Growing up in a musical household, it was in Oakley’s blood to seek out a stage of his own to command. Both Oakley’s mother and father were talented musicians, with his mother playing bass guitar and his father singing in modern rock and blues bands. Oakley’s Uncle Craig was also a well known jazz drummer, having played with artists such as The Beach Boys and Bob Hope.
The song came from a run of dates my band and I were on and I really took notice of how there was always one woman in the room that just stopped the place. I was amazed at the power these woman had and that’s where the last line of the chorus “Don’t you know you front row women get me every time” comes from.
Kolby Oakley on “Front Row Woman”
In January 2016, Oakley packed his guitar and moved from Upstate New York to Nashville to begin the next chapter of his career. Since moving to Nashville, Oakley has released multiple songs including “Moonshine Stand,” “Mud Bog” and “I’m Here.” Oakley says, “It took me some time to find who I am as an artist and where my place is in music as a whole. My latest music includes all my influences from Country, Rock and Blues, which delivers the Outlaw Country/Rock sound you hear on my latest work. ”
The 13th studio album from legendary Queens rapper Nas was released on August 21 through Mass Appeal Records. Composed of twelve tracks and one bonus record, the project was produced solely by California native Hit-Boy, a well-known producer who has made a name for himself for producing records with artists the likes of Kanye West, Jay-Z, Drake, Big Sean and more.
Following the lackluster reception to his previous body of work, Nasir, King’s Disease had fans skeptical, wondering what the fabled emcee had left. Would the album feel as uninspired as its predecessor or, would it be as acclaimed as 2012’s Life is Good? Other concerns arose when the track list was revealed, as Anderson .Paak, Lil Durk, Fivio Foreign and A$ap Ferg held the guest spots, which led the public to assume that Nas would try to conform and abandon his timeless style for a more modern trend of music.
These doubts were surely put to rest after the intro track and realized that Nas wasn’t conforming but taking his style and meshing it with more modern sounding beats and production. He effortlessly got into his pockets and felt comfortable from start-to-finish.
The album cover goes consists of Cupid-like babies. Some are black, others white, with wings of angels but colored red as if they were demons holding up a plaque that is covered by dirt. Nas’ name appears on the plaque, while one of the babies holds a crown. There is a rusty bloody machete on the table with fruit, gold, a skeleton head, the head of a hog, a serpent and flowers from a garden.
Throughout his last couple of projects Nas has been made his spiritual beliefs apparent and this album cover reflects that. King’s disease is defined as a disease where affluent people eat poorly, invest poorly and have bad relationships, which leads to one’s downfall. Nas touches on business and health throughout the project but the theme he harkens on the most is love and relationships. On multiple songs he tells stories of failed romantic relationships, or how relationships work poorly within the black community. Nas also touches on the struggles of the black community as a whole throughout.
Hit-Boy did a masterful job with the beats. The album has a classical sound to it, with a couple of instruments being played in the background on the majority of the tracks, combined with the heavy bass that is preferred in today’s rap music.
The story-telling is a highlight of the album. He didn’t do it too often but, when he did, they were amazing. On the record, “Car #85,” we get Nas at his descriptive best as he tells tales of his close run-ins with the law, his trips to hang out with friends, as well as his attempts of keeping a romantic relationship alive. All precipitated by this car service that he would use exclusively.
The length of the album was a plus – short and succinct, thus making it an easy listen, although several records felt short. Nas is known to rap multiple verses yet, on this project, it seemed like he would give one or two concise verses so as to not prolong the records.
And while many of the features were surprising, he did a great job of staying true to himself while letting other artists shine in their own lanes. He didn’t try to step on their toes and in return, they didn’t step on his. If there can be a complaint, it’s that the contrasting sounds made for songs sounding entirely different when a new act was introduced. For example, in the Lil Durk-assisted “Til The War is Won.” Nas raps for two verses and basically hands the record off to Lil Durk for the last minute or so. This also happened with his song with Anderson .Paak “All Bad,” which sounds like an Anderson .Paak song featuring Nas.
