On New Year Eve, Producer Entertainment Group (PEG) will host PEG Presents “New Year’s Queens: Goodbye 2020,” with the top sixteen artists from RuPaul’s Drag Race to count down the wild year. Sessions Live will stream the concert event on their website. PEG is a management and creative company behind the world’s biggest drag queens and LGBTQ artists. The broadcast will livestream the countdown from New York and Los Angeles on December 31 at 3 p.m. PT/6 p.m. ET on the Sessions Live platform.
The 11-hour event will be hosted by Miz Cracker & Peppermint (New York City), Alaska & Bob The Drag Queen (Los Angeles), and Trixie Mattel & Katya (Los Angeles). The following New Year’s Eve performers include BeBe Zahara Benet, BenDeLaCreme, Boulet Brothers, Divina De Campo, Ginger Minj, Jinkx Monsoon, Jujubee, Manila Luzon, and Sharon Needles.
We are thrilled to be the exclusive host for The Marathon New Year’s Eve Livestream. This promises to be the most interactive, most global and certainly the most colorful party across every continent and every time zone to ring in the new year. Audiences everywhere will have the opportunity to enjoy and engage with a talented lineup of drag artists from around the world.
Tim Westergren, Co-Founder of Sessions
RuPaul’s Drag Race is a competition show that crowns “America’s Next Drag Superstar” through unique challenges each season. RuPaul along with Michelle Visage, Carson Kressley, Ross Mathews, and other celebrity guest judges measure each of the contenders. RuPaul’s Drag Race has won a total of 19 Primetime Emmy Awards, including six this year including “Outstanding Host For A Reality Or Competition Program” and “Outstanding Competition Program.” The 12th season of the show concluded this May with Jaida Essence Hall as the winner. Ticket prices for “New Year’s Queens: Goodbye 2020” start at $39 with interactive VIP Package options with 11 out of the 16 artists from the show.
Non-for-profit venues across upstate New York call for aid from Governor Cuomo and their state elected leaders during the COVID-19 crisis. They are calling for aid through their #lightsUPstateNY initiative, trying to bring light to the hardships these performing arts centers are facing.
Bardavon interior photo by Tim Lee.
According to Chris Silva, Executive Director at Bardavon 1869 Opera House, the new protocols, requirements and re-staffing caused by COVID-19 will require not only time and capital, but every month these closures continue the costs of these eleven venues add up to a collective $1,500,000 dollars, with no significant revenue to offset it. This is a huge amount of money to these smaller local economies. These venues hope to bring light to the reality of their dim situation, as many venues across the United States are pledged with Save Our Stages campaign.
The venues involved call for aid with the #lightsUPstateNY initiative are: The Bardavon in Poughkeepsie, UPAC in Kingston, Shea’s Performing Arts Center in Buffalo, RBTL’s Auditorium Theatre in Rochester, Smith Center for the Arts in Geneva, Landmark Theatre in Syracuse, Stanley Theatre in Utica, Proctors Collaborative in Schenectady, Palace Theatre in Albany, State Theatre in Ithaca, and the Clemens Center in Elmira.
These venues estimate the cost to reopen themselves, if a spring 2021 opening is possible, will be at least 15 million dollars – more if the “pause” caused by COVID-19 continues. As a group they bring over 250 million of collective, local economic impact to Upstate each year, which has come to an abrupt halt.
Silva explained the reasoning behind the union of #lightsUPstateNY initiative saying, “The large theatres of Upstate so often share similar realities. As we think about our restarts sometime in 2021, we decided to come together to speak with one voice about our needs and challenges as we get back to being at the heart of our cities and communities.”
All of the venues involved operate as 501(c)3 non-profit organizations – committed to serving their communities – and have worked together to create a network across Upstate for bands and theatrical performances to take place. They do this by offering a variety of live entertainment for all audiences, including concerts, comedy, dramatic and family events, as well as offer a mixed-use space for local performing groups, graduations, recitals and other presentations.
