Bardavon Presents has announced it will reopen this August after being closed for 14 months during the COVID-19 pandemic. Four new shows will join a number of previously scheduled performances postponed and rescheduled in 2020. More shows and available sales will be announced in the coming weeks.
Erected in 1868 by British immigrant James Collingwood, the Collingwood Opera House featured a plethora of various performances throughout the 19th and 20th centuries. In 1923, the opera house became known as The Bardavon. Since then, the building continues to serve as a focal point for the performing arts, evolving and thriving throughout the years.
Upcoming Shows For Reopening
The following four shows will go on sale to Bardavon members on Tuesday, June 8 at 11am, and to the general public on Friday, June 11 at 11am:
Trombone Shorty & Orleans Avenue – Sunday, August 22 at 7pm at UPAC: Multi-instrumentalist Troy “Trombone Shorty” Andrews brings his R&B, rock, rap, and funk brass band to UPAC for the very first time. Tickets start at $50.
Dispatch (Acoustic) – Saturday, September 25 at 8pm at Bardavon: One of the country’s most successful indie/roots bands, Dispatch, brings its politically progressive acoustic rock to the Bardavon for an intimate show. Tickets start at $45.
David Sedaris – Saturday, October 16 at 8pm at Bardavon: Sedaris returns to the Bardavon to read stories spanning his remarkable career followed by a Q&A and book signing. All Tickets $49.
Words & Music: An intimate evening with Patti Smith – Saturday, November 13 at 8pm at UPAC: Pioneering artist and punk icon Patti Smith performs a set of original spoken-word stories from her life, interspersed with songs, and will take questions from the audience. Tickets start at $49.
The four shows above join the following performances postponed in 2020 that are on sale now at Bardavon.org
Brit Floyd Aug 29 at UPAC Frankie Valli & the Four Seasons Oct 24 at UPAC Mavericks Dec 18 at UPAC Celtic Woman March 20 at UPAC Stomp May 26 at UPAC
Celebrate Juneteenth in words, praise, and music at The Falcon in the Hudson Valley. The scenically-located historic venue in Marlboro has planned an evening hosted by and featuring internationally renown gospel singer Bernard Clinton. Also featured on the bill are Newburgh’s Josiah Borden and Albany’s Ryan Graham, with special guests The Fabulous Rainbow Singers.
The evening will also feature Professor Ciesta Little-Quinn of the Department Black Studies at SUNY New Paltz and the Arts Mid-Hudson Folk Arts Program, who has spoken extensively on the history of Gospel Music, its luminaries, and their impact on the Gospel world in the Hudson Valley.
The performances at this free outdoor even start at 7pm on June 19th. However space is limited and guests will need to reserve a table in advance to attend. Seating for dinner begins at 5pm. The Falcon’s menu features items that incorporate foods from local farms that practice sustainable agriculture. To reserve a table at The Falcon for Juneteenth, head to their reservations page. While there is no cover charge for the event, donations are encouraged.
To keep guests and staff safe, precautions are still in place, and will be strictly enforced. Patrons must reserve a table. There is no “standing room.” Social distancing parameters will be enforced. Guests are required to wear masks unless seated at their tables.
Independent Venue Week returns July 12 – 18, 2021, bringing together venues from all across the country for a series of shows and programming in celebration of the spirit of independence.
The venue-curated programming will be combined with the return of #IVWTalks, a virtual conference series that discusses current live music industry issues and includes Get Schooled, a full day dedicated to student participants interested in a career in live music to take place on Thursday, July 15.
Among the more than 450 shows to take place as part of Independent Venue Week are performances by hip-hop icon Snoop Dogg at Phoenix’s Celebrity Theatre,roots music icons Steve Earle & The Dukes at Ram’s Head On Stage in Annapolis, midwest indie-pop sensation Beach Bunny at Milwaukee’s The Cooperage, world-class Afro-Cuban percussionist Pedrito Martinez at NYC’s DROM, New Jersey DIY favorites Long Neck, Whiner and PYNKIE at WhiteEagle Hallin Jersey City, legendary rock’n’rollers The Marshall Tucker Band at Missoula’s KettleHouse Amphitheater,and bass virtuoso George Porter Jr. for his reopening run at Garcia’sin Port Chester.
Getting ready for this year’s event feels particularly meaningful. For the past 14 months, independent venues and promoters have collectively fought for their very survival and this feels like the turning point that we’ve all been working for. We were happy and proud to grow Independent Venue Week last year—to even have it, under the circumstances. This year, we hope and believe that fans will return with a renewed appreciation for these uniquely important spaces.
Cecilie Nielsen, Director of Special Projects at Marauder, the firm that runs Independent Venue Week in the US.