While having a great theme, Nas fails to focus on it for the entirety of the album. And at times, it feels like he was running down bullet points instead of detailed explanations. Nas is knowledgeable, but at times he doesn’t explain his knowledge – he just puts the knowledge out there for fans to either get it or not. This was a problem from his last release Nasir, where fans reduced many of lines to him being a conspiracy theorist.
Full Circle
“10 Points” is a record which embodies where Nas is in life. The song consists of him kicking game to the youth, explaining, “Take it from a street dude, you don’t need to be a street dude. Get a lawyer, read your contract, and eat food.” The way he delivers his rhymes in a smooth cool manner is what separates Nas from a lot of emcees, still.
He also addressed the longstanding rumors of him copying the late Tupac Shakur’s ‘Thug Life’ tattoo, rapping, “Pac saw the chain, got his medallion, I want it. Insinuate imitation cause I copied his stomach. Kings honor kings, straight from my pops to my son’s sh*t.” This was his way of laying to rest how his ‘Godson’ tattoo mirrored Tupac and a ‘Thug Life’ tattoo both being placed across their stomachs. The beat switch on this track was flawless and was the highlight of Hit-Boy’s production.
Nas also gave shootouts to legendary NBA player Kobe Bryant and rap legend Nipsey Hussle, rhyming, “Rest in Peace Kobe and Nip that’s off the rip.” People forget that Nas once ripped Kobe on his Street Disciple album on the track “These are our Hero’s” where he went at the then troubled NBA star for his alleged rape case allegations in 2003. It was refreshing to hear Nas ignore old wounds and pay respects to Bryant, although the two had reconciled long before his death.
Other great records include “Blue Benz,” “Car #85,” “27 Summers,” and “The Definition.” The beats for “Blue Benz” and “27 Summers” stand out.
Nas and Hit-Boy complimented each other well. Hit-Boy showcased his range as a producer while showing Nas’ ability to adapt to the new climate of music. Nas works best on more simplistic beats, with some drum patterns and instruments in the background to boost his message and it was cool that he was allowed to still find his pocket.
Nas meshed with many of the features on the album and it was great to see the return of his group, The Firm, on the song “Full Circle.” King’s Disease is a good album, and while it isn’t Nas’ best work, it wasn’t expected to be. It’s just good to hear one of the genre’s all-time greats still delivering quality music.The album is a solid 7.5 out of 10 and we look forward to what more Nas has to offer.
The non-profit Giant Art Steps have announced a new series of performances honoring the legacy of U.S. Representative and civil rights leader John Lewis. “Walk with the Wind” will occur on The Mall in NYC’s famous Central at 1 p.m. Featuring acoustic music and small groups, the series is free for those attending.
While the special series began on August 28th with a performance by Wayne Escoffery’s trio, there are numerous other opportunities to catch feature performances. Upcoming on September 19th is Giant Step Arts’ own Leap Day Trio featuring drummer Matt Wilson, bassist/vocalist Mimi Jones and saxophonist Jeff Lederer. On September 20th, vibraphonist and Blue Note recording artist Joel Ross Quartet with saxophonist Sergio Tabanico, drummer Craig Weinrib and bassist Rashaan Carter will perform.
The pandemic has been disastrous for musicians, many of whom normally earn a living through live performances and tours. We’ve presented and recorded music in various venues, including partnering with the non-profit Jazz Gallery, but the current circumstances have forced us to improvise. We wanted to find a way to continue supporting musicians, bring them together with audiences, safely, and enable them to have a payday! Walk with the Wind, honoring the legacy of the great American John Lewis, is one way we are accomplishing this, and the response has been tremendous. Our goal is to raise enough money from foundations and donors so that we can have performances each spring and fall.