The hope of #lightsUPstateNY is to bring awareness to the dire need these venues are experiencing, while also calling on Governor Cuomo and their state elected leaders for aid.
From La Bamba to Kiko, having gone Disney and recording a holiday album, Los Lobos has been around for nearly half a century and continues to break new ground with their blend of Tex-Mex, country, R&B, rock and roll, and traditional Mexican songs. Louie Pérez, drummer, guitarist and lyricist for Los Lobos has faced the struggle of the music industry shutdown, but looks forward to “Still Home for the Holidays” livestream from Belly Up Tavern in Solana Beach, CA on Friday, December 11 at 10pm ET/7pm PT.
In 2019, Los Lobos released Llegó Navidad, a Latin Christmas album recorded in Los Lobos’ home in East Los Angeles, featuring Spanish-language holiday songs. Translating as “Christmas in here,” the first holiday release from Los Lobos continued to demonstrate the versatility of a band well-versed in mixing rock n’ roll with blues, folk, soul and traditional Mexican music. Instead of relying on over-played seasonal standards for Llegó Navidad, Los Lobos and friends researched and collected nearly 150 different traditional (and not-so-traditional) Christmas songs from North, Central and South America.
Los Lobos (L to R) – Louie Pérez, Conrad Lozano, David Hidalgo, Steve Berlin, César Rosas
Pérez talked with NYS Music over the weekend about the current state of writing with bandmate David Hidalgo, how venues and bands are faring at this time, and the legacy of Ritchie Valens.
Pete Mason: Louie, thanks for speaking with NYS Music today. How have the past nine months been for you and Los Lobos?
Louie Pérez: We’re just kind of dealing, have had quite a break you know, I guess this break is kind we’ve all been needing for a while, but what a terrible way to get it.
I’m dying to get back on the road again, but it’s just kind of very surreal at this point. It seems like a life I had a long time ago. It’s only been seven or eight months now I guess. I don’t know what to expect, that’s another conversation we can have another time, but I don’t know what the future of live music is going to be. It can be different that’s for sure. I’m hoping that we can still get some solutions for next year so that we can get back to live music, especially because there’s only so much we can stream, I think, at the end of the day.
I don’t know what the future of love music is going to be really. Nobody’s got an answer yet and hope we have some in the spring because with a vaccine out there, there’s got to be some ways we can have shows. I don’t really know what the face of live music will look like in the future. I can’t see it being back to our old normal.
There’s love for the musicians out there, I think their careers evaporated overnight. For myself, I was leaving on a Friday morning for Colorado, we were gonna do a run of shows for a week there. And at 10 o’clock in the evening my wife walked in and says “I’ve been watching the news all night. You better check with your roadmaster but look what’s going on.” I was scheduled to leave at 6 in the morning so I called our booking agent and he called back and it all went away. It was all gone. That was the last thing I heard about that.
When something like this happens, it feels so cataclysmic, you can’t help the banality of the whole vibe as just so, so strange. It just feels like it’s the end of a time concert, especially for musicians. It’s been really hard time for a lot of musicians, we’re okay, we’re getting by, we’re all right, and I’m glad my wife and my kids are safe. And, and that’s all we can do at this point.
PM: Working with up and coming musicians from across New York State, we see it, we hear it and know the reality some bands are facing: looking into other alternatives, taking studio time, hoping to stay afloat, until we can have music back.
LP: Yeah, it’s good to know that the community, the sense of community is there for musicians. I think all of us in general, we just put our nose to the grindstone. We do what’s right in front of us, as musicians, we get a gig here, a musician gets a studio gig, or a guy gets a road gig for a couple of weeks. However it works, we do what’s in front of us, and there’s some crosstalk obviously, between us, but to know that when things get as bad as it has gotten, that there is a community that we can look to and there is support among all of us to try to help each other out. That’s the good thing, the only thing that I think that we can skim off the top of this pandemic, is that we realize that, that there is that sense of family and community. Especially at a time where we’re united, it’s just so at risk of disappearing lately. Let’s see what happens after, after February.