The team behind Independent Venue Week has released the first episode of its new podcast series, Independent Venue Speak. Like its namesake, Independent Venue Speak will celebrate the spirit of independence, through the vehicle of deep-diving conversations. The series will be hosted by a different guest artist each episode and focus on how a specific independent venue has shaped the narrative in their music community.
For its inaugural episode, Independent Venue Speak invited the Grammy-nominated, Brooklyn-based artist and songwriter J. Hoard to tell the tale of the iconic Lower East Side room Arlene’s Grocery and its ties to The Lesson, a world-renowned hip-hop jam ensemble that forged an entire music culture.
To truly make Independent Venue Speak as incredible in execution as it was in concept, we enlisted the artists and venue operators to tell these stories themselves. These stories are about extraordinary people who helped inspire prolific music movements and about the venues that offered these movements not just a stage, but a home.
Cecilie Nielsen, Director of Special Projects at Marauder
#IVW21 PARTICIPATING VENUES (So Far!)
Princess Theatre Center for the Performing Arts (Decatur, Alabama)
Theatrikos (Flagstaff, Arizona)
Jeremy’s Juke Joint (Lake Havasu City, Arizona)
The Neighborhood Comedy Theatre (Mesa, Arizona)
The Nile Theater (Mesa, Arizona)
Last Exit Live (Phoenix, Arizona)
The Rebel Lounge (Phoenix, Arizona)
Club Congress (Tucson, Arizona)
Groundworks Tucson (Tucson, Arizona)
The Wayfarer (Costa Mesa, California)
T-Bar Social Club (June Lake, California)
Marvyn’s Magic Theater (La Quinta, California)
1720 (Los Angeles, California)
Globe Theatre (Los Angeles, California)
The Paramount LA (Los Angeles, California)
The Sardine (Los Angeles, California)
The Glass House Concert Hall (Pomona, California)
Crest Theatre Sacramento (Sacramento, California)
Harlow’s (Sacramento, California)
Sacramento Comedy Spot (Sacramento, California)
Belly Up (San Diego, California)
The Casbah (San Diego, California)
Soda Bar (San Diego, California)
Spin Nightclub (San Diego, California)
Amado’s (San Francisco, California)
Bimbo’s 365 Club (San Francisco, California)
Great American Music Hall (San Francisco, California)
The Riptide (San Francisco, California)
Center Stage Theater (Santa Barbara, California)
Kuumbwa Jazz (Santa Cruz, California)
Boulder Theater (Boulder, Colorado)
Fox Theatre (Boulder, Colorado)
The Black Sheep (Colorado Springs, Colorado)
Monkey Barrel (Denver, Colorado)
Roxy on Broadway (Denver, Colorado)
Aggie Theatre (Fort Collins, Colorado)
Ridgway Chautauqua Society / The Sherbino & The Courtyard at 610 (Ridgway, Colorado)
Bijou Theatre (Bridgeport, Connecticut)
The Midpoint (Hartford, Connecticut)
Arden Concert Gild (Arden, Delaware)
9:30 Club (Washington DC, District of Columbia)
The Anthem (Washington DC, District of Columbia)
DC9 Nightclub (Washington DC, District of Columbia)
Lincoln Theatre (Washington DC, District of Columbia)
Pearl Street Warehouse (Washington DC, District of Columbia)
Pie Shop (Washington DC, District of Columbia)
Songbyrd Music House (Washington DC, District of Columbia)
High Dive (Gainesville, Florida)
Murray Hill Theatre (Jacksonville, Florida)
North Beach Bandshell (Miami Beach, Florida)
Van Wezel Performing Arts Hall (Sarasota, Florida)
The Village Theatre (Atlanta, Georgia)
The Blue Door (Brunswick, Georgia)
Grant’s Lounge (Macon, Georgia)
Hargray Capitol Theatre (Macon, Georgia)
Hilo Palace Theater (Hilo, Hawaii)
Hawaii Theatre Center (Honolulu, Hawaii)
ProArts Playhouse Maui (Kihei, Hawaii)
Hey Nonny (Arlington Heights, Illinois)
Annoyance Theatre & Bar (Chicago, Illinois)
Beat Kitchen (Chicago, Illinois)
The Lincoln Lodge Theater (Chicago, Illinois)
The Promontory (Chicago, Illinois)
Reggies (Chicago, Illinois)
Subterranean (Chicago, Illinois)
The Wild Hare & Singing Armadillo Frog Sanctuary (Chicago, Illinois)
Winter’s Jazz Club (Chicago, Illinois)
Egyptian Theatre (DeKalb, Illinois)
Skooter’s Roadhouse (Shorewood, Illinois)