Jimmy Katz
Giant Art Steps was created in January 2018 by Jimmy and Dena Katz. Both renowned jazz photographers, the Katzs set out to provide an environment for modern jazz’s most ingenious artists without the confinements of making a profit. Membership into the non-profit is by invitation only, where jazz artists are given control over their artistic projects. Giant Step Arts provides substantial financial and artistic resources for those bold musicians ready to take their careers to uncharted territory.
Giant Step Arts [is] a nonprofit dedicated to giving underappreciated but visionary jazz musicians the support they need to make quality live albums. Palmer is a…thrifty improviser with a vast dynamic range and an ambitious composer.
Giovanni Russonello, The New York Times
Upcoming Show Schedule:
Sept. 19– Leap Day Trio
Sept. 20 – Joel Ross Quartet with saxophonist Sergio Tabanico, drummer Craig Weinrib and bassist Rashaan Carter
Sept. 26 – Drummer Nasheet Waits with saxophonist Mark Turner and bassist Rashaan Carter
Sept. 27 – Immanuel Wilkins with drummer Nazir Ebo and bassist Burniss Earl Travis
Oct. 3 – Saxophonist Melissa Aldena with bassist Pablo Menares, drummer TBA
Oct. 4 – Saxophonist Darius Jones with drummer Gerald Cleaver and bassist Dezron Douglas
Bonnaroo releases details of Virtual ROO-ALITY, a three-night live broadcast, set for Sept.24-26 at 4:30 CT exclusively at the official Bonnaroo YouTube channel. The free virtual livestream will continue the celebration of the annual festival with a range of programming, new live performances, unique original content, and archival sets at Bonnaroo’s home at Great Stage Park in Manchester, Tennessee.
The lineup of headliners for Virtual ROO-ALITY includes a diverse range of musical genres. A total of 13 performances including Dave Matthews and Friends, Metallica, The White Stripes, James Brown, My Morning Jacket, and more will headline Virtual ROO-AILITY. Beastie Boys’ historic final concert is one highlight of the archive livestream performances. A diverse range of performances from over 35 artists will perform, including:
Nathaniel Rateliff
Chromeo
Big Gigantic
Bruce Hornsby Feat. James Mercer
Rob Moose & Polo G
Old Crow Medicine Show’s Bonnarootenanny
Denzel Curry
Lennon Stella
Billy Strings
Action Bronson
CloZee
Moon Taxi
Pigeons Playing Ping Pong
Ingrid Andress
Devin Dawson and ERNEST
and many more following the announcement of the complete schedule.
In addition to music, Virtual ROO-ALITY will present viewers with an array of original programming, additional activities, and exclusive experiences throughout the three days. Sanctuary of Love, an event curated by Hayley Williams, will present engaging conversations about topics including digital space and mental health, diversity wellness, and the origins of gender. The panelists for these discussions include Charli XCX, Dr. Joy Harden Bradford, Laura Jane Grace, and more. Viewers can also look forward to other virtual events including the Dog Dance Party, Bonnaroo Campfire Tales, and Cheers to Live.
Bonnaroo From Home merchandise is now available at the official Bonnaroo online store. The collection includes a “Virtual ROO-ALITY 2020” poster, a “Robe Rage” satin robe, a “Farm Fresh” 8 oz. Candle, a 1000-piece jigsaw puzzle, a tie-dye mask, and more. Virtual ROO-ALITY and the Bonnaroo Works Fund will look to raise awareness for the ALCU Foundation, an organization dedicated to protecting civil rights, and Headcount, an organization that promotes participation in democracy through music. Bonnaroo Works Fund looks to collect donations for both organizations.
The COVID-19 pandemic has impacted the whole world, either directly, or indirectly. As a response to the pandemic, Governor Andrew Cuomo, has passed legislation that the states hope will help regulate COVID-19’s impact on the state. While guidelines for life during a pandemic are important, the broadness of certain rules has put many small businesses at risk of extinction. 443 social club
One of those venues, The 443 Social Club & Lounge in Syracuse is a place where those fond of live music can appreciate the ambience of a nice night out. A hub of live entertainment in their town, this restaurant seats 88 people but, as a result of the pandemic, it has operated with only 36-person capacity to meet state guidelines.