PM: I’m hopeful for what happens in January, because we’ll be able to get some relief. So we have that and a lot of local music venues are going to be able to breathe a little bit easier with the passage of the RESTART Act, but they’re not out of the water even then. Hopefully there’s more long term change. So all the local musicians can make it because big bands don’t become big bands overnight. They start out small.
LP: Yeah, that’s right. I was just reading a pretty interesting piece. Not a lot of revelations and things that we know as musicians. This is a piece in The New Yorker a couple months ago that is a pretty good piece to talk about, art in the digital age and really kind of the nuts and bolts of what really goes on in the gig economy as far as musicians go, and how really, a lot of us are very fortunate and a lot of us are just in there just trying to get by.
PM: So with your holiday stream on Friday, Los Lobos researched the songs to include on your holiday album Llegó Navidad. How did the Christmas album come together and what will we hear on the stream this week?
LP: Well, it’s the first time we’ve ever done a Christmas record. In all of the years that we’ve been together. We just celebrated this past Thanksgiving 47 years as a band. So the first time we ever can say, ‘Well, this is way overdue.’ And then in looking around for a studio to record it in, we discovered a studio in East Los Angeles where we grew up. So we’re really going home for the holidays on this record, which would throw a really interesting spin on this thing, and we spent a good part of a few months in the studio in East Los Angeles, literally around the corner from where my mom would pay our utility bills at the 1st Street grocery store. That’s how personal it was, and it was great.
We had a couple people, one on the East Coast and one on the West Coast, do a search and curate so we can get all the songs together. We spent a few days just going through material and ended up with the songs, it’s a Pan-Latin record. At first I gave this a lot of thought of all the Mexican Christmas songs but it just was stunning how many songs and Christmas music there is all over the place, all over Latin America so we have quite a few to choose from. and that’s how it went together and it was really well received and we toured behind it around the holidays last year.
We just got this idea that everybody’s been doing these festivals online and we’ve thought ‘Well, let’s do one ourselves.’ We got all our friends together and we’ll put something together and we’ll have a bunch of bands contribute songs and it’ll lead to us headlining the live stream. We’ll do a lot of the Christmas songs so we can pepper in a lot of popular songs as well from throughout the catalog.
It’s quite a lineup. We’ve got Southern Avenue, John McCauley of Deer Tick, Greyhounds, and Los Cenzontles, which is a great group from the Bay Area. They have a cultural center where a lot of young kids come to learn about music with their culture, which is Mexican culture so they’re going to do some traditional songs. So we got all this rock music, we get some traditional music thrown in there, and we have a group that is going to be doing some traditional music but more electrified, so it’s a great mix. A friend of ours, Gilbert Guerrero, he’s going to be our emcee. They’re really looking forward to it. It’s been fun putting it together, and of course I have to mention that it had some hair pulling, and here we are down to the wire. It’s gonna be fun.
PM: For Eastcoasters, where is Solana Beach in relation to Los Angeles?
LP: South L.A., on the way to San Diego, it’s a great vibe. It’s kind of a roadhouse venue. And it’s where people just kind of show up. The Rolling Stones actually did an unannounced show there a few tours back. It’s a really great room that people love and it sounds great. We did one there and they have a good crew and facility that worked with our people to get this livestream happening and try to make it as seamless as possible, because it is not easy doing these live streams. And if they’re live, if you get some kind of dropout somewhere, there’s nothing you can do about it live, like live television used to be in the ‘50s
PM: There’s a raw aspect to it that I enjoy because we see a lot of local bands that are attempting it, and I think they were the first to jump in because they were more needed, and the bands that are up a level and more established, they have their cache of videos they can they can air and plan something more professional and take care of more folks because they can bring in lighting and sound.