Buskirk-Chumley Theater/BCT Management, Inc. (Bloomington, Indiana)
Mojo’s BoneYard (Evansville, Indiana)
Hi-Fi (Indianapolis, Indiana)
Hoyt Sherman Place (Des Moines, Iowa)
Wooly’s (Des Moines, Iowa)
xBk (Des Moines, Iowa)
East Of Omaha (Griswold, Iowa)
The Englert Theatre (Iowa City, Iowa)
Hutchinson’s HIstoric Fox Theatre (Hutchinson, Kansas)
Liberty Hall (Lawrence, Kansas)
Stiefel Theatre for the Performing Arts (Salina, Kansas)
The Warehouse at Mt Victor (Bowling Green, Kentucky)
Alhambra Theatre (Hopkinsville, Kentucky)
Headliners Music Hall (Louisville, Kentucky)
Old Forester’s Paristown Hall (Louisville, Kentucky)
Renfro Valley Entertainment Center (Mount Vernon, Kentucky)
The Southgate House Revival (Newport, Kentucky)
Texas Club (Baton Rouge, Louisiana)
Carnaval Lounge (New Orleans, Louisiana)
Howlin Wolf (New Orleans, Louisiana)
The Grand (Ellsworth, Maine)
Regent Theatre (Arlington, Massachusetts)
Narrows Center for the Arts (Fall River, Massachusetts)
Atac: Downtown Arts + Music (Framingham, Massachusetts)
Soundcheck Studios (Pembroke, Massachusetts)
Electric Haze (Worcester, Massachusetts)
Pyramid Scheme (Grand Rapids, Michigan)
Kalamazoo State Theatre (Kalamazoo, Michigan)
7th St Entry (Minneapolis, Minnesota)
Fine Line (Minneapolis, Minnesota)
First Avenue (Minneapolis, Minnesota)
The Parkway Theater (Minneapolis, Minnesota)
TAK Music Venue Inc (Moorhead, Minnesota)
The Fitzgerald Theatre (St. Paul, Minnesota)
Palace Theatre (St. Paul, Minnesota)
Turf Club (St. Paul, Minnesota)
RecordBar (Kansas City, Missouri)
Uptown Theater (Kansas City, Missouri)
Kettlehouse Amphitheater (Bonner, Montana)
The Music Hall (Portsmouth, New Hampshire)
Crossroads (Garwood, New Jersey)
Hopewell Theater (Hopewell, New Jersey)
White Eagle Hall (Jersey City, New Jersey)
The Newton Theatre (Newton, New Jersey)
Township Theatre (Township of Washington, New Jersey)
Samuel E Wright, found of the Hudson Valley Conservatory, voice of Sebastian the crab in 1989’s The Little Mermaid, and Tony Award nominated actor has died at age 72. A longtime resident of Walden, NY, Wright passed away peacefully after a three-year battle with prostate cancer.
Born on November 20, 1948 in Camden, SC, Wright moved to New York City in 1968 to begin his acting career. After a few years in London, Wright returned to perform in 18 Broadway productions, beginning with Jesus Christ Superstar in 1971. He later landed the role of Pippin in 1972, replacing Ben Vereen as the lead.
In 1983, Samuel Wright received his first Tony Award nomination for The Tap Dance Kid, which found Wright as the unsympathetic father of a young boy (Alfonso Riberio). More recently, he originated the role of Mufasa in Disney’s The Lion King, which garnered him his second Tony nomination, and a Drama Desk Award.
“Look at the stars. The great kings of the past look down on us from those stars.” Rest In Peace, Samuel E. Wright | 1946 – 2021 Original Broadway Cast, Mufasa. pic.twitter.com/MDuQAZJalZ
— The Lion King – Musical (@TheLionKing) May 25, 2021
Wright acted in several films, including Clint Eastwood’s 1988 Bird, playing the role of Dizzy Gillespie to Forest Whitaker’s Charlie “Bird” Parker. In the 1995 Apollo Theater revival of The Wiz, he played the Scarecrow in alongside Whitney Houston, Keith David and Cedric the Entertainer.
In 1989, he earned Grammy, Oscar and Golden Globe Awards for Best Original Song for “Under the Sea,” from The Little Mermaid. The song would achieve RIAA certification and double platinum status, leading to parodies from Saturday Night Liveto The Simpsons. With his new success, he moved north from New York City to Walden in Orange County. Here, he would continue to commute for the role of Mufasa, while creating a legacy in support of the arts.
Founded in 1994, the Hudson Valley Conservatory (HVC) is the first performing arts school in the Hudson Valley offering classes in acting, music and dance, to ages 3 and up. Started by Samuel E. Wright, Amanda A. Wright and Pamela A. Murphy in 1994, HVC is a place for children to learn and grow in the arts.