While the reduced customer base hurt business, it had allowed a mom-and-pop style business to stay afloat. That is until, a new wrinkle in New York state’s coronavirus guidelines for bars, restaurants and similar venues in New York state prohibits them from offering live music that customers pay for separately. The rule forced an immediate halt to The 443’s business. While they offer eatery, their main form of attraction is their live music.
Although we have all had to deal with the effects from COVID-19, actions like this towards small businesses still tug at the heart, knowing that hardworking individuals are in danger of losing their businesses, through no fault of their own.
The 443 Social Club & Lounge has chosen to take action, posting a letter to Governor Cuomo on their website that details, among other things, their compliance to COVID-19 rules, their determined attempts at keeping their business afloat, as well as the city’s mishandling of its small businesses. The letter is heartwarming and brings up questions, including ‘What was Governor Cuomo thinking with this new rule?’, and ‘How could they not have implemented any verbiage for small-capacity lounges?’ Let’s hope The 443 and other small businesses get an opportunity to get back on their feet, sooner rather than later.
Read below for The 443 Social Club & Lounge letter to Governor Cuomo, as originally posted on their website and socials.
Dear Mr. Cuomo –
I am a small business owner in Central New York. My husband and I operate an 88 seat cafe/bar that features listening room style acoustic performances. We had just celebrated our one year anniversary when COVID-19 hit.
When we closed our doors on March 15, I understood we would likely be shuttered for at least a few months. I understood we would be among the very last businesses allowed to reopen. There was a certain relief in letting go and accepting it, in understanding it was completely beyond my control. I had faith we would receive some kind of aid to help get us through, and for while we did.
I watched your daily press conferences religiously. With the vacuum in national leadership, I was grateful to be living in NY, grateful we had someone taking charge of the situation. Your no-nonsense, fact-based daily briefings were oddly comforting, even when NY’s numbers were high and the news you were sharing certainly wasn’t good.
Spring turned into summer and New York began it’s cautious, phased reopen.
We were busy reimagining our business so we’d be ready to go once CNY made it through the first few phases. We knew we would be facing an entirely new reality and there wasn’t a single aspect of our business that didn’t get retooled.
You can find the complete outline of what we did HERE.
We are classified as a restaurant, so we planned to reopen when indoor dining resumed in Phase 4. I checked with Empire State Development at the end of June to clarify the rules on live music. While we are classified as a restaurant, music is definitely our main focus. I was told it was allowed as “small scale entertainment”.
Well, it doesn’t get much smaller scale than our place, especially since we were going to be operating at about 40% capacity – just 36 people. We waited another month just to be sure numbers didn’t spike with everyone moving around again before we started planning a very limited schedule.
And then things got weird.
You declared food must be ordered by anyone who wanted an alcoholic beverage. The intention was to keep people seated, I get that, but keeping people seated was not an issue at our place to begin with. Our guests were anxious to comply with the rules, but not always hungry when they arrived. So, sometimes they placed to-go orders to eat later, which didn’t really accomplish anything. It disrupted the natural rhythm of service, where guests used to relax and enjoy their first drink before ordering, and worst of all, it meant the entire room ordered their food at exactly the same time. It was a logistical nightmare for our tiny food prep area and I had to schedule another person to help at a time when we could least afford it.
But, we were settling into a groove and figuring it all out. We planned to take advantage of the last 6 weeks of good weather and outdoor shows when you dropped the hammer.
On August 18 I learned about the new SLA rules prohibiting us from advertising or charging a fee for live music. I read it, then reread it, incredulous.
Prior to COVID, almost all our shows had a fee associated with them. It’s the only way the business model works financially in a small room and it’s important to us that everyone is paid fairly. With drastically reduced capacity, cover charges and tickets are more important than ever. We thought more venues charging for live music was one of the few bright spots in this whole mess…it’s healthy for our music scene to put a financial value back into the experience. And obviously, tickets are the best way to control a crowd.