LP: These gigs that we’ve been doing virtual, we’ve been doing some since July. We did Philadelphia Folk Festival, Hardly Strictly Bluegrass, and it’s a weird thing. We show up at the studio, we do a 45-minute set for this gig, and then we do 30 minutes separate for some other gig, and then we do four songs for this; we pretty much work from two o’clock in the afternoon to eight or nine o’clock in the evening. And by that time we’ve already done half a dozen gigs. Then we just set them all up. We used to joke about phoning it in and that’s exactly what we’re doing now. That’s what everybody’s doing.
PM: You’ve been writing with David Hidalgo since high school. How has your writing evolved, particularly in the last year, given that you may not see him as often. Has there been any alteration to your writing method?
LP: As far as the pandemic is concerned, in COVID times, it just doesn’t exist, we haven’t really worked on anything. To begin with because we work and tour so much, we work on so many other different projects that we can write on demand when we have a new record, then at that point, we go into writing mode. I’d like to say we’re writing all the time, but the fact that we work so much, the notion of going back to the hotel room to write a song, it’s just nuts. You can’t do it. And then to get home for such a short amount of time, we just completely immerse ourselves in family and things that we need to do. So we rarely get a chance to write songs when we’re not making a new record.
But in the years sinceHow Will the Wolf Survive?, the idea of sitting together in a room and writing together, it just doesn’t happen that way, we do it by correspondence now. It’s just unnecessary because of the fact that our time is at such a premium. I am the lyricist and he’s the musical component; yes, we split up the chores that way, but there’s more dialogue than that. To call him just the musical side and my separate lyrical side, that would be discounting ourselves, because we are songwriters any way you look at it, and ultimately we do go through everything, before we present it to the band. That’s the only thing I think that’s changed over the years, it’s just a logistical thing because we just don’t have the freedom of time. I can’t think of anything that I enjoy more than sitting down and working on a song and writing, but you just can’t get to them.
PM: I did want to ask about La Bamba, because I, like many others, discovered you because of the movie. I think what caught me off guard more was not only that Ritchie Valens was so young, but he was very influential and you guys really kept his voice alive. I don’t know if we’d be listening to his music as much if the movie hadn’t been made, since for a generation, that was the first introduction to his brief but important career. Los Lobos continue to celebrate his music and Chicano music. How do you look at Valens after all this time?
LP: Rolling way back to when we were kids, we were into music. We would buy 45s and I just remember that “La Bamba” was always part of that stack of 45s that showed up at like a backyard party or something. I didn’t really understand as a young kid or an early teen the importance of who this was, until probably about the time the band formed in 1973. He went hand in hand with this Mexican-American renaissance, a Chicano movement of us Mexican-American kids who grew up here, were born here and pretty much homogenized to American culture, that we had this renaissance, where we all kind of discovered our culture.
Ritchie Valens was the musical thing that just goes along with the traditional Mexican music and floated to the top, so everybody discovered a lot of things about musical heritage. He was an important figure then, and after about 10 years of being a band that played traditional Mexican music, we found ourselves playing electric music again in the punk rock clubs in Hollywood, and “Come on, Let’s go” and “La Bamba” were no brainers, they just became part of the set. Of course, when we would play it back then, in punk rock clubs in basements of Hollywood neighborhoods, we’d crank it up and we played it way too fast.
What finally happened was, we got offered by Ritchie Valens’ family, they presented the idea of making a biopic movie on his life. They asked for us and we said OK, we went into the studio and the rest is history – a traditional Mexican song became the number one hit around the world. It’s quite a statement, and at the same time, that your band became a household word. Now Ritchie is where he deserves to be and what we all continue to do is try to keep that legacy alive. He’s as important a figure as Elvis, Chuck Berry, Buddy Holly, all of those; he just fits right into the short 17 years that he lived.
This coming week marks the start of Hanukkah, and once again Matisyahu will bring his famed ‘Festival of Light’ shows to fans, through FANS, on December 10, 11 and 17. The performances will take place at The Capitol Theatre in Port Chester and will be streamed on FANS.