Per their mission statement, HVC pride themselves on offering a well-rounded arts education and helping children develop not just as artists, but confident, competent young adults. Students at HVC have the opportunity to take part in productions throughout the year in HVC’s black box theatre, The New Rose Theatre.
Notable fans of Samuel Wright include Hamilton creator Lin-Manuel Miranda, who named his oldest son after Sebastian.
Wright is survived by his wife, Amanda, and their three children, Keely, Dee and Sam.
To honor the life of Samuel E. Wright and continue their mission, the New Rose Theatre Group will be starting The Samuel E Wright Scholarship Fund. This fund will be used to support the children, school and community of young artists he created at the Hudson Valley Conservatory. If you would like to make a contribution to the fund, checks can be mailed to:
Samuel E Wright Scholarship Fund Via New Rose Theatre Group PO Box 702 Walden NY 12586 or donate directly to New Rose Theatre Group by Venmo @Rose-Group
While it may be Memorial Day Weekend, it’s also the ten-year anniversary of the one and only Phish run at the Bethel Woods Center for the Arts. In 2011, the band was still very much trying to gather its collective footing after reuniting only two years earlier. For some, these shows represent the first true “return to glory” moments for the band and fans alike. It’s only fitting that it took place on the hallowed grounds of Bethel, NY, the same ones that served as host for one the most influential music events of all time, Woodstock. Even though it was only Phish performing in Bethel this weekend, there were still plenty of magical moments to be had.
An argument can be made that some of the most passionate and inspired music of the entire weekend never even made its way to the public. On the night before the run was set to begin, Phish blessed their sound check with what many consider to be one of the best “Waves” of all time. It’s a version that stretches out to nearly a half hour, diving way beneath the surface without coming back up for air.
Night One – May 27, 2011
The first night of this memorable run also served as the 2011 summer tour opener. The only other show Phish had played this year to date was their 1/1/11 gig at Madison Square Garden to cap off the New Year’s run. Some rain leading up to this evening wreaked havoc on the fertile and lush grounds of Bethel Woods. But that certainly wasn’t going to deter anyone.
The rain had left some parts of the lower lawn in a treacherous state, to say the least. So boots, tarps and blankets were en vogue. But rather than play it safe and ease into the show, Phish instead opened night one of Bethel Woods with a raging “Tweezer” that caught everyone off guard, in a good way. Summer tour and the band’s third year since returning from a self-imposed breakup were now officially underway.
Considered tame by today’s standards, the show opening “Tweezer” doesn’t stray too far and elicits a mild jam. But the joy of it opening the show, and the tour, was never in doubt. Instead of stretching it out, they immediately transition into “My Friend, My Friend” and night one is off and running.
The rest of the first set is comprised of multiple covers that paint a clear picture of what influences Phish musically. First is their take on Ween’s “Roses Are Free,” a song forever immortalized in Todd Phillips’ Bittersweet Motel documentary. Next, keyboardist Page McConnell shines on his solo on Son Seals’ “Funky Bitch.” The first set also features a take on James Gang’s “Walk Away” that’s properly fueled by Trey Anastasio on guitar and it finishes with a splendid cover of Jimi Hendrix’s “Bold As Love.”
Aside from an earlier “Wolfman’s Brother,” some of the more exploratory work from the band in the first set came during “Stash.” A jam that starts from near ambience quickly picks up speed while never quite shaking the framework of the song. It provided a nostalgic glimpse of a song that used to be a first set powerhouse for a band still very much rounding into form.
With one set under their belt, Phish opens up the second with another rager, “Carini.” Those who called that and “Tweezer” both as set openers should be commended. Again, compared to modern day versions, this “Carini” doesn’t veer too far off the path, but rather sets the table nicely for the crescendo-building “Get Back On The Train” that succeeds it.
The second set also contains a “Waves” that has its moments but doesn’t come close to the majesty and weirdness offered up in the one from yesterday’s soundcheck. And, of course, more choice cover selections. This included the always popular “Boogie On Reggae Woman” (Stevie Wonder), with Mike Gordon and his signature bass line/effect leading the way. The set picks up in a major way, and possibly peaks, with a deep dive of the Talking Heads’ “Crosseyed and Painless.”
Once drummer Jon Fishman finishes leading the group through a funkified version of this cover, the rest of the set plays out in somewhat traditional fashion. “The Squirming Coil,” replete with an enchanting, set-ending piano solo from McConnell closes out the set before “Julius” and its infectious “don’t take another step” mantra closes the book on the first night of Bethel.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/27/11
Set 1: Tweezer > My Friend, My Friend, Poor Heart, Roses Are Free > Funky Bitch, Wolfman’s Brother -> Walk Away, Stash, Bouncing Around The Room, Kill Devil Falls, Bold As Love
Set 2: Carini >Back On The Train > Boogie On Reggae Woman > Waves > Prince Caspian > Crosseyed and Painless > Wading In The Velvet Sea > Possum, The Squirming Coil
Encore: Julius
Wolfman’s contained a Streets of Cairo tease from Trey. Before Stash, Trey teased The Fish (Schindleria Praematurus) by Yes.
