NYS Music 202​1

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  • “GET BACK NYC” Benefit for Teen Cancer America Comes to Cutting Room December 6

    Given the massive interest in The Beatles’ forthcoming Get Back film, an army of notable downtown artists are heading uptown to the Cutting Room for GET BACK NYC, a local remake/remodel of tunes from the Fab’s classic 1970 swan song Let It Be – all to benefit Teen Cancer America’s Play It Back Music Program, a charity founded by The Who’s Roger Daltrey and Pete Townsend.

    GET BACK NYC

    Produced and presented by David C. Gross and Tom Semioli, the hosts of the radio show/podcast NOTES FROM AN ARTIST, the reinventions are designed to showcase the many musical genres that New York City is renowned for – rock, jazz, experimental, funk, punk, folktronica and urban country.  In keeping with the format of Gross and Semioli’s show, the event will be a “PodFormance” – a hybrid of live concert and podcast (with interviews). The event will take place Monday, December 6 at 7 pm at the Cutting Room, at 44 East 32nd Street, New York City. 

    Artists confirmed for the event include Emily Duff, Joey Kelly Allstars, Arno Hecht (Uptown Horns, Rolling Stones, J. Geils Band), Chris Parker (Bob Dylan, Stuff, Miles Davis, Aretha Franklin, Jon Secada), Peter Baron, Spaghetti Eastern Music, Ben Neill, Lorraine Leckie, Anne Husick (Joey Ramone, Ronnie Spector), Puma Perl, Mark Bosch (Ian Hunter, Mott The Hoople ’74, Garland Jeffreys), Kathena Bryant, Chris Berardo and The DesBerados, along with bassists David C. Gross, Tom Semioli, and a few surprise guests.

    Publisher Nicholas Callaway will kick-off the evening of GET BACK NYC with a discussion of The Beatles: Get Back book (Callaway Arts & Entertainment).  This is the official account of the creation of their final album, Let It Be, told in The Beatles’ own words, illustrated with hundreds of previously unpublished images, including photos by Ethan A. Russell and Linda McCartney.

    Founded by Roger Daltrey and Pete Townshend, Teen Cancer America (TCA) partners with hospitals throughout the United States to develop specialized facilities and services for teens and young adults with cancer. TCA builds teen friendly environments, enhancing the hospital experience. TCA develops standards for age-targeted care, improve collaboration between pediatric and adult specialists and enable dedicated research to improve outcomes and survival for our young people. The Play It Back Music program gives adolescent and young adult cancer survivors the opportunity to express themselves and heal through the power of making music. Play It Back connects cancer survivors with industry professionals to create songs, meet artists, and explore music. 

    GET BACK NYC

    David C. Gross and Tom Semioli’s NOTES FROM AN ARTIST is an insightful, intriguing and informative talk/music program airing Monday evenings on www.CygnusRadio.com. It is a unique program that brings you behind the scenes with individuals whose artistry had resonated with generations. The program has presented some of the biggest names in music of many genres, including jazz bass legend Ron Carter, Michael League (Snarky Puppy), Richard Thompson, photographer The Cutting Room is located at 44 East 32nd Street, New York City.  Admission for GET BACK NYC is $20.00 with all proceeds going to TEEN CANCER AMERICA. For tickets and info contact The Cutting Room.

  • The Hollies Announce 60th anniversary US 2022 tour

    The Hollies, one of the most iconic bands in British music and Rock & Roll Hall of Fame inductees will celebrate their 60th anniversary with a return to the US in 2022.

    The dates mark the band’s first US tour in over two decades and take in New York, Los Angeles, Chicago, New Jersey, and Washington DC.

    Famed for their soaring, distinctive melodies and brilliantly crafted songs, the 60th-anniversary tour will see The Hollies performing their best-known hits including ‘He Ain’t Heavy, He’s My Brother’, ‘The Air That I Breathe’, ‘Long Cool Woman (In A Black Dress)’, ‘Bus Stop’, ‘Carrie-Anne’ and ‘Sorry Suzanne’.

    We felt like this is something no other band gets to do, celebrate six decades together, 60 years of this band and these songs means so much to us and so many others.

