Virginia’s jam and alt-rock outfit Kendall Street Company have teamed up with toe-tappin’ bluegrass quartet The Dirty Grass Players to announce a slew of co-headlining winter tour dates this December. The two bands will each perform a set of original songs before collaborating under the name “The Dirty Street Grass Company” for a super jam at the end of each show.
The run of shows will kick off on December 4th in The Dirty Grass Players’ hometown of Baltimore, MD and weave through the Northeastern states of New York, New Hampshire, Massachusetts, Vermont, and Connecticut. The collaboration series will also be available to fans worldwide via the live-streamed performance on Friday, December 10th.
Our relationship with the Dirty Grass Players goes back to the ancient days of 2016. We were introduced to them by a talent buyer who described DGP as ‘the real deal bluegrass outfit’ and said they’d be a good pairing with our eclectic brand of jam rock. Fast forward to now, we have performed with them many times and consider them close musical companions. It’s about time we did a full-on tour together. To get hype for this collaboration, we [Kendall Street Company] have even been working on some bluegrass-y arrangements of our own tunes to mix into our set.
Ben Laderberg of Kendall Street Company.
Kendall Street Company (KSC) has created a unique musical identity that is quickly separating them from the pack. Featuring Louis Smith (acoustic guitar, vox), Brian Roy (bass), Ryan Wood (drums), Ben Laderberg (electric guitar), and Jake Vanaman (saxophones, keys), the band seamlessly brings together a mélange of genres as diverse as jam-rock,indie, folk, americana, psychedelia, jazz, and even bluegrass.
Composed of Connor Murray on bass, Alex Berman on vocals & banjo, Ben Kolakowski with the guitar & vocals, and Ryan Rogers on mandolin, they have been bringing their growing fanbase a down and dirty performance for over five years. Their ability to seamlessly transition from down-home bluegrass to spirited improvisation makes each performance unique. Mix in some Allman Brothers, Pink Floyd, or a dash of southern rock and you’ll quickly understand what they mean by “Dirty Grass”.
Entering into their sixth year together, The Dirty Grass Players just released their 2nd studio album, “Beneath the Woodpile”. Put together with alluring harmonies, lyrics, and melodies, the band presents a sound precisely at the crossroads of traditional and progressive bluegrass. This isn’t just another run-of-the-mill bluegrass album or band; it’s cathartic and dirty grass.
Genre-blurring NYC artist Joshua Crumbly has shared a new video for his nostalgic and moody track “Kolkata.” Crumbly first shared “Kolkata” on his sophomore full-length, ForEver, which he released last month.
Crumbly’s gift lies in emotionally evocative and masterful bass guitar. He made his debut at age 10, performing with his saxophonist father, and eventually pursued his passion at Julliard. His unique style has led him to record and tour with everyone from Leon Bridges to Kamasi Washington. He performed alongside Bob Dylan in Dylan’s 2021 concert film, Shadow Kingdom. He released his debut solo album, Rise, in 2020.
The windswept video for “Kolkata” features crumbly as a cowboy wandering a dusty open road. Carefully stepping along the dotted yellow line, Crumbly walks towards a hazy mountain range in the distance. As the camera approaches him slowly from behind, he sets down his guitar case, removed his hat, and turns to face the audience.
Crumbly is half African-American and half Indian-American, and frequently visits his mother’s family in Kolkata. It was there he experienced something beautiful while looking over the city, sparking the inspiration for “Kolkata.”
“It was a blissful moment filled with gratitude and optimism,” Crumbly said. “I didn’t bring any instruments with me on this trip but I did have my laptop computer to sonically document this moment I was grateful to have experienced.”
Joshua Crumbly
Featuring guests like Shahzad Ismaily, Sam Gendel, and Jay Bellerose, ForEver has received praise from outlets like Hypebeast and Under the Radar. NPR Music highlighted the record on their New Music Friday podcast.