Listen to the complete show on YouTube, or track-by-track at PhishTracks.
The second night of the Bethel Woods run began as so many Phish shows do, with people scurrying everywhere to secure their spots as notes from the opening song rain down. In this instance, the selection is “Theme From The Bottom” while plenty of viable spots on the lawn are still being secured.
Traditional first set stalwart “NICU” then follows, with McConnell wasting no time getting down to business on the Hammond organ. A super funked out take of another Talking Heads cover, “Cities,” then gives those on the lawn and everywhere else more than enough reason to get down and dance. The “outro” jam lasts well longer than it should and serves as a legitimate highlight of the weekend.
The rest of the night two’s first set is best encapsulated by a couple of song pairings. “Halley’s Comet” picks up on the experimental vibe and takes it the distance, fomenting a certifiable Type II jam momentarily. But before it can explore any further, the opening chords of “Runaway Jim” enter the fray, serving as the back end of a powerful two-song sequence whose jam gets the full on ‘Plinko’ treatment. The first set then later wraps up with another Phish staple, “Bathtub Gin” that gets a taste of “Manteca” and a distinct “Golden Age”-type jam midway through before rounding back into form.
Like most Phish shows, much of the heavy lifting takes place in the second set tonight. An explosive “Down With Disease” starts things off nicely, with Jon Fishman providing one intricate drum fill after another in a jam that comes to an early vigorous peak. Instead of returning to finish “Disease,” the jam meanders for a while until Anastasio signals for a wonderfully patient “Free” to begin.
As the second set progresses, Phish continues to show their mastery of juxtaposition. A zany “Makisupa Policeman” immediately goes off the rails, with mentions of spliff smoking and imaginary trips to Mike and Page’s respective “houses” that eventually sends the Bethel Woods crowd into an uproar, along with a healthy clav-driven, mini-funk jam. But instead of going to Fish’s “house” and carrying on with the silliness, the band turns on a dime and crafts an emotional “Harry Hood.”
The set later concludes with another Phish classic, “David Bowie.” And another longtime cover favorite, The Beatles’ “A Day In The Life” puts the finishing touches on night two in Bethel. With two nights now in the books, only the Sunday show remained. And, as the saying goes, those are not to be missed.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/28/11
Set 1: Theme From The Bottom, NICU, Cities, Halley’s Comet > Runaway Jim, Gumbo > Quinn The Eskimo > Limb by Limb, Horn, Bathtub Gin -> Manteca > Bathtub Gin
Set 2: Down With Disease > Free > Backwards Down The Number Line > Makisupa Policeman > Harry Hood > Cavern > David Bowie
Encore: A Day In The Life
Gin included a mash-up jam of Golden Age and Manteca and later closed with a Manteca quote from Trey. Disease was unfinished. BDTNL featured a DEG tease from Mike. Makisupa included lyrics referencing several band members’ houses (and Trey’s favorite show, House).
As to be expected, Phish closes out the Memorial Day Weekend in fine fashion. The “AC/DC Bag” opener “gets the show on the road” in a major way and Phish coasts from there. “Ocelot,” still a fairly new tune at the time, gets a surprisingly monstrous jam attached to it. The “Ya Mar” and “Timber” that follow serve as a nostalgic throwback of sorts, giving the set a temporary old school vibe.
“Suzy Greenberg” makes a first set appearance and then instantly morphs into a rowdy “46 Days.” And the quality cover selections continue as well, with Lynyrd Skynyrd’s “Ballad of Curtis Loew” getting the call tonight. Just like old times (again) the opening set then concludes with a “Run Like An Antelope” that does just that.
For their last Bethel set, Phish decides to maintain the traditional feel and opens it with a vintage “Mike’s Song” > “Simple” -> “Weekapaug Groove” trifecta. “Simple” yields an especially spacey, ambient-type jam before the rhythmic law firm of Fishman & Gordon kickstart the “Groove.” Afterwards, the band takes some time to reintroduce a certain dance some may have forgotten.
The second set later comes to a close with another powerhouse trio. “Also Sprach Zarathustra,” aka “2001,” offers one last definitive dose of funk for the weekend before giving way to the newly established jam vehicle that is “Light.” And “Slave to the Traffic Light,” with its customary soaring jam that evolves from near silence is the final emotional stamp.
By the end of the weekend, so much great music had transpired that it was hard to take inventory of everything. That’s why it came as a shock to many when, after “Loving Cup,” the distinct riff of “Tweezer Reprise” rang out, bringing the entire weekend full circle. It’s more than an ideal choice to close out the final chapter of music for the weekend, with the hopes that it won’t be the last one Phish writes here.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/29/11
Set 1: AC/DC Bag > Sample In A Jar, Rift, Ocelot, Ya Mar, Timber (Jerry) > The Oh Kee Pa Ceremony > Suzy Greenberg > 46 Days > Twenty Years Later, The Ballad of Curtis Loew, Run Like An Antelope
Set 2: Mike’s Song > Simple ->Weekapaug Groove, Meatstick > Fluffhead > Joy, Also Sprach Zarathustra > Light > Slave to the Traffic Light
Encore: Loving Cup > Tweezer Reprise
Ya Mar included Express Yourself (Charles Wright & the Watts 103rd Street Rhythm Band) teases from Mike. Antelope contained a Curtis Loew tease from Trey and Manteca teases from Trey and Page. Page teased Magilla in Simple.
Bard SummerScapecelebrates the uplifting spirit of Black music with BlackRoots Summer, presented in association with Electric Root and organized and led by the rousing vocalist, bandleader, cultural commentator, and anti-racism educator Michael Mwenso and his longtime collaborator Jono Gasparro, former curator of Ginny’s Supper Club in Harlem.
An outdoor stage at Bard’s Montgomery Place campus on the Hudson River, the Sierra Leone-born, London-raised, NYC-based Mwenso are where the concerts will be held for two weekends (July 23 & 24 and July 29-31) Even more, there will be a predominantly BIPOC lineup of more than 20 artists, singers, musicians, and dancers will premiere three original concerts.
Mwenso explains that the concert series in the midst of the pandemic, and in response to the murder of George Floyd, they realized, “Now is the time to push the doors down.” Electric Root was established and set out to collaborate with universities and presenting institutions in order to
“revolutionize how Black music is presented, expose lesser-known artists, decolonize music curriculum, provide artist-led anti-racism training, and heal people.”
All tickets go on sale on June 2. The box office can be reached by telephone at (845) 758-7900, on Mondays through Fridays at 11am–4pm EST, or by email at boxoffice@bard.edu. Tickets are also available 24/7 on Bard’s website at fishercenter.bard.edu.
All SummerScape productions will be presented in adherence with strict COVID protocols. Learn more about SummerScape 2021 health and safety protocols here.
Yasgur Road in Bethel will open its first festival of the 2021 season with Yasgur’s May Meltdown over Memorial Day Weekend. With more than 30 bands on the lineup, including headliners The New Motif and PEAK, the festival takes place at Max Yasgur’s former 103-acre homestead in Bethel, NY.
Yasgur Road hosts multiple shows each year, including their annual Woodstock Reunion. The venue keeps vending affordable but encourages bringing your own supplies for the weekend (no glass, please). Bathrooms, showers, campfires, and camping near the stage are just some of the amenities of the festival grounds, as well as onsite parking close by. Free craft vending is allowed with purchase of a weekend pass. Dog passes are also available.
Truly the home of the spirit of Woodstock, the most famous music festival in history, Yasgur Road is less than 3 miles from Bethel Woods Center for the Arts. Max Yasgur’s former homestead is now dedicated to the music festival industry, offering quality entertainment and camping in a natural wooded setting.
The New Motif, an ever-evolving eclectic jam funk band originally formed on Cape Cod, MA perform music infused with deep psychedelic grooves and dynamic improvisation. Joining them as headliners are PEAK, a Brooklyn-based group full of psychedelic Indie fun with a mix of poetic, melodic songwriting, moody electrofunk, riffed-out blues-rock, and exploratory danceable improvisations.
For more information regarding May Meltdown, or any of Yasgur Road’s festivals and events, visit Yasgurroadreunion.com or their Facebook page. Order tickets here and stay up to date with the Facebook event.
Yasgur’s May Meltdown 2021 Lineup
The New Motif, Peak, Spunday Mourning, Dee Maple Band, Mysterytrain, Hanna’s Field, Lunch Trucks, Gypsy Funk Squad, Moon Matrix of the Lizard People, Jerry Duty, Mutt Farm, The Hobo Style, Jason Gisser Band, PoW WoW, Robert Tellefsen, Alec Philips, Crispy Crunch, Buffy & the Boys, and many more!
Guitarist and composer Marc Ribot has shared the first single, “The Activist,” off the upcoming album from Marc Ribot’s Ceramic Dog, Hope, due out on June 25.
album art for “Hope”
Described by the Village Voice, Ceramic Dog’s bark is just about equal to its bite. The music snarls and snaps with self-awareness, righteous fury, and, inevitably, cynical detachment. The group also features bassist Shahzad Ismaily and drummer Ches Smith of the avant-garde based group Secret Chiefs 3. With this ferocity in mind, Ribot speaks of the first single, “Hope.”
I like to rant. Ranting is a kind of semi-involuntary spewing of something that seems to be very urgent. This particular rant came up after going to a lot of Activist meetings. Now, don’t get me wrong: some of my best friends are Activists. I’ve even been accused of being one myself (although after reading Astra Taylor’s essay “Against Activism” I try to aspire to being an organizer, or at least a radical).
Anyway— I got frustrated at a couple of meetings because of people trying to posture as the most super rad instead of getting things done. Later, I was supposed to be working on a reasonable position paper of something: but stuff like this came out instead: “I don’t accept sidewalks, I walk on my hands in heavy traffic, and even that is a compromise. I don’t accept gravity, or teeth! I don’t accept you, or what the mainstream media refers to as your cute little (and I quote) “doggie.” Shahzad and Ches (my Ceramic Dog comrades) thought it was funny, so we started doing it live/improvised— and eventually came up with this jam. Party!
Marc Ribot
Ribot as born in Newark, NJ and played guitar in various garage bands while studying under mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and John Lurie’s Lounge Lizards (1984-89). Between 1979 and 1985, Ribot also worked as a side musician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others. Pre-order Hopehere.
Marc Ribot’s Ceramic Dog – Upcoming Shows June 6 – Co-presented Burlington Discover Jazz Fest @ The Backyard at Nectar’s, Burlington, VT –
June 6 – Co-presented Burlington Discover Jazz Fest @ The Backyard at Nectar’s, Burlington, VT –
The Black Crowes return this summer with rescheduled dates of their long-awaited Shake Your Money Maker 30th anniversary tour, joined by special guests, Dirty Honey. The Black Crowes long-time bass player Sven Pipien will be returning to the band as well for the tour.
With their hard rock sound, southern influences, and general nontertiary they plan on performing in over 30 cities. The Black Crowes have sold out shows around the world; had legendary guitarist Jimmy Page join as a member; got kicked off a tour with ZZ Top for insulting the sponsors; fought amongst themselves and against the rest of the world. In other words, they’ve done everything a legendary rock group should do.
The Robinson Brothers, Chris and Rich, will front their classic 90s band, making three stop in New York State: September 14 at Saratoga Performing Arts Center, September 17 at Jones Beach, and the tour closer at Bethel Woods PAC on September 25.
Tickets are on sale now at TheBlackCrowes.com. All fans who purchased tickets for the previously announced 2020 dates will be honored for the 2021 shows. All summer 2021 tour dates are below.
On your way to SPAC, don’t forget that Stewart’s Shops is your ice cream shop! With over 345 shops in 31 counties across New York and southern Vermont, the convenience store chain is known for their fresh &local dairy products. With dozens of choices at the cone counter, you’re bound to find something you love! Try a shake, sundae, or cone today, What’s Your Flavor?
SHAKE YOUR MONEYMAKER 2021 TOUR DATES
July 20 – Nashville, TN – Ascend Amphitheatre
July 21 – Nashville, TN – Ascend Amphitheatre
July 24 – Gilford, NH – Bank of New Hampshire Pavilion
July 25 –Hartford, CT – The XFINITY Theatre
July 28 – Burgettstown, PA – S&T Bank Music Park
July 29 – Detroit, MI – DTE Energy Music Theatre
July 31 – St Louis, MO – Hollywood Casino Amphitheatre
August 1 – Indianapolis, IN – Ruoff Home Mortgage Music Center
August 3 – Cincinnati, OH – Riverbend Music Center
August 4 – Cuyahoga Falls, OH – Blossom Amphitheatre
August 7 – Chicago, IL – Hollywood Casino Amphitheatre
August 8 – Milwaukee, WI – American Family Insurance Amphitheatre
August 10 – Rogers, AR – Walmart Amphitheatre
August 11 – Dallas, TX – Dos Equis Pavilion
August 14 – Houston, TX – Cynthia Mitchell Woods Pavilion
August 15 – Austin, TX – Germania Amphitheatre
August 18 – San Diego, CA – North Island Credit Union Amphitheatre
August 19 – Los Angeles, CA – The Forum
August 21 – Concord, CA – Concord Pavilion
August 22 – Mountain View, CA – Shoreline Amphitheatre
August 25 – Portland, OR – Sunlight Supply Amphitheatre
August 26 – Seattle, WA – White River Amphitheatre
August 29 – Denver, CO – Red Rocks Amphitheater
August 30 – Denver, CO – Red Rocks Amphitheater
September 4 – Atlanta, GA – Cellairis Amphitheatre at Lakewood
September 5 – Birmingham, AL – Oak Mountain Amphitheatre
September 7 – West Palm Beach, FL – Coral Sky Amphitheatre
September 8– Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
September 10 – Charlotte, NC – PNC Music Pavilion
September 11 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek
September 14 – Saratoga Springs, NY – Saratoga Performing Arts Center
It’s true, the Music Never Stopped, as Dead and Company will head out on the road this summer, their first shows since Playin in the Sand in January 2020. Dead and Company will embark on a 2021 Summer Tour, making four stops in New York State. Citi Field, Bethel Woods, Darien Lake and SPAC will all find multiple generations of Deadheads traversing the state this summer on a mission to get down.
The most recent New York appearance for Dead and Company was their Halloween run at Madison Square Garden in 2019. The Empire State will have an “Easy Wind” blowing across it later this summer, as Dead and Company comes to Citi Field on Friday, August 20, Bethel Woods Center for the Arts on Monday, August 23, Darien Lake Amphitheater on Wednesday, August 25, and Saratoga Performing Arts Center on Friday, August 27.
The Capital Region served as the foundation for Dead and Company’s start with their first performance at Times Union Center in Albany on October 29, 2015. John Mayer and Oteil Burbridge joined the band beyond description for “Playing in the Band” as the first tune to start their journey.
To ensure fans get tickets in their hands directly, Fan Registration is now available here until Sunday, May 16 at 10PM PDT, through Ticketmaster’s Verified Fan program. The Verified Fan Presale begins Wednesday, May 19th at 10 AM local through Thursday, May 20 at 10 PM local venue time. Supplies are limited.
Tickets will go on sale to the general public beginning Friday, May 21 at Noon local venue time through Ticketmaster.
A rainbow over SPAC, June 2019
Dead & Company will continue their work with longtime sustainability partner REVERB. This summer the band has committed to a comprehensive carbon offset program via Reverb’s unCHANGEit Climate Campaign, covering all projected emissions from this year’s tour – including fan travel to and from shows. These Dead & Company tour offsets will immediately fund important projects around the world and here at home that directly fight climate change and greenhouse gas emissions.
Dead and Company Summer 2021 Tour will offer a variety of enhanced experience packages that range in amenities from Loose Lucy’s Lounge access and early venue entry to branded lawn chairs and limited-edition screen-printed posters, paired with premium concert tickets. Travel Packages that bundle concert tickets with local accommodations will also be available. All enhanced offerings and travel packages go on sale May 19 at 10AM local venue time. For full details, visit here.
Jerry Garcia’s words and music get to carry another Summer and Fall Tour across the country. This cast certainly knows how to honor his historic improvisational ability while expressing their own voices on it. They have been given the seal of approval from original crew members and fans a like. Six years later it remains the Dead’s biggest revival. Oteil Burbridge doesn’t feel like a stranger for another tour. “When Bill Walton says you’re good, you quit worrying.”
On your way to SPAC, don’t forget that Stewart’s Shops is your ice cream shop! With over 345 shops in 31 counties across New York and southern Vermont, the convenience store chain is known for their fresh &local dairy products. With dozens of choices at the cone counter, you’re bound to find something you love! Try a shake, sundae, or cone today, What’s Your Flavor?
Dead & Company 2021 Tour
Mon-Aug-16 Raleigh, NC – Coastal Credit Union Music Park
Wed-Aug-18 Bristow, VA – Jiffy Lube Live
Fri-Aug-20 – New York, NY – Citi Field
Sat-Aug-21 Philadelphia, PA – Citizens Bank Park
Mon-Aug-23 Bethel, NY – Bethel Woods Center for the Arts
Wed-Aug-25 Darien, NY – Darien Lake Amphitheater
Fri-Aug-27 Saratoga Springs, NY – Saratoga Performing Arts Center
Sat-Aug-28 Hershey, PA – Hersheypark Stadium
Thu-Sep-02 Mansfield, MA – Xfinity Center
Fri-Sep-03 Mansfield, MA – Xfinity Center
Sun-Sep-05 Hartford, CT – The Xfinity Theatre
Tue-Sep-07 Cuyahoga Falls, OH – Blossom Music Center
Fri-Sep-10 Clarkston, MI – DTE Energy Music Theatre
Sat-Sep-11 Cincinnati, OH – Riverbend Music Center
Mon-Sep-13 Maryland Heights, MO – Hollywood Casino Amphitheatre STL
Wed-Sep-15 Noblesville, IN – Ruoff Music Center
Sep 17-18 Chicago, IL – Wrigley Field
Wed-Oct-06 West Palm Beach, FL – iTHINK Financial Amphitheatre
Thu-Oct-07 Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Mon-Oct-11 Charlotte, NC – PNC Music Pavilion
Tue-Oct-12 – Atlanta, GA – Cellairis Amphitheatre at Lakewood