    Tony Hicks, guitarist

    The line-up includes powerhouse drummer Bobby Elliott, and singer, songwriter, and lead guitarist Tony Hicks, both of whom are original members of the band. They are joined by lead singer Peter Howarth, as well as bass player Ray Stiles, Keyboardist Ian Parker, and Steve Lauri on Rhythm Guitar.

    Celebrated as one of the most influential bands from the 1960s British Invasion era alongside the likes of the Beatles and the Rolling Stones, the Hollies have had over 20 worldwide hits, including number one singles in both the US and UK. They have spent an astonishing 263 weeks in the UK’s top 40 official singles chart, and have been performing continuously since their formation in 1962.

    We’re incredibly excited performing for everyone on what will be some of the most special shows in the history of The Hollies.

    Bobby Elliott, drummer

    Their cultivated musicianship, coupled with the Hollies’ extensive back catalog of memorable rock ‘n’ roll tunes, has ensured the longevity of one of the greatest groups to emerge from the early 1960’s British Rock Revolution.

    In 1995, they have bestowed the coveted Ivor Novello Award for Outstanding Contribution To British Music, and in 2010 were inducted into the American Rock ‘n’ Roll Hall of Fame for their ‘impact on the evolution, development, and perpetuation of Rock and Roll’.

    The Hollies 60th Anniversary Tour Dates

    April 2 – Mayo Performing Arts Center, Morristown, NJ
    April 4 – The Kennedy Center, Washington DC 
    April 5 – Town Hall, New York, NY
    April 7 – The Athenaeum, Chicago, IL
    April 9 – The Saban, Los Angeles, CA

    Tickets are on sale now here.

  • Thundercat Keeps It Weird At Higher Ground

    Thundercat brought his grooves to Higher Ground last Wednesday night, performing a jam-heavy set interjected with thoughtful musings on his friends, his passions, and his career. 

    Known for his mind-bending bass riffs and soulful, high vocals, Thundercat brought an inventive, jam-heavy set elevated by his classic comedic flair. Playing to a mesmerized crowd, he encouraged the Ballroom to fall into the music the same way he does. 

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    Thundercat. Photo by Hattie Lindert.

    Compton producer Channel Tres opened for Thundercat, melding glitzy club beats with deep, emotive vocals. At first, Tres rose to fame crafting beats for hip-hop stars like Wale and Kehlani; now he’s forging a name for himself. Although initially the crowd seemed underappreciative of his set (he deserved a Brooklyn Steel crowd), by the end he had converted fans jumping at the barrier. By the time he closed with the pulsating “Topdown,” the crowd was screaming as he performed original choreography. At one point, he wiped his brow with a merch t-shirt, then tossed it into the crowd. 

    “Hey, I’ll sign it for you,” he called out the lucky winner. “I mean you never know, I might be famous one day.” 

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    Channel Tres. Photo by Hattie Lindert
    Channel Tres. Photo by Hattie Lindert

    Thundercat’s comical and outlandish style precedes him, and he did not disappoint when he took the stage in an oversize, sparkling Gucci barrette. Even more outsized than his style is his mythical skill on the bass guitar. Before he even stepped on stage, tour staff came out to carefully lay the instrument by his mic. 

    “There it is,” an audience member in the front row whispered in awe. “There it f*cking is.” 

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    Thundercat. Photo by Hattie Lindert

    Throughout the show, Thundercat spoke continually about beloved friends and coworkers he’s lost. Thundercat has often spoken about the pain of losing close friend Mac Miller to an overdose in 2018. That loss had a deep effect on the artist himself, and the formulation of his critically acclaimed latest album, 2020’s It Is What It Is. Thundercat also shared stories of his childhood best friend, pianist Austin Peralta, who has since passed. As he dove into a racing rendition of “I Love Louis Cole,” Thundercat credited Peralta with introducing him to the artist’s music. 

    “Mac, MF Doom, DMX, Austin… they changed my life,” he said. “And I’m still here.” The following performance was nothing if not a celebration of life. Afterwards, he performed “A Message for Austin,” the track he wrote dedicated to Peralta, falling into an insane acid jazz jam session.  

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    Thundercat. Photo by Hattie Lindert

    Thundercat’s personality is defined by his passions, and he mused on them all: fashion, anime, his cat, Tron. He assured the crowd he’s working on new music, though a wide berth of tracks from his extensive catalog, along with Flying Lotus and Knower covers. Mostly, he jammed, disappearing into the eyes of keyboardist Dennis Hamm and drummer Justin Brown. 

