Jazz and Microbits will occur every Wednesday from 6-8 p.m. The schedule for October features world jazz trio BeBimBop (10/2), Newark-based trumpeter James Gibbs III (10/9), renowned guitarist Paul Meyers and Brazilian percussionist Nanny Assis (10/16), guitarist Bob Devos and bassist Steve LaSpina (10/23), and pianist Oscar Perez (10/30). Click here for directions.
Riverview Jazz, the producers of the Jersey City Jazz Festival, have announced a new intimate jazz series in Kearny Point, NJ. In partnership with Sprig Market Cafe and Kearny Point, each Wednesday in the month of October will bring an evening of delectable bites, bespoke cocktails, and world-class jazz music.
“We are very excited to bring some great jazz to the town of Kearny. We toured the industrial space at Kearny Point and immediately saw the potential for presenting music,” says Riverview Jazz Executive Director Bryan Beninghove. “The food and drinks at Sprig are top-notch, there’s a wealth of amazing musicians in the area, and the vibe is really hip. We’re excited!” RiverviewJazz.Org is a 501(c)(3) not-for-profit organization.
Admission to Kearny Jazz is free with a tasting menu offered for $25/person.
Harlem-based band Mwenso & The Shakes will embark on their extensive “Harlem 100” North American Tour this fall which includes stops in Baton Rouge, Jacksonville, Greenville, Charlotte, Des Moines, Princeton, St. Louis, Flint, Stanford and many more.
In collaboration with IMG Artists,the National Jazz Museum in Harlem and JMG Live, this multimedia show celebrates the 100th anniversary of the Harlem Renaissance while capturing the sights and sounds of Harlem when legendary artists such as Fats Waller, Duke Ellington, Langston Hughes and Billie Holiday made Harlem the cultural center of the country. Conducted by bandleader and lead vocalist Michael Mwenso, “Harlem 100” presents the most exciting Harlem musicians and dancers in a modern variety show.
Mwenso & The Shakes
“The ‘Harlem 100′ will be a musical journey that celebrates one of the greatest movements in cultural history while connecting the past to the present,” says Mwenso.
Mwenso was born in Freetown, Sierra Leone but spent his teenage years hanging out at the legendary jazz club Ronnie Scott’s in London where he was exposed to musicians such as Benny Carter, Elvin Jones, Ray Brown and Billy Higgins. In his youth, Mwenso started honing his talents as a trombonist, singer and performer playing in jump bands, reggae and Afrobeat horn sections and at hard-bop sessions. Mwenso’s talent as a performer caught the attention of many, which subsequently led him to meet James Brown who allotted space for him to sing and dance at his London shows.
The band’s debut album Emergence, out now via Ropeadope Records, has received critical praise, with PRI’s “The World” saying, “To say the music of Mwenso and The Shakes is pretty wild is an understatement. It’s part jazz, part funk and part Broadway show tunes.”
Driven by Mwenso’s deep ancestral understanding of the African-American music tradition, Emergence came together through many late nights at the band’s loft in Harlem exploring music outside of the traditional classroom, using free-form musical expression. Hailing from many corners of the world including Sierra Leone, London, South Africa, Greenwich Village, Madagascar, France, Jamaica and Hawaii, the band gains inspiration from each of their unique backgrounds while cohesively collaborating in a spontaneously communal and improvisational environment.
In 2012, friend and jazz musician Wynton Marsalis brought Mwenso to New York City to serve as curator and programming associate at Jazz at Lincoln Center where he also booked nightly sets at Dizzy’s Club Coca-Cola. Over the next few years, Mwenso booked and performed with the likes of Cécile McLorin Salvant, Jon Batiste, Aaron Diehl, Sullivan Fortner and Jamison Ross.
Through these performances at Dizzy’s, Mwenso began to collaborate with a wide variety of Juilliard-trained musicians that soon became known as The Shakes. This unique group of global artists presents music that merges entertainment and artistry with a formidable timeline of jazz and blues through African and Afro-American music.
Mwenso & The Shakes are Mwenso (bandleader, vocals), Vuyo Sotashe (vocals), Kyle Poole (drums), Gabe Schnider (guitar), Mathis Picard (piano and keys), Ruben Fox (tenor sax), Julian Lee (tenor sax), Russell Hall (bass)and Michela Marino Lerman (tap dance).