Matisyahu’s Festival of Light shows are an annual celebration and some of the most notable performances of his career. Each end-of-year celebration spreads the traditions and light of Hanukkah, sharing the holiday in a relevant way to both Jews and non-Jews alike, and an universal experience that transcends themes of peace and prosperity.
The streamed event is billed with each night featuring classic, show-stopping hits, and the powerhouse ballads and powerful energy that Matisyahu is known for. Meet Matisyahu beneath the glittering dreidel-disco ball and send out good vibes to the world during this Festival of Light.
The stream is available for purchase for one or all three nights. For more information and to purchase tickets, click here.
Joining Matisyahu will be Aaron Dugan on guitar, Jason Fraticelli on bass, Rob Marscher on keys, and Tim Keiper on drums.
What makes this music so engaging and unmatched, is that Matisyahu; a vocalist with no other instrument at his disposal, is an integral creative part in the improvisation. Dugan and Yuki work well beyond the constraints of the “solo” constantly working to modulate the improvisation, while Brook’s pocket is so deep and harmonically smart, that regardless of how far the melodic elements of a jam may get pushed, it’s impossible not to feel rooted to the core of any tune performed.
Matisyahu allows his band to breathe within each tune, finding his place with a wordless melody that serves to enhance the harmonic elements of an improvisation, developing the rhythmic ideas with his beat boxing, or crowning a jam with a full-on lyrical call-to-the-heavens and the great unknown. It’s that cathartic moment as a jam summits and the audience lets out its release that tells the performers we are all in it together.
Connecticut-based Goose have announced plans for their seventh annual Goosemas holiday celebration, this time with a live stream concert from Rockefeller Center in New York City. On Friday December 11 at 7pm ET, Goose will offer an exclusive Twitch stream on the new Relix Channel, with proceeds benefiting Save Our Stages and Conscious Alliance.
A first of its kind livestream, Goose will perform more than seven stories high in the Manhattan skyline. Goosemas is an annual year end celebration, having grown from small clubs to the Wall Street Theater in Norwalk, CT over the past six years. Peter Anspatch recalls his first show with the band:
Goosemas 4 was my first gig playing with Goose so the annual show has a big place in my heart. I’m bummed we can’t be with our family and friends in person for this one, but the location is going to make it that much more exciting to stream. I’m beyond stoked we were able to pull that together in such a chaotic year. Big shout out to our whole team for always crushing it, Peter Shapiro, and thanks to Rockefeller Center for hosting what will be a very special night.
As with annual tradition, Goosemas will also include a charitable aspect during 2020’s most important giving month. Proceeds from the benefit will go to two separate organizations; NIVA’s Save our Stages — a national charity that provides support to independent live event venues and promoters throughout the United States in these trying times; and Conscious Alliance — a nonprofit that connects a network of creatives to collect large-scale donations in order to combat hunger in historically underserved communities.
photo by Scott Harris
Donations from Goosemas at Rockefeller Center will help keep Conscious Alliance on the road this winter delivering 200,000 meals to kids and families in need. Every $1 donation = 2 meals to someone going without food this holiday season.
Goose has amazing momentum right now and we are so excited to be working with them on this incredibly special performance at Rockefeller Center– one of the most iconic locations in the world. There isn’t a more epic way to ring in the holidays than with a rock show in the sky.
Peter Shapiro, Publisher of Relix Magazine and Twitch Relix Channel.
Donations are now being accepted at GOOSEMAS.com. Those who make donations through the Goosemas website will receive early access to the Goosemas Merch Store on Wednesday, December 9th at 10 am ET, and opening to the general public at 1pm ET. For more information, visit GOOSEMAS.com.
Bob Dylan has sold his entire songwriting catalog to the Universal Music Publishing Group. The catalog includes over 600 songs including the classics “Blowin’ in the Wind,” “The Times They Are A-Changin’” and “Like a Rolling Stone.”