The ban on advertising music is astonishingly cruel. We are all doing our level best to make our limited capacity work and now you’re telling us we cannot advertise to fill the few seats we do have? Are we are supposed to just open our doors and hope for the best?
We closed our doors again, wasting thousands of dollars we spent to reopen.
Governor Cuomo, we are DROWNING.
We are frantically treading water to keep our noses above the surface until (hopefully) some federal aid comes through. You looked at us, and instead of throwing us a life preserver you handed us a cinder block and told us to keep treading water.
The last 6 weeks of warm weather might have sustained our businesses for a bit longer, but the new guidelines have taken away even that flimsy lifeline.
In your August 9 press conference, the very last question was about bringing back live entertainment and Broadway. You said there were no plans to reopen “Broadway and other indoor, high-density arenas”.
And this is the main point of my letter.
“Live Entertainment” is far more than Broadway and far more than “high-density arenas”…and literally nobody is suggesting we open those things right now.
It is small rooms like mine that don’t even come near the 50 person gathering limit.
It is wineries and breweries who have acres of wide-open space to spread out their guests.
It is the venues who cut their capacity down to almost nothing and are doing a hybrid of a small live performance + paid live stream.
It is the rooms that moved all their events to their parking lot or back yard.
It’s different for everyone, but tickets and advertising are fundamentally necessary whether we are trying to fill 20 seats, 200 seats, or 2000.
And yes, live entertainment is also crowded rooms and mosh pits and huge amphitheaters packed full of people. We aren’t asking for that. Nobody is asking for that. We are asking you to allow hundreds of small businesses across New York State to be allowed to reopen and run their venues with all reasonable precautions in place. We have spent thousands of dollars to adapt to do it as safely as possible because we understand and respect how serious COVID-19 is.
But you know what else is serious?
Losing a business we’ve invested our life savings into. Putting our staff out of work. Our city losing one of its few dedicated music venues. Musicians losing a place to ply their craft. Our community of music lovers losing their gathering place.
You have told us we have 99.2% compliance with bars and restaurants right now. Why are the 99.2% paying such a steep price for the non-compliant .8%?
We have waited patiently throughout this whole saga and watched every other industry open up without any corresponding spikes in cases. For the most part, we haven’t even been part of the conversation. But time is running out. Many of us will be closing our doors for good in the next few weeks.
We are about to become collateral damage in the war on COVID-19, and Governor Cuomo – I know this is not your intention.
I know you have a lot going on and “live music” probably sounds like a hobby people are supposed to give up once they get out of college. WE ARE MORE THAN THAT. We are musicians, venue owners, sound and light techs, production, security, hospitality. We are savvy, smart, creative, and ridiculously hardworking. We feed other businesses like hotels, restaurants, and shops, plus our everyday vendors – trash, payroll, insurance, linen service, food, and liquor. We are the first ones to donate and support fundraisers for our neighbors in need. We are a port in the storm where you can forget about all that’s wrong in the world, if only for a few hours.
We are respectfully asking for the chance to try and salvage our businesses before it’s too late.
The nation’s largest and best-known Hispanic pop culture and music festival has announced the initial lineup of performers. Dubbed “Calle Ocho Live“, the Hispanic Heritage Month-themed event will take place October 4th via live stream and broadcast TV.
Among the stars joining the growing roster are Gloria Estefan, Camilo, Jessi Uribe, Jorge Celedón, and Bobby Pulido. These artists join previously announced Mau y Ricky, Ivy Queen, who is performing an epic virtual duet with the late Celia Cruz, and Tito Puente, Jr., who is performing a virtual duet with his late all-star father Tito Puente and many more.