Mwenso & The Shakes “Harlem 100” Tour Dates
October 8—Baton Rouge, LA—The Manship Theatre
October 11—Irmo, SC—Harbison Theatre at Midlands Technical College
October 12—Wilmington, NC—Thalian Hall
October 13—Jacksonville, FL—Ritz Theatre & Museum
October 14—Greenville, SC—Peace Center for Performing Arts
October 15—Charlotte, NC—Blumenthal Performing Arts, Knight Theater
October 17—College Park, MD—Clarice Smith Performing Arts Center
October 18—Harrisonburg, VA—James Madison University – The Forbes Center for the Performing Arts
October 19—Hampton, VA— Hampton Arts, The American Theatre
October 22—University Park, PA—Center for the Performing Arts at Penn State University
October 23—Lancaster, PA—Millersville University, The Ware Center
October 24—Rochester, NY—Nazareth College Arts Center, Callahan Theater
October 26—Storrs, CT—Jorgensen Center for the Performing Arts at University of Connecticut
October 27—Morristown, NJ—Mayo Performing Arts Center
October 30—Des
Moines, IA—Hoyt Sherman Place
November 1—West Lafayette, IN—Loeb Playhouse at Purdue University
November 2—Oxford, OH—Miami
University of Ohio Hall
Auditorium
November 3—Midland, MI—Midland
Center for the Arts
November 6—Princeton, NJ—McCarter Theatre
November 7—Athens, OH—Ohio University Memorial Auditorium
November 8—Carmel, IN—Center for the Performing Arts
November 9—St Louis, MO—The Sheldon Concert Hall
November 10—Overland Park, KS—Carlsen Center at Johnson
Country Community College
November 14—Urbana, IL—Krannert Center for the Performing
Arts, Colwell Playhouse
November 15—Flint, MI—The Whiting
November 16—Chandler, AZ—Chandler Center for the Arts
November 17—Cerritos, CA—Cerritos Center for the Performing
Arts
November 20—Stanford, CA—Stanford Live, Bing Concert Hall
November 21—Rohnert Park, CA—Green Music Center at Sonoma
State University
November 22—Davis, CA—Mondavi Center
November 23—Livermore, CA—Livermore Valley Performing Arts
Center
November 24—Arroyo Grande, CA—Clark Center for the
Performing Arts, Forbes Hall
Inside the expansive back room in the northwest corner of the old Kenmore Hotel hangs a drab, grey curtain concealing the last piece of history tied to the space.
The curtain protects a mural called “The Court of Cleopatra,” painted on the wall above a modest stage on which Frank Sinatra, Tommy Dorsey, Cab Calloway and Duke Ellington played. It’s a depiction of the Queen of Egypt, whose beauty was unparalleled and whose intelligence matched that of the powerful men she seduced, most notably Julius Caesar and Mark Antony. It’s placement high upon the wall implied that this was the room in which the masters of the universe was expected to frolic.
The space is now in the midst of a multi-million dollar renovation project that’s breathing new life to the North Pearl eyesore. Modern day Dapper Dons in hardhats expose the promise of a bright future, and at the same time enhance the ghosts of the hotel’s storied past.
When William Kennedy wrote about the Rain-Bo Room in “O’Albany,” he was still able to observe a piano on that stage. He imagined someone playing “Happy Days and Lonely Nights,” a tune Ruth Etting made popular in 1928, and a reported favorite of the Kenmore’s most famous resident, Jack “Legs” Diamond.
Diamond’s name was never mentioned during the press conference called by Redburn Development to announce the Rain-Bo Room’s intended rebranding as the Kenmore Ballroom. Nor would it be expected. He was a New York City mobster, whose charges included burglary, kidnapping and bootlegging. Nonetheless, he was a celebrity.
Diamond’s vocation aside, his choice of haunts reveals that the Rain-Bo Room was Albany’s top nightclub during the Roaring Twenties. Stars of the Big Band area would flock up the Hudson River to play there, especially lured by the prospect of broadcasting their live performances on the radio.
“The Kenmore Ballroom is the heart of this building at the heart of this development,” said Jeffrey Buell, principal of Redburn Development. “We want to fill the space with life, life that spills out into the surrounding streets and supports all of the Downtown.”
Katie O’Malley Maloney and her husband Nate Maloney will manage The Kenmore Ballroom. O’Malley Maloney has her own long history with the City of Albany. She served as the 50th Anniversary Tulip Queen and worked for the City of Albany planning events and fundraising under former mayor.