At the age of 79, Bob Dylan is one of the most well known folk singers in the world and selling the catalog of his music, which the rights have been held by him for most of his career, is huge news, not only in the music realms but in the world as a whole. It has been a trend for musicians to sell their catalogs of music during the ongoing COVID-19 pandemic.
Just last week another big name, Stevie Nicks, sold a majority stake in her songwriting catalog for an estimated $80 million to Primary Wave Music which is an independent publisher and marketing company. It’s unclear if these buyouts are directly influenced by the ongoing pandemic but it’s hard to believe they aren’t connected.
It’s unclear how much Bob Dylan received in compensation for his songwriting catalog but according to The New York Times, it is estimated at more than $300 million.
The deal covers the entirety of Bob Dylan’s long career. All the way back to his earliest work right up to his latest album, Rough and Rowdy Ways. This deal was struck directly with Bob Dylan by Universal Music Publishing Group.
Bob Dylan at the Civil Rights March on Washington.
The deal leaves Dylan with 100 percent of rights for all the songs of his catalog. What this means is that he will still collect the income he receives as a songwriter and will still be in control individual song copyrights. So what is Universal Music Publishing Group getting out of it? Universal Music Publishing Group’s division of the French media conglomerate Vivendi, will collect all future income from the songs.
Let’s face it, the year 2020 has been a spectacular gigantic bust. Pandemic, protests, self-imposed isolation and political strife have become the new normal and we are all a bit tired of the daily drama we are forced to endure. For many of us music has become an essential anchor, providing us stability, especially during troubled times. If you are looking for a musical safe harbor to temporarily escape the madness, look to the very talented Connecticut EDM duo P(x3) and their self-released third album, Stargazer.
Stargazer is a live performance by the self-described “Apocalyptic Organ Duo” that was recorded at Middletown Connecticut’s own La Boca. The show took place in late February of this year right before the Corona Virus pandemic hit the U.S. hard and changed everyone’s lives, especially those who perform live music.
P(x3) was formed in 2019 by percussionist Rob Madore and keyboard/saxophonist Isaac Young, who both do double-duty in the band No Mind. Both musicians have continued to create a name for themselves in regional and national music scenes, famous for their improvisational performances. The production value of the nine tracks on the LP is exceptional. It is a testament to the technical skill of Cody Urban, who recorded and mastered the record for the band.
Stargazer starts off with the note and mind bending “Spachemmen,” which was additionally released as a single for the band. Synth melody intertwines with prominent percussion that has a culminating effect, transporting the listener on a cosmic celestial journey. It is hard to believe that Young and Madore are the only members in P(x3) when you hear layers of different sounds.
There is a lot going on musically on this track and you can hear new elements emerge every time you listen. The third track on Stargazer entitled “Alchemy” was also released as a single and is a pleasant highlight of the record. Young’s early 80’s synth beat complemented by Madore’s classic synth drum machine kicks off the tune. About one minute in, the boys go modern EDM by interspersing contemporary synth and percussion making for a truly interesting experience.
Seventies funk meets 21st Century jam band techno with “Rocked,” the final single released on P(x3)’s Stargazer. Young’s use of Moog and Hammond organ shines on this track. The soulful groove of these instruments are augmented by Madore’s danceable beats and the use of modern synth effects provided by Young.
Social distancing that is required because of COVID-19 has limited our ability to see live music in clubs and theaters. Stargazer by P(x3) is a great reminder of what we all have been missing since this tragedy has hit. It is a captured moment in time that reminds us of life before the Coronavirus. Things have changed a lot since then and P(x3) has adjusted to our new world, using technology to keep their performances coming. They have live streams on Facebook and are scheduled to do another on December 11 at 8 p.m., with the help of their partners Jamcast.
Music will always find a way to stay in our lives no matter what obstacles befall us. It is an essential part of the human condition. Hopefully, with the end of the pandemic clearly in sight, we will be back jamming out together this coming summer. Just like we did back in the good old days of 2019.