The Calle Ocho Festival was originally slated for March before cancellation due to the COVID-19 pandemic. That is when the organizers of Carnaval Miami, Kiwanis Club of Little Havana, collaborated with Manny Ruiz, the creator of Altisimo Live and Hispanicize and Ralph Paniagua, creator of Atlantino, to bring the festival back to life.
The three-hour live stream will include interactive experiences to win prizes as well as pre-recorded performances from music artists, entertainers, comedians, and social media influencers.
“We said we would create a strong, inclusive, and powerful line-up that captured the diversity of Latino tastes, genres, and cultures, and that’s what we’ve done here. Through Calle Ocho Live, we’re not only stretching to do well for the families we serve through the Kiwanis of Little Havana Foundation but also through the way we reflect the evolution of Latinos in America.”
Jorge Fernandez, president of the Kiwanis of Little Havana/Carnaval Miami
Featuring live and pre-recorded performances from top Latin music artists, celebrities, and social media personalities, Calle Ocho Live will also highlight stories from the families served by the Kiwanis of Little Havana Foundation.
Funds raised from the event will be used by the Kiwanis Club of Little Havana to assist South Florida families who are in need of things like college scholarships, emergency financial assistance, holiday gifts, and any other support during the COVID-19 pandemic.
Viewers will be able to watch the festival for free on over a dozen broadcasting stations and their respective socials, along with Calle Ocho Live’s YouTube, Facebook Live and Twitter. Attendees are being encouraged to donate $8 or more prior to or during the festival to the Kiwanis Foundation.
For more information, visit the Calle Ocho Live Instagram page.
Ruby Mack, a new all-female folk band, already makes waves and questions society as we know it with their debut album Devil Told Me, out on October 23.
Photo credit Gianna Colson
In their new album, feminist folk ensemble Ruby Mack turns a traditional bible story completely on its head. What if Eve had eaten the Garden of Eden’s forbidden fruit without shame and then shared her knowledge with the world? In Devil Told Me, Ruby Mack tell their story as direct descendants from that Eve.
Named after Massachuttes’ Pioneer Valley’s Ruby McIntosh Apple, Ruby Mack is made up of Emma Ayres (Vocals/guitar), Abbie Duquette (bass uke), Zoe Young (guitar/vocals), and Abs Kahler (fiddle). In their upcoming album, these strong musicians dig deeper into what it really means to be a woman, or even to reject this label. Devil Told Me closely examines several stories, mythologies, and societal norms that we have been taught to accept without question. These feminists will push social boundaries aside with the release of their album on October 23.
Ruby Mack’s music explores topics left unsaid in traditional folk music. The group tells in “Breadwinner” that they want to be the relationship’s provider as women. The softer “Milktooth” encourages listeners to become fully themselves despite rigid societal rules. The song expresses developing and growing up. “It’s about rejecting the ways in which we are initially told who we are and what we are” notes guitar-vocalist Ayres with the lyrics “Always fighting in this civil war/ Since the devil told me I was born a girl.”
Ruby Mack has come into their own in Massachusetts. “I definitely found my identity as a musician in this place,” Duquette expresses. “The support encouragement I found in the area made me feel like I too could be an artist.” The group has felt united with the music culture of the area. “There’s such an amazing culture of folk music in the valley”, says Kahler, “and we’ve been inspired by so many queer folk artists here.” The band claims their corner of Pioneer Valley, MA area as one of the strongest inspirations for Devil Told Me.
Photo credit Gianna Colson
Listeners can appreciate this album even more today while missing concerts due to COVID-19. The tracks were recorded in an old church, and each song has a strong live feel to it, demanding attention with its energy. Young explains that it was important for the album “to have that special magic of a collaborative performance,” and the result does not disappoint.
The four friends have passionately worked together to create something both beautiful and impactful, starring memorable harmonies and strings as well as poignant lyrics. Farce The Music released a single from the album, “Machine Man,” which is available now. Kahler calls it “an ode to the blue-collar workers, the skilled laborers, without whom the fabric of the lives we live would surely unravel.”