    Thundercat knows his audience, and how long they’ve waited to see him; he gave fans a treat closing with crowd-pleasers “Them Changes” and “Funny Thing.” Though he remained faithful to the hits, Thundercat still experimented. Tracks like “Nowhere,” a Knower cover, and “Existential Dread,” found him switching things up and sometimes even extending runs beyond the crowd’s content. After all, as he playfully called out, many of them were still underage. 

    thundercat
    Thundercat. Photo by Hattie Lindert.

    Thundercat’s expressive, masterful skill on the bass translates well to storytelling, be it comedic or serious. His graceful hands, adorned with tattoos, fly as he describes a night out drunken of Jameson with friends or a scene from Death Note. Above all, he wanted to share pieces of himself with the crowd: music, stories and laughs.

    “I know you guys know the power of music,” he said to a cheer. That night, the power of live performance felt just as meaningful. 

  • Olmos Chamber Ensemble to Bring “Classical Hodepodge” To Unity Hall

    When it comes to classical music, it is hard to remember each piece’s name, composer, movement, opus, etc. Maybe that’s why Olmos Chamber Ensemble came up with “Classical Hodgepodge”. At Unity Hall, the free film premiere of the Olmos Chamber Ensemble will take place on Sunday, December 5 at 3PM.

    The Olmos Ensemble film features a recent concert and interviews with the performers. You’ll hear works from Jacques Ibert, Maurice Ravel, George Gershwin, and Claude Debussy with performances hailing straight from Texas.  Proof of vaccination and ID are required to attend the program and face masks are encouraged. The doors will open at 2:30pm. 

    olmos chamber ensemble

    The film will be shown upstairs in Unity Hall’s main stage theatre on the large screen and broadcast through Unity Hall’s concert sound system.

    Established in 1994, the Olmos Ensemble has created a global name for itself as a premier chamber music organization. From numerous world class performances, live broadcasts and recordings Olmos Ensemble has increasingly gained more recognition with each performance. From the few players of the San Antonio Symphony that founded this ensemble you can find leading musicians from across the United States.

    Rachel Ferris as a soloist represents Barneveld with her upbringing.  The native of Central NY holds the position of Principal Harp with the San Antonio Symphony. Her academic career started at Poland Central School and graduated from the Interlochen Arts Academy. Later she received a prestigious Bachelor’s Degree in Harp Performance from Oberlin College and Conservatory.  The other notable names you might recognize in the concert are Mark Teplitsky, the principal flute of the San Antonio Symphony and Mathew Cohen a nationally recognized violist and graduate of Julliard’s Master of Music Program.

    Thanks to the support of Unity Hall Membership and funds from the Decentralization Program, we can look forward to more performances from the Olmos Ensemble.

    Unity Hall is located at 101 Vanderkemp Avenue in Barneveld, New York. Information about upcoming concerts and other Unity Hall events can be found here.

  • Dirty Dozen Brass Band Cissy Strut back to The Blue Note

    The Dirty Dozen Brass band from New Orleans just finished up a four night residency at Blue Note on Sunday November 14. Fellow Orleans Cats Ivan Neville and Tony Hall of Dumpstaphunk checked out the brass band at the Note on Thursday before their two night sold out run at Madison Square Garden with Dave Matthews Band.

    Dirty Dozen Brass Band
    Photo by Dino Perrucci

    You never know who will stop in to New York City’s infamous Blue Note Jazz Club in Manhattan. Since the clubs history in 1981 it wasn’t uncommon to have Stevie Wonder appear on the Greenwich Village stage room that seats 250. Isaiah Sharkey and Cory Henry helped kick some funky neo soul beats from the club so far this year. During their Fall 2021 residency lasting over thirty days with Robert Glasper the club welcomed Chris Rock and Dave Chappelle to the Note.

    Dirty Dozen Brass Band
    Photo by Dino Perrucci

    The Dirty Dozen Brass Band helped keep the New Orleans groove in the village vibrant during their four night stay. The brass section consists of Kirk Joseph on jazz sousaphone, Roger Lewis on Baritone Sax, Calvin Johnson on tenor saxophone, Timothy Norris on Trombone and Gregory Davis on Trumpet and vocals. Guitarist Takeshi Shimura and on Drums Julian Addison. Sitting in during the residency were Dave Mullen & Rick Frank on horns.