Jerry Jennings. She also owns and runs Katie O’ Weddings and Events, an event planning firm celebrating its 10th anniversary later this year. Nate brings over 20 years of corporate and not-for-profit marketing, communications, and event experience to their first venture together. Katie will oversee the day-to-day operations along with Casey Benson, Vice President of Operations for the organization.
“We are thrilled to be back in Albany and to be a part of the revitalization of Downtown” said O’Malley Maloney. “The Rain-Bo Room was once a vibrant centerpiece of Albany culture and society. We are excited to return the vibrancy of this historic space as the Kenmore Ballroom.”
The Kenmore Ballroom will accommodate up to 300 people for a seated function. The ornate double staircase, demolished when the building was turned into offices, will be rebuilt as the centerpiece of the space. It will also have a separate bar lounge and rooftop deck. For Elizabeth Young Jojo, she focused on the opulence of the room’s past while choosing all of its fixtures and accents.
“We chose an Art Nouveau inspiration,” said Young Jojo, vice president at Redburn Developments. “That, mixed with some super, super modern elements, as well.” The Art Nouveau style was popular during the turn of the last century, a look characterised by curves and asymmetric shapes to provide the illusion of movement. The juxtaposition of elements, Young Jojo said, “I think will be very fresh, that there is no other space like that in the Capital Region.”
“Projects like the revitalization of The Kenmore and its ballroom are transforming downtown Albany,” said Albany Mayor Kathy Sheehan. “Thank you to Redburn for their commitment to Downtown, and to Katie O’Malley Maloney and Nate Maloney for believing in Albany and investing in Albany’s newest neighborhood.”
The Kenmore Building rehab project is part of a nine-building, $82 million neighborhood revitalization that will bring 350 apartments and 11 commercial spaces to a three-block radius. The first phase of the multi-building project, The Knick at 16 Sheridan, will welcome new tenants this week. The Kenmore is expected to be open by October 2020.
This article was originally published by The Spot 518
The Moho Collective trio will once again return to Lovin’ Cup on October 11, 2019 to celebrate the release of their new EP Akra. Ben Proctor of The Crooked North is set to provide a solo act to open the show. The Moho Collective will then be joined by a seven-piece ensemble that will include members from The Mighty High and Dry, The Eastman Jazz Ensemble and The Saplings, as attendees will enjoy hearing Akra performed in its entirety.
Lovin’ Cup is a venue located in Rochester, NY and has hosted the band’s release parties since their first in 2010. This includes the EP Soma that was released just last year. Though The Moho Collective previously spent much of their early career touring the North-East, they decided to go in a different direction and take time off to record tracks with the Temperamental Recordings label out of Geneseo, NY. Soma and Akra are both the result of this studio time, with more releases to come in the future.
Even with the trio deviating from their usual form of practicing new music live until it is perfect, staying true to form Akra is anything but stagnant. The crowd at Lovin’ Cup can expect more musical experimentation and the trio’s first ever vocal performance. Not only is Akra just as unique as the rest of their recordings but listeners will also hear guest performances from Dana Colley of Morphine and Mike Brown, owner of Temperamental Recordings.
Doors open at 7 PM with the show starting at 8 PM. Tickets are available ONLINE or at Lovin’ Cup, which includes a copy of the EP.
Aron Magner will bring his new jazz-focused side project, SPAGA, to DROM in NYC for an afternoon performance on Sunday, December 29th. The show will take place on the day-off, between the second and third nights of the Biscuits’ four-night run at Playstation Theater, offering fans a unique show to see.
The “mostly acoustic” trio, rounded out by string bassist Jason Fraticelli and drummer Matt Scarano, eschews the jam-rock/electronica fusion of the Biscuits for a more classic sound that harkens back to Magner’s jazz background. After many years focused on the exploration of improvisational jam rock with the Biscuits, Magner has returned to his Jazz roots with SPAGA. The band released a self-titled debut album over the summer which featured five original songs and a re-imagined version of The Disco Biscuits’ “Resurrection.” SPAGA played their first-ever NYC show in September at (Le) poisson rouge – check out NYS Music’s review of the show here.
Tickets are now on sale. Visit DROM for more information.
London-based trio The Comet is Coming present a dark and earthshaking sound with their blend of jazz, electronica and psychedelia. Shabaka Hutchings (also of Sons of Kemet and Shabaka and the Ancestors) plays a frenetic and chaotic saxophone over haunting and pulsing percussion from drummer Max Hallett. Swirling, psychedelic synths by Dan Leavers drown the mix, making the listener feel as if they are trapped in a jazz apocalypse dream.