The album’s haunting 11 tracks never hit you over the head with their meaning. But Crumbly’s ability to evoke nostalgia and deja vu through a simple, wavering bassline keeps you mesmerized. In ForEver’s lo-fi environment, each song blends into the next while still setting a unique scene. “Family” is heartbreakingly simple and bittersweet, while “C.S.C.” with Jay Bellerose builds on an ominous, hazy funk. Title track and standout “ForEver” takes hints from midwest emo, but remains hauntingly spare throughout. The soft, undulating melody worms its way into your brain and stays.
From the producers of the annual Love Rocks NYC benefit concert comes The Capitol Sessions: Songs from a Rock Palace That Impacted the World. Featuring Jackson Browne and Jorma Kaukonen leading an all-star jam benefiting HeadCount, the star-studded event will take place on Friday, December 17 at The Capitol Theatre in Port Chester.
Also featured in the show will be Marco Benevento, James Casey, Lisa Fischer, Amy Helm, Connor Kennedy, Eric Krasno, Tony Leone, Grahame Lesh, Adam Minkoff, Karina Rykman, and TheWar and Treaty.
Curating the evening is legendary producer, arranger, songwriter, singer, and multi-instrumentalist Larry Campbell, alongside his musical partner and wife Teresa Williams. Universally respected by his peers and fans as a master of music, the three-time Grammy-winning producer/musical director for Levon Helm was a member of Bob Dylan’s Never Ending Tour band, as well as a session and touring musician for artists including Keith Richards, Jackson Browne, Phil Lesh and Bob Weir, Cyndi Lauper, Paul Simon and Emmylou Harris, and a recipient of the Americana Music Association’s Lifetime Achievement Award as Instrumentalist.
The Capitol Sessions celebrates the groundbreaking songs played at The Capitol Theatre by rock royalty like Janis Joplin, the Grateful Dead, Bonnie Raitt, Jefferson Airplane, The Chambers Brothers, Mountain, Joe Cocker, the Rolling Stones, Traffic, and Eric Clapton.
The Capitol Theatre is one of rock ‘n’ roll’s last remaining rock palaces. A place where many of rock’s most beloved legends performed — the Rolling Stones, the Grateful Dead, David Bowie, Janis Joplin, to name a few. We can’t wait to celebrate the iconic songs that have been played over the years at The Cap. It will be very cool for The Capitol Sessions to happen on the same stage where these songs were originally performed. It’s going to be an epic night!
Peter Shapiro, DayGlo President and HeadCount board member
The show benefits HeadCount, a non-partisan voter registration advocacy organization that stages voter registration drives at more than 1,000 live events each year and collaborates with cultural leaders to promote civic engagement on a national scale. Since 2004, HeadCount has signed up over 1,000,000 voters through its work with Ariana Grande, Dead & Company and Beyoncé, as well as events like Lollapalooza, Bonnaroo, Pride Festivals, and RuPaul’s DragCon.
The Capitol Sessions is the latest in a lineup of standout events by RWE, the company founded by Greg Williamson and Nicole Rechter to bring people together around music, culture, and philanthropy. RWE has realized its vision through charity concerts such as Love Rocks NYC, the Play On CBS primetime TV special, and the annual Tipping Point concert for Tulane University and the city of New Orleans.
In addition to honoring some of the most influential artists who played the Capitol during its heyday, we’re proud to highlight the importance of voting rights and democracy. We’d like to extend our thanks to Peter Shapiro, Larry Campbell, and all of the talented artists who agreed to be a part of this benefit concert.
Flying straight from Orlando’s EDC concert, Zedd moved the party to New York City on Saturday, November 13 in the heart of Times Square, selling out Nebula’s second official opening weekend. Entrancing the crowd with his signature electro house drops and mesmerizing psychedelic LED screens, Zedd’s very presence atop the stage paralleled that of a higher power.
Worshipping crowdgoers welcomed the well decorated German-Russian DJ that has paved the electronic scene for over a decade. Almost on command Zedd wielded his powers, sending chills down several hundred spines starting with the all so notable eerie Squid Game introduction to unleashing the intoxicating beat of Do it Do it from Cherish. His edit of Squid Game x Do it Do it swallowed us into a two hour rave marathon of his GRAMMY winning catalogue.
