abe Guthrie (keyboards, vocals) bringing “Alice’s Restaurant” and other Guthrie classics to life. You can catch Arlo Guthrie’s annual Thanksgiving celebration at Carnegie Hall on November 24th.