Fresh off their new LP, The Afterlife, released in September on Impulse! Records, the band began a short October tour on Tuesday night at Music Hall of Williamsburg in Brooklyn. A simple stage set-up, with a lone, dim red light illuminating the drum kit center-stage awaited fans as the doors opened. With no opener, Comet quietly took the stage and began playing some lighter jazz progressions as the band was seemingly just loosening up. Then, with a loud crescendo, the band dove right into their heavy jazz rock.
The sound of The Comet is Coming stands distinctly apart from Shabaka’s other projects, and most of the modern jazz scene. The Afterlife can easily be the soundtrack for any number of cosmic apocalypse movies. It’s a raw mix of Sun Ra’s spacey sound with dance-floor ready techno percussions.
For roughly an hour and a half, the band flew in and out of tracks from all of their releases, but relying heavily on The Afterlife. There was no lull to speak of – as one song was coming to an end, one of the musicians was already looping the next track to keep a continuous flow. Each band member took their turn with a solo, which seamlessly integrated into the setlist. A simple back-lit stage cast the band in silhouette – giving the music that extra bit of ominous mystery.
Shabaka Hutchings of The Comet is Coming. Photo by Buscar Photo
The Comet is Coming have cemented their status as one of the more exciting and intriguing modern jazz bands out there. Their live show is a visceral, cathartic experience and each new release sees the band pushing their music further down the rabbit hole of underground jazz. They continue on a short run of dates in early October, ending with a stop at Austin City Limits on October 11 before heading over to Europe.
Central New York songwriters Mike Powell and Chris Merkley will celebrate the connection between craft beer and music this October with their first mini-tour of local breweries, fittingly in their home region, which at one time produced 90% of the hops in the U.S.
Since the passing of the Craft New York Act in 2014, more than 400 licensed breweries have opened across the state. Not only did this act create many new places to sample craft-brewed beers, but it also created almost as many new performance spaces for musicians. Powell and Merkley have chosen four of these breweries for their 4-pack micro tour, dubbed Original Gravity.
In brewing terms, original gravity refers to the specific gravity of the wort prior to fermentation, which is the process that produces the beer. The name of this mini-tour fits perfectly within that theme. The two friends are embarking on the first of what they hope will be a continuing series of brewery stops. This tour will measure the original gravity of this type of endeavor.
They’ll be exploring different perspectives on the idea of craftsmanship, taking a closer look at the similarities between songwriters and brewers while documenting their travels as part of a collaboration with NYSMusic. The folk, blues and Americana-inspired songwriters will make stops in Rome, Penn Yan, Warners, and Pompey between October 10 – 13.
Mike Powell and John Hanus of the Black River provided by press contact person for Woods Fest Music Festival.
Singer-songwriters spend countless years honing their craft and exploring the endless possibilities and nuances of pairing lyrics to music. When these songs finally make it to the microphone, they impact listeners with a wide range of thoughts, feelings, and emotions. In similar ways, a craft brewer can enter into the tradition of brewing beer and spend as many countless years refining their recipes and process to create just the right balance of flavors and notes for that first sip.
The first stop of the tour takes Powell and Merkley to Copper City Brewing Company in Rome for a Thursday, Oct. 10 show. Established in 2016, Copper City is Rome’s first brewery since the 1940s. With 11 beers on tap and a selection of hard ciders and wines hand-selected from the region, Copper City has dedicated itself to bringing brewing back to the community and is proud to be the first local microbrewery in over seven decades. Music starts at 7 p.m. and admission is free.
Mike Powell
The second show of Original Gravity takes the songwriters west to Abandon Brewing in Penn Yan on Friday, Oct. 11. Perched atop the Finger Lakes, Abandon Brewing Company is a geothermal-powered craft brewery located in a reused farmhouse overlooking Keuka Lake. Visitors can enjoy tastings in the taproom, a pint in their beer hall or out on the deck overlooking the grapes, apples and hops of Abandon Acres. Music starts at 8 p.m. and tickets to the show are now available through the Facebook event and through Eventbrite.
For the third show of the tour, Merkley and Powell travel to a brand new brewery in Pompey called Heritage Hill Brewhouse. With farm-to-table dining options and an expansive property that features multiple playgrounds and patios, a pumpkin patch, and numerous gardens, Heritage Hill offers views as far as the Carrier Dome and across nine counties on a clear day. Powell and Merkley are scheduled to perform on their outdoor stage at 3 p.m. on Saturday, Oct. 12. In the event of inclement weather, music will move indoors in Heritage Hill’s event barn.