Certainly a renowned powerhouse EDM DJ virtuoso, he reminded us how he single handedly shaped the soundscape of the early 2010s era starting his set with Stay the Night (feat. Hayley Williams) and The Middle. Immediately working the crowd with nostalgia of the good ‘ol days, Zedd was just as excited to see fans memorize his every lyric. The DJ, songwriter, and record producer found himself infected with his own rhythms jumping relentlessly with one proud fist in the air. Sampling Lil Nas X’s “Industry Baby” we were lured away from Zedd’s originals, unlocking edits of Drake’s “Way 2 Sexy” and Daft Punk’s “One More Time”.
Palms open and looking to the sky Zedd was able to contact his fellow EDM gods for countless thick heavy bass drops thrumming the dance floor to fuel ceaselessy dancing fans.
Zedd made full use of New York City’s newest club. The all encompassing LED screens put on acclaimed painted visuals taking club goers soaring through space, inside futuristic tunnels, and swimming through vortexes. Combined with synchronized strobe lights pointed every which way, Zedd provided a full sensory performance. A true connoisseur, prolonging each beat drop gearing us for the high intensity ultimate of euphoric choruses from “Spectrum” even singing along to Ariana Grande’s “Break Free” with the rest of us.
The sheer intimacy of the soldout 700 person max venue aided in creating a closer bond to the almost untouchable DJ. His charisma could be felt all the way in the back depths of the club. In a sly attempt to hide his celebrity, he occasionally appeared as a mere shadow letting his LED lightshow dictate the concert along while waving just one finger in the air, complete with a drink in the other. His limited check-ins with the crowd and bright let us know was enjoying it all as much as we were, basking in the glory of the name he has made for himself.
The EDM scene is often believed to be crafted around drugs that claim to fully encapture each performance, yet the community projects carefree and accepting energy builds families on the dance floor. He made it almost impossible not to become best friends with strangers entranced by his music. when erupting countless climax of euphoric woes with every bass drop. Each inevitable buildup releasing to well crafted high intensity drops cooked up an addicting recipe that fans could not get enough of.
To pull in the rails of the night, Zedd cranked his signature “Clarity” with one last remark, “New York! My name is Zedd and I f****** love you! Put your hands up if you had a great time.” One last drop erupted the climax of the night matched with bursts of confetti and fog covering roaring fans and blaring kick drums. His first GRAMMY winning song made way for ubiquitous dancing closing the night with unbelievable insanity. Classic Zedd.
Will Smith, the world-famous actor, musician, and producer, stopped by Kings Theatre in Brooklyn on November 9th for his book tour to promote his self-titled memoir “Will”. Moderated by legendary film director Spike Lee, Smith elaborated on parts of his unusual path to super-stardom for a sold-out audience. What makes Will Smith such a compelling actor and public figure was on full display that night.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
Will Smith is a legendary figure in Hollywood, having been only actor to have starred in eight consecutive films which grossed over $100 million in the United States box office. He’s a blockbuster legend and a huge cultural figure for a wide variety of age groups. The sold-out crowd was filled with people from various ages and backgrounds, just showing how wide of a reach Will Smith’s films have had on all of us, which doesn’t even include his big break, the hugely popular 90’s sitcom The Fresh Prince of Bel-Air.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
Accompanied by a massive visual board, Will and Spike walked through some of his biggest moments, ranging from Will’s impromptu audition for The Fresh Prince of Bel-Air for producer Quincy Jones to the recent death of his father. Will’s father, Will Smith Sr., casts a shadow over the whole book and the conversations he had on stage. Will has referred to his father in the book as “his biggest ally and his biggest enemy”, which only sheds a little light on how complex their relationship was. While Will spoke about how grateful he was for the lessons his father bestowed on him about hard work, there was still intense resentment due to Will Smith Sr. having been an alcoholic abuser for most of Will’s childhood. Watching the famously guarded Will Smith work through his traumatic experiences on stage was fascinating.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
In spite of the dark subject matter, Will really showed why he is who he is. I’ve rarely ever seen anybody so charming and naturally humorous. Even as an audience member, his charisma was too bright to ignore. You couldn’t help but fall under his spell, which is a testament to Will Smith’s ability as both a showman and a storyteller.