A myriad of talented musicians gives DJ MIME a stout debut album, 20/20. It is a punch of pop that this world needs right now, during trying times.
MIME is a New York City music producer and songwriter. This is his first full album. With 14 tracks, the album includes collaborations with up and coming vocalists like, Zhiko, Jantine, India Parkman, Lily Denning, HAYL and more.
DJ MIME releases his first full album 20/20.
Each tune has its own unique sound. A melody of genres and styles represents the whole concept of celebrating diversity within electronic dance music.
I feel like when multiple creative minds come together magic can really be made, sometimes the person you’re working with could have an idea that you would have never even thought of, those WOW moments are super special in the music making process.
DJ MIME
MIME named the album after his “vision” of creativity he used throughout the year. The songs provide a combination of underground house music for dancing and headphone-ready tunes. The album showcases a rapidly maturing artist, that continues to break the boundaries of what everyone thinks electronic music should be.
MIME released his debut track “Electronic Zoo” just last year. Now, along with 20/20, has 11 more tracks under his belt. These have all gone through his self-made label, AlterEgo, that he created with his team.
20/20 is out now and streaming on all platforms. If you’re looking for an album to listen to with a variety of moods, this is a perfect staple to add to your list.
Frank Gallagher, host of the podcast Soundman Confidential, is on a mission to keep the magic of live music in the public’s imagination. He hosts conversations with some of the biggest players and artists in the music business, opening up about their careers performing live, and how they see the future of live music, post-pandemic.
Season One commenced on November 12, finding Gallagher (as he’s most commonly known) conversing with all four Talking Heads, Jim Kerr of Simple Minds and Kate Pierson of the B-52’s.
In 1977, Frank drove from London to Zurich in a truck filled with sound gear to meet up with two American bands flying in for a European tour – The Ramones and Talking Heads. Post-show, Frank went backstage and told Talking Heads he wanted to be their sound guy. The band gladly accepted his offer. In 1982, he met Scottish band, Simple Minds, rapidly becoming an important band in the UK’s post-punk scene. Frank encouraged the band to work hard, play each gig if it was to be their last, and to stay connected to their fans who showed up to see the shows.
Frank Gallagher was still touring in his seventies before COVID-19 pulled the plug on a B-52’s tour. The B-52’s are a part of the legacy act touring business, and Frank commands their iconic sound with his punchy, energetic mix, much to the delight of their legions of fans. Based in Arizona and California, Frank awaits the call to get back on the road with the band.
The EPAC Virtual Christmas Show will be available on EPAC Digital, a new online platform granting digital access to EPAC Productions, from December 17th through January 3rd, 2021.
Endicott Performing Arts Center has put together a spectacular variety show of great holiday classics, as well as some newer contemporary songs to brighten your holiday season. You can watch local talent perform your signature holiday songs, that you can’t have Christmas without, including performances of “Happy Christmas… War is Over,” “You’re a Mean One, Mr. Grinch” and “White Christmas,” among many others. There will be performances from different locations, including people singing and dancing from home, from the EPAC Recording Stage, and out and about in thelocal landscape of the Southern Tier.
A short holiday themed puppet show presented by the EPAC Puppet Tree Theater Group is also a part of the series, as well as archival footage of shows from Christmas’ past. Don’t miss this experience, with amazing local talent performing virtually for the safety and entertainment of the entire community.
The Endicott Performing Arts Center is a non-profit organization whose mission is to provide an affordable and high quality venue to local, regional and touring performing artists, enabling them to present, develop, & improve their artistic efforts.
Over the past 23 years, EPAC has: Renovated and Operated out of the 104 year old “Lyric Theater” in Endicott, NY. To provide a means for thousands of community members to gain education about all aspects of the performing arts, while presenting a diverse array of affordable high quality performing arts events to our community. EPAC typically attracts over 20,000 people to the Arts Center every year, as well as hundreds of people to the outdoor “Stage at Little Italy” with its annual Shakespeare in the Park event at the George W. Johnson Park.