The fourth and final show of the micro tour brings the songwriting duo to Warners for a performance at Local 315 Brewing Company. Growing their own hops at Fawn Crossing Hops Farm, and supplementing other ingredients from as many New York State products as possible, Local 315 Brewing has made it a mission to keep it local in the 315. Music starts at 3 p.m. on the 12th and will take place on the outdoor stage weather permitting.
With a vintage voice and a chest full of hauntingly heartfelt songs, prolific storyteller Mike Powell is the underground messenger of blue-collar soul. Each night the lights go up, this pioneering poet lets his guard down and allows the fervently fearless stories to come to life. His comfort behind a microphone and unique brand of atomic folk creates a vibe that warms the room like a long-ago fire burning hot inside a cabin in the woods.
Armed with a pair of homemade wooden boxes, resonator guitar, and a suitcase full of harmonicas, Chris Merkley has performed over a thousand shows from the streets of Paris to venues throughout Europe and across the United States. He has released nine albums with a variety of groups which include the songwriting duo Merkley & Morgan, his high-octane country/blues belting band of globetrotters called The Crooners, and the swampy blues rock trio Digger Jones. In addition to an extensive career of recording and touring, Merkley has composed and produced catalogs of original music for Cinemax and HBO and has had his songs featured in numerous independent films and television broadcasts.
Throughout the duration of Original Gravity, there will be regular updates at NYSMusic featuring blog-style entries to document tales of their tour. Accounts of the shows as well as perspectives on the unique characteristics of each brewery, and their approach to brewing will be covered along with stories from the road. More information on the music of Powell and Merkley can be found on Facebook or by visiting their websites at MikePowell.co and ChrisMerkley.com.
Jazz at Lincoln Center’s Blue Engine Records celebrates the most wonderful time of the year with the release of Big Band Holidays II, a sequel to a beloved and festive album released in 2015, performed live by the world-renowned Jazz at Lincoln Center Orchestra with Wynton Marsalis.
The Big Band Holidays concerts have been a New York City tradition among jazz lovers and families for more than a decade. Every December, the critically acclaimed Jazz at Lincoln Center Orchestra ,Wynton Marsalis and an all-star roster of guest vocalists explore the canon of holiday standards to perform both new and traditional arrangements of Yuletide favorites. Blue Engine Records has assembled highlights from these historical performances, making them available on record for the first time.
Big Band Holidays II includes an electric, never-before-released solo piano performance of “O Tannenbaum” by Aretha Franklin. The Queen of Soul sang the holiday classic in English and German, while accompanying herself on piano, at a surprise performance at Jazz at Lincoln Center’s 2015 Big Band Holidays concert. “O Tannenbaum,” exclusively on Big Band Holidays II, is one of only a handful of tracks to be released since Franklin’s passing on August 16, 2018.
Additional guests on Big Band Holidays II include some of today’s commanding new voices in jazz: Catherine Russell, Veronica Swift, Denzal Sinclaire and Audrey Shakir. This newest collection of holiday classics is now available for pre-order and will be available on all digital platforms on October 25, in stores as a CD on November 8, 2019, and available on 2xLP audiophile vinyl later in the holiday season.
Big Band Holidays II tracks include holiday favorites “Silver Bells,” “The Most Wonderful Time of the Year,” and “Silent Night.” They feature the Jazz at Lincoln Center Orchestra’s signature sense of swing, New Orleans-flavored nuances, and deeply soulful, church-rooted grooves.
To celebrate this special Blue Engine Records release, the Jazz at Lincoln Center Orchestra and guest vocalists Denzal Sinclaire and Alexis Morrast will embark on a 12-city Big Band Holidays U.S. Tour. Kicking off the holiday season with messages of peace and good cheer, the Big Band Holidays tour commences on November 30 in Toronto, Canada and ends with four performances December 18-22, including a special matinee at Jazz at Lincoln Center’s Rose Theater at Frederick P. Rose Hall, located at Broadway at 60th Street in New York, New York.
TRACK LISTING 1. It’s the Most Wonderful Time of the Year 2. Cool Yule (ft. Catherine Russell) 3. We Three Kings (ft. Denzal Sinclaire) 4. O Tannenbaum (ft. Aretha Franklin) 5. Rise Up, Shepherd, and Follow 6. (Everybody’s Waitin’ for) The Man with the Bag (ft. Veronica Swift) 7. What Will Santa Claus Say? (When He Finds Everybody Swingin’) (ft. Catherine Russell) 8. Brazilian Sleigh Bells 9. Silver Bells (ft. Catherine Russell) 10. Snowfall 11. Silent Night (ft. Denzal Sinclaire)
Borderland Music + Arts Festival 2019 showcased some of the best roots and rock music of today on the beautiful grounds of Knox Farm State Park. In addition to the music spread out over three stages, there were art vendors, installations, ample food and beverage options, even alpacas and axe throwing. Headlining Saturday night was Warren Haynes’ Gov’t Mule. Sunday saw Greensky Bluegrass close out the festival.
NYC’s brass-funk quintet Lucky Chops are releasing their brand new, self-titled album Lucky Chops to the public tomorrow. Fans who donated to support the album’s production were treated to the full album a day early.
Lucky Chops isn’t their first recording, however, the 11-track album marks their first full-length studio effort that brings a collection of original songs to their growing fan base, marked by careful attention to detail in the compositions and production. Their first release, NYC, came out around the same time that their New York City subway performances gained viral attention on social media and is comprised mostly of covers, and subsequent single and EP releases that established a foundation of original material leading to this latest project.
Lucky Chops performing at Brooklyn Bowl (April 2019)
There is no single defining sound that the band has laid down on this latest release. By the fourth song, Lucky Chops has defined a well-crafted blend of original sounds for this multi-genre, multi-decade influenced banger of an album.
The medium paced disco groove of “Halfway to the Hudson” leads things off with interludes laced with brassy, Daft Punk-inspired licks. From this catchy attention grabber, the album quickly flaunts a diversity in sound, traveling through a lighthearted “Dancing Babies” to the heavy, steady beat of “Traveler” where their own original dance style shines through.
The album’s prominent track and first single, “Full Heart Fancy,” is the best demonstration of Lucky Chops’ writing and performing skills, with each of the five members featured throughout the song.
The album, as a brass band recording, is naturally instrumental and sans vocals. However, a unique part of their compositions is that several of the melodies beg the attentive ear to search for its own lyrics to sing in tune or harmony with those melodies. “Flyway,” as an example, is a relaxed tune where the tenor sax line resonates with the familiar feel of Paul McCartney’s singing on “Yesterday.” Naturally, or even instinctively, unspoken words form at the tip of the tongue while listening to the album.
In a broader sense, Lucky Chops brings that aspect out in many of the tracks by how well the subtlety (and sometimes the obvious) blend into their arrangements prominent elements of some of the pop music styles of 1950’s surf rock (“Dance Nights”), and 1990’s/2010’s alt/pop (“Familiar Places,” “Mo’ Mo,” “Memories”).
Lucky Chops represents a step forward for the band in the effort and craft in composing/producing/recording, and for the perseverance they have shown fans through an unavoidable delay in the release. The band’s new music continues in the band’s tradition of having a wide appeal, enjoyed at home or at one of their high energy club/concert hall shows.
Before heading out on an extensive European tour in a few weeks, Lucky Chops will be doing a special live stream performance on their social media channels today from the Times Square subway station (by the A-C-E lines/Port Authority) at 12:30 EST. The band will also host an additional special album sneak peek live stream/Q&A on their YouTube channel beforehand at noon. The album can be purchased and streamed here.
https://www.youtube.com/watch?v=_D5RFEiPbOk
Key Tracks: Full Heart Fancy, Memories, Familiar Places
Track Listing
Halfway To The Hudson
The Dancing Babies
Traveler
Dance Night
Full Heart Fancy
Flyway
Pizza Day
Familiar Places
Memories
It’s Not Goodbye
Mo’ Momo
Lucky Chops will return to touring around the US this spring with several East Coast stops (listed below), including two nights at Brooklyn Bowl. Full tour dates, along with ticket information, can be found here.
March 27/28 – NYC – Brooklyn Bowl April 1 – Pawling, NY – Daryl’s House Club April 2 – Hamden, CT – Space Ballroom April 3 – Somerville, MA – ONCE Ballroom April 4 – Syracuse, NY – Syracuse University April 10 – Philadelphia, PA – The Foundry at The Fillmore April 11 – Washington, DC – Union Stage