Syracuse native Martin Sexton is set to play a live concert at New York’s oldest operating drive-in, Fingerlakes Drive-In in Auburn. Announced earlier this week by Creative Concerts and Fingerlakes Drive-In, the concert will take place September 19 at 6PM.
With social distancing guidelines in place, each car pass sold will be for standard passenger vehicles only. There has been a limit of four concertgoers per vehicle allowed.
Martin Sexton got his start serenading the streets and subways of Boston during the early 90’s. Not only have fans heard his explosive voice in famous venues across the world but also many of his songs have been featured in spotlight TV shows such as Scrubs and Parenthood to name a few.
The American Singer-Songwriter has produced nine studio albums including his most current release “Mixtape of the Open Road.” After a successful tour, a decision was made to keep going with more performances beginning with the Fingerlakes Drive-In.
His authentic style of artistry has Billboard magazine calling him “The real thing, people.” Furthermore Rollingstone noted Sexton has “Outstanding taste in songwriting as well as a soul-marinated voice.”
Tickets to the live event are on sale now here. NYS Music is running a contest for one car pass to Martin Sexton on the 19th, and Allman Betts Band on Friday the 18th. For more info, enter on Facebook, Twitter and Instagram!
Live music is back in Connecticut thanks to South Farms – the venue has figured out the formula for a socially distanced Drive-In shows. Billy Strings made a stop on his abbreviated tour, and Warren Haynes planned five shows, kicking off this past weekend on September 12.
The Sunday show found Warren Haynes and Gov’t Mule’s Danny Louis performing two stripped down sets of classic rock covers and Mule tunes, amid a gorgeous backdrop in the Western Connecticut.
Haynes will return to South Farms for three more shows on October 1, 8 and 15. Tickets are still available and can be purchased here.
Setlist: Warren Haynes with Danny Louis, South Farms, Morris, CT, September 13, 2020
Set 1: Don’t Know Where We’re Going (But We’ll Get There), Glory Road, Blue Maiden’s Tale, Love’s Open Door, Working Class Hero, Traveling Tune, Forsaken Savior, It Hurts Me Too
Set 2: Southern Accents, Melissa, Child of the Earth, Two of a Kind, Workin’ on a Full House, Beautifully Broken, Captured, Turn On Your Love Light, Smokestack Lightning
These days, large outdoor spaces are pretty much the only way to get your live music fix. Well there soon will be one more venue option available for bands and concert goers like. Local business Canna Provisions Presents, based in Lee, MA, will be sponsoring Roll On In – a pop-up venue that now inhabits a meadow located in town.
Roll On In is committed to providing socially distanced entertainment, in a world where live music and music culture came to a complete stand still back in March. It boasts festival-level production on stage and large LED screens and line arrays in an effort to deliver the visuals and harmonics that are both so missed in these socially distant days.
This weekend will mark the opening weekend with three nights of live music currently scheduled. Friday, September 18, will feature Rice: An American Band and Rev Tour’s Steal Your Peach Band – an all-star collective of Northeast musicians playing Allman Brothers and Grateful Dead tunes.
Saturday night sees two Massachusetts-based bands take the stage in Trailer Trash and Whiskey City. And Sunday, Beau Sasser’s Escape Plan will headline and be accompanied by Uppercut – another ensemble of musicians collected from bands like RAQ (Todd Stoops), Turkuaz (Mikey Carrubba) and Star Kitchen (Danny Meyer).
Patrons can arrive each night at 5 pm and enjoy a full night of music with great food options also on site. Music begins at 6 pm and runs until approximately 10 pm each night. Cars with anywhere from two to six people will be allowed entrance with a cost of $25 per head. For more information and tickets, please visit rolloninshows.com.
Canna Provisions is responsible for the one recreational marijuana shop that has been nothing short of a cash cow for the town of Lee, MA. They are a committed community oriented company that clearly recognizes the importance and vitality of the live music industry. More concerts are expected to take place at this new pop-up venue until November.