    Gregory Davis gave the club a bit of an angle on the bands influences that helped get every one up from their tables. Davis told the sold out Blue Note crowd,

    One of our influences was James Brown. James always played music that people would dance to. So Get on Up! James would want to see you shake your tail feather.

    Dirty Dozen Brass Band
    Photo by Dino Perrucci

    To keep James spirit strutting down West 3rd street the dozen laid down a “Super Bad” jam that everybody on the Note stage stretched out on. Improvisation on a classic funk cut at its finest.

    https://www.youtube.com/watch?v=BbUcEt8dRSU

    Davis also got to the crowd to partake vocally by turning their seats in to funk doctor chairs. “You know when your at the Doctor and he gets you to say Ahh?” “Do it just like that” The procedure worked as the crowd gave way in unison to their “Ahhs” that helped launch the band in to the classic New Orleans funk composition “Cissy Strut”

    The world renowned New Orleans groove that was in Manhattan this past weekend from the Garden to The Blue Note was a vibe. It carved out some trenches from the Mississippi to the Hudson River, It created another musical niche with the other great Blue Note locations in Tokyo and Nagoya, Japan, Milan, Italy, Waikiki, Hawaii, Napa California, Beijing, China and Sao Paulo & Rio De Janeiro Brazil. When asked about performing at the Blue Note Tokyo legendary artist Steve Gadd told NYS Music the secret to playing any great gig.

    I mean you always go off the audience. When you get it musically to a level where everyone on the bandstand is having fun and can hear each other and you can trust the audience is hearing it the way you are it gets to a spiritual level. In Japan or wherever you are, that’s the goal.

  • In Focus: Tech N9ne Reigns Supreme at Empire Live in Albany

    Tech N9ne brought his Strange New World Tour to Empire Live in Albany, NY on Wednesday, November 11. Opening the show were rappers Jhery Robinson, King ISO and Rittz.

    Tech N9ne

    After King Iso seemlingly died on stage from rapping too hard, Tech N9ne took the stage to a roaring crowd. Donning a crown or clown mask, he mixed old with new, finally ending the night with a heavy slew of classics. He spoke afterwards of recently turning 50 and gave a surprisingly elliquent speech about just being yourself and always moving forward.

    Tech N9ne

    TechN9ne takes this tour south before heading out midwest to end in Kansas City, MO at the beginning of December.

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  • Moxie Raia Takes Control with New Music, Choreography and Ideas

    I started dance classes when I was 2, then I was competing around the country when I was six. Dancing, singing, putting on a show, that was my entire life. 

    Not much has changed for 28-year-old Jersey native, Moxie Raia, in that regard. But in truth, her life can be characterized through her willingness to evolve and adjust. All in the pursuit of her ultimate goal.  

    At age 13, the “Love Language” singer (born, Laura Raia) convinced her parents to let her attend performing arts school in New York City. From there, Raia — who had been writing songs for years — began to record vocals for the very first time. Thereafter came the industry connections, live shows and meetings with labels.

    I have always known that I wanted to do music and be an artist. My parents were really supportive as well. 

    Since then, the “On My Mind” singer has spent time on the rosters of Capital Records and Def Jam during her early twenties; having recorded, performed and toured with some of the most recognizable names in music. Her debut Dej Jam project, 931 Reloaded (which was a re-release of her independently released EP of the same name), featured the likes of Wyclef Jean, Pusha T and Post Malone, which she got to perform as she served as the opening act during the North American Leg of Justin Bieber’s Purpose World Tour. 

    Despite her bubbling success, the music industry can be a bit “one-size-fits-all” when it comes to artist presentation, preferring them to fit certain criteria that meet the label’s needs. And at the time, that did not suit Moxie Raia.  

    I don’t think I was strong enough to express what I really wanted creatively. I would definitely sign to a major again, but I didn’t want to do it before I had this foundation.

    The foundation she speaks of is her own development and evolution as an artist. With creative direction no longer a worry, the singer-songwriter has had free will to rebrand the way she sees fit. 

    One of her newer records, the dark and seductive “Not The One” sees