After having spoken to the audience about his life, Will unveiled a surprise and brought out DJ Jazzy Jeff, his old partner during his rapper days, to perform some of the old hits they were both famous for. They ran through classics like “Summertime,” “Switch,” and even the famous “The Fresh Prince of Bel-Air” theme song. I would not have guessed that in 2021 I’d see Will Smith perform these hits live, which was quite the experience.
Will Smith & Spike Lee at Kings Theatre, 11/09/21. Photo by Kunal Khunger
Will Smith has one last stop of his book tour in London on Thursday, November 18th. You can see more details here. Be sure to check out the full photo gallery below!
Prior to the tour closing performance of Dave Matthews Band at Madison Square Garden on Saturday, November 13, frontman Dave Matthews introduced Dumpstaphunk, who would open the evening’s festivities. Sharing with the sold out New York City audience that he was so damn lucky,
I got to listen to sound check yesterday with Dumpstaphunk and then I got to listen to them last night, then at sound check again today. So you guys only got two, by the end of this set I’ll have four. This is one of my favorite bands in the world. This band also saved my life but that’s a different story anyway have a good time with my friends Dumpstaphunk
Photo by Joseph Buscarello
Matthews’ story was referring to his sold out Labor Day weekend shows at The Gorge where Tony Hall of Dumpstaphunk and company helped sit in to perform three nights of Dave’s music on the spot. DMB keyboardist Buddy Strong sat behind the drums and Tony Hall held the low end down on bass & backing vocals. It was as an alternate format to help the shows go on without Carter Beauford and Stefan Lessard’s rhythm section for the first time in thirty years.
A similar situation of musical chairs unfolded at Madison Square Garden as saxophonist Jeff Coffin was forced to sit out the two-night run. Rashawn Ross opened Leroi Moore’s original brass section to Ben Golder-Novick, Alex Wasily and Ashlin Parker to the 7th Avenue stage. The Dumpstaphunk horns sat in on “Cornbread” and a “Jimi Thing” that led to a cover of Sly Stone’s “I Want To Take You Higher.”
Ben Golder-Novick, who was only a guest at New York’s Irving Plaza for a Dave Matthews and Tim Reynolds acoustic set in January of 2018, was on saxophone for every song. Dave kept the big door open by calling him a day before the weekend shows to send the invite.
Photo by Joseph Buscarello
Tim Reynolds sat in during Dumpstaphunk’s MSG debut set for their cover of Buddy Miles “United Nations Stomp” on Friday night. The song has been considered for the 2022 Best American Roots Performance Grammy. Saturday night’s set included a special guest spot by Dave Matthews and Tim Reynolds for Led Zeppelin’s “Ramble On.” Tony and Dave traded howls on Robert Plant’s words…I gotta keep on searching for my baby.
It marked the first time Tim, Dave, and Tony played the Empire State together since they encored with Led Zeppelin’s “Fool in the Rain” at Rochester’s Blue Cross Arena for the Dave Matthews and Friends Some Devil Tour in December 2003. It was reminiscent of Dave sitting in with the Funky Meters in Albany in 2000 as well. Tony Hall told NYS music, “What’s so bad ass about Dave is that he sounds like nobody but himself, it’s like no other shit.”
Dave Matthews Band celebrated their 25th anniversary at Madison Square Garden this November. It was the last stop of their 2021 tour that included shows in Syracuse and Saratoga Springs. They performed 23 songs each night, filled with originals, covers, and tour debuts.
Friday night’s show that was broadcast live on Sirius XM channel 30 included the debut of “Mad Man’s Eyes” which Dave simply said is about a crazy man. “So Damn Lucky,” off Dave’s 2003 Some Devil record, resonated so right for all those who’ve had close calls in the crowd. The crowd replied singing in unison to Sly Stone’s “Thank You Falletinme Be Mice Elf Again.”
Tony Hall told NYS Music about his recording experience on Some Devil. “I had a lot of fun with that record. some of my favorite songs were So Damn Lucky and the end jam on Too High is killing”
Photo by Joseph Buscarello
Dave goes to the city with the car horns, corners and the gritty during “Proudest Monkey.” Buddy Strong and Tim Reynolds stretched out great jams during “Typical Situation” and “Lie in Our Graves.” Friday night’s encore included a “Two Step” left unfinished by the band as they launched into a chilling version of “Halloween.” It turned back the clocks, buried the past, and sent the crowd trick or treating into the Manhattan night.
Saturday night’s tour closing show at the world’s most famous arena was a celebration with DMB family, friends, and their legendary crew. Dave made sure to thank all of his on road family that made this crazy year’s tour possible each night. “After this year to be in New York City and Madison Square Garden is overwhelming. Its like damn how did I get here?”
Dave Matthews Tour Bus
They wasted no time encouraging all at the Garden party to eat, drink, and be merry with a “Tripping Billies” opener. Matthews played his deepest cut “Stay or Leave,” off the Some Devil album as well. The rare “Water in to Wine” made its way round and round again for the first time in 2021.
Tim Reynolds told NYS Music about an experience he had at Madison Square Garden during a Sting & Peter Gabriel performance. “When Peter did The Rhythm of the Heat with both bands I screamed like a woman and I only have one vocal chord.” Tim was able to feed in the rhythm from the stage at MSG with Dave Matthews treating the New York crowd to a killing version of Peter Gabriel’s “Sledgehammer.”
The band welcomed the Dumpstaphunk horns to the world’s most famous stage for “Cornbread.” During the improvisational classic “Jimi Thing,” the brass section helped launch Dave to sing on Sly Stone’s classic “ I Want To Take You Higher.” It helped solidify the funk vibe that was in the air both nights.
During Saturday night’s encore Matthews performed his moving “Christmas Song” that helped flicker some holiday lighting inside the Garden. Before these crowded streets of DMB’s 43-city tour came “The Last Stop.” This fitting jam during the final encore was left unfinished as it segued into Carter Beauford’s iconic snare drum hit to kick into “Ants Marching” to end the performance.
Dumpstaphunk and Dave Matthews Band made this another two-night run of legendary entertainment history at the World’s Most Famous Arena. The custom basketball jerseys helped count it in.
New Yorker Carrie Band-Leshin told NYS music at MSG, “I’ve been seeing him since he played the Wetlands club in Tribeca until now, its like the same shirt on a different day though. I’ve never seen him play any song the same way twice this whole time.” Dave Matthews told the Garden, “I remember coming here when I was a little kid for the Barnum and Bailey three ring Circus. Just to tell you how old I am.”
Dumpstaphunk Setlists
November 12, 2021 – Dancin to the Truth, I Wish You Would, Let’s Get At It, Where Do We Go, Justice, United Nation Stomp*
*Buddy Miles cover with Tim Reynolds
November 13, 2021 – Meanwhile…., Do You, Make it After All, Street Parade, Ramble On**
**Led Zeppelin cover with Dave Matthews & Tim Reynolds
Photo by: Buscar Photo (www.buscarphoto.com)
Dave Matthews Band Setlists
November 12, 2021 – That Girl is You, Best of whats Around, Crush, Sweet, Funny the Way it is, Don’t Drink the Water, Again & Again, So Damn Lucky, Why I Am, Proudest Monkey, Satellite, Madmans Eyes, What Would You Say?, Lie in Our Graves, So Much to Say, Too Much, Everyday, Grey Street Encore: Two Step >Halloween
November 13, 2021 – Tripping Billies, Dancing Nancies, Warehouse, Stay or Leave, You Might Die Trying, Lying in the Hands of God, You & Me, She. Grace is Gone, Song That (bridget) Jane Likes-> Water in to Wine, Pantala Naga Pampa->Rapunzel, Sledgehammer*, #41, Cornbread**, Jimi Thing**, Where are You Going?, What You Are, Stay Encore: Christmas Song, The Last Stop >Ants Marching
*Peter Gabriel Cover ** Ashlin Parker & Alex Wasily trombone & trumpet
Brooklyn-based songwriter Sam Rappaport has released his second single, “Journeyman’s Ballet,” A founding member of Brooklyn indie R&B/blues rock band Gooseberry, the solo effort was led by his debut single “Till the Morning Comes”.
The song follows a traveler’s decent into isolation and contemplates that which provides him company. Silky, melancholic vocals in the vein of John Mayer hang delicately above a buoyant groove. Sam worked with Toledo‘s Daniel Alvarez and Jordan Dunn-Pilz to produce the track, showcasing the duo’s talent for warm, layered arrangements.
Sam spent most of his life believing that he was headed for the NBA. When that didn’t work out, he’s been searching for purpose ever since, traveling the country, taking jobs as a case manager at a welfare office, a reporter for local newspapers, a bartender at a Sichuan restaurant, among others. However, he’s never strayed too far from a piano and a healthy stack of yellow legal pads.
As noted by Eclectic Music Lover, “the song has a pleasing jazzy soft-rock vibe reminiscent of late 70s/early 80s Steely Dan. Rappaport’s keys are well complemented by Daniel and Jordan’s lilting guitar notes and gentle percussion that enhance, rather than overpower, allowing his lovely piano to really shine.”
Give a listen to Sam Rappaport and his underrated vocals that fit the melody of “Journeyman’s Ballet” superbly.
New York City’s Blue Note Jazz Club announces the return of DJ Logic, the first DJ to ever headline the historic venue back in 2003. From January 6-9, DJ Logic & Friends is set to perform two shows a night at 8:00 pm and 10:30 pm ET.
Special guests have just been announced for January 8 – Fred Wesley & Marcus Machado – and January 9 – Angie Swan From David Byrne’s American Utopia. Read Relix’s review of the first night of the run.
DJ Logic will be joined by a world-class line-up of Friends including Karl Denson on saxophone, MonoNeon on bass and Adam Deitch on drums. One of the world’s most accomplished musicians, DJ Logic is known for using turntables in a live band setting, guiding listeners through groove-laden journeys rooted in jazz, hip-hop and electronic sounds. The Bronx-born musician frequently works with a phenomenal roster of invited guests, and he knows how to pick his collaborators as well as his samples. DJ Logic’s Blue Note headline shows are always highly anticipated and his 2022 run promises a joyful start to the new year.
“It’s going to be an electric ray of music with some amazing eclectic players, exploring funk, grooves, and patterns,”DJ Logic states. “This group of insanely talented, important and virtuosic artists is a dream team of funk,” says Alex Kurland, Director of Programming at Blue Note. “Independently, each artist has a deep history and roots at Blue Note. As one collective joining forces under the direction of the great and powerful DJ Logic, these guys are musical acrobats. The project is truly next level and bound to funk up audiences. Fasten your seatbelt!”
The theorem of turntablist as musician has been long proven in the capable hands of DJ Logic, whom with jazz as his foundation has become a wax innovator by crossing genres and mixing his sound across the map. As one of the world’s most accomplished turntablists, DJ Logic is widely credited for introducing jazz into the hip–hop realms and is considered by most as a highly-respected session musician and an innovative bandleader. Since his emergence in the early nineties amidst the Bronx hip-hop scene, the New York City based deejay has been amassing a veritable mountain of collaborations, including a full-fledged band with members of Blues Traveler (The John Popper Project ft. DJ Logic), a trio with Steve Molitz & Freekbass (Headtronics), a jazz project with Georgian prodigy Beka Gochiasvili, and as a member of Grammy-winning Arturo O’Farrill & The Afro Latin Jazz Orchestra’s The Offense of the Drum album. He also has a long list of other collaborations with artists ranging from the likes of Bob Weir, John Mayer, Medeski Martin and Wood, Christian McBride, O.A.R., Carly Simon, Marcus Miller, Jack Johnson, Vernon Reid, Warren Haynes, Charlie Hunter, Jack DeJohnette, Ben Harper, Mos Def, The Roots, Bernie Worrell, Bill Laswell, Melvin Gibbs, Fred Wesley, Sean Kuti and many more.
Since 1981, Blue Note Jazz Club has been a cultural institution in New York City and one of the premiere jazz clubs in the world. Blue Note strives to preserve the history of jazz, and the club is a place where progression and innovation – the foundations of jazz – are encouraged and practiced on a nightly basis. In addition to the main acts that feature the likes of Robert Glasper, Pat Metheny, Christain McBride, Joshua Redman, Ron Carter and Chris Botti, Blue Note regularly showcases up-and-coming jazz, soul, hip-hop, R&B and funk artists. After 40 years of success, Blue Note continues to carry the torch for jazz into the 21st century in the cultural heart of New York, Greenwich Village.
Performing their current album, World Gone Mad, as well as classic songs of The Band, The Weight Band is led by Jim Weider, a 15-year former member of The Band and the Levon Helm Band. Originating in 2013 inside the famed Woodstock barn of Levon Helm, Weider was inspired by Helm to carry on the musical legacy of the Rock and Roll Hall of Fame group.
Years of touring have seen The Weight Band revive “The Woodstock Sound,” keeping the spirit of Americana/Roots Rock alive for audiences of all ages. They continue to keep the sound vibrant by releasing new music, evidenced by the album World Gone Mad, released in February 2018. Their live set features songs from the new album as well as fan favorites from The Band’s treasured catalog, including “Up On Cripple Creek,” “The Weight,” and “The Night They Drove Old Dixie Down.”
The Weight Band includes Brian Mitchell (The Levon Helm Band), Michael Bram (Jason Mraz), Matt Zeiner (Dickey Betts Band), and Albert Rogers (The Jim Weider Band). With a US and international tour schedule slated for 2019 and beyond, The Weight Band complements The Band’s timeless legacy while pushing the music forward for new audiences.
The Weight Band Tour Dates
11/11- Buskirk-Chumley Theater- Bloomington IN
11/12- Old Town School Of Folk Music- Chicago IL
11/13- Mineral Point Opera House- Mineral Point WI
Like many of us, Kate Gratson used the pandemic to channel her inner-self. Consequently, her latest album, The Girl You Knew, does most of her speaking for her. Gratson’s process of self-reflection is something that her fans are all too familiar with and on this latest project, she found a way to perfectly encapture all the intimate feelings we’re afraid to share out loud. A veteran of writing on self-actualization and acceptance, it’s apparent that the she has developed an even deeper understanding of herself and lets it all out in her music.
While growing as a person and artist, Gratson has gotten a hold creatively as well, revealing a new sense of control.
Musically and lyrically, “Watch and Wonder,” is all about tension and release, and my main goal was to highlight this when creating the music video. “Watch and Wonder” is my second music video with Isaac Rosenthal on cinematography, and Grant Sorth on editing, but it is the first time I had a distinct, artistic vision in mind
Kate Granson
When listening to Brooklyn-based singer, songwriter, producer and cellist, it isn’t always apparent that she has a firm foundation in both jazz and classical techniques. Her knowledge of both genres almost silently seeps into her music layered with R&B, folk/indie and electronic elements. Combining both contemporary and aged sounds, she often find herself almost painting a picture of timelessness. Her various identities, paired with the layering of samples, mixed with velvety vocals, gritty drums and melodic synths are surely to catapult her career.
Following her formal music education, Gratson would go on to receive a BM in music composition and vocal performance from the State University of New York at Fredonia. It was during this time that her sound and voice as an artist began to take shape. She then returned to New York City to focus on refining her distinctly eclectic feel, attempting to harness the layers that made up her voice. Later returning to her initial mentors, as she began to write and hone her craft, while steadily releasing singles.
At last, she released her debut album, The Girl You Knew. With a growing fanbase and unique sound, it might not be long before Kate Gratson once again becomes the girl we once knew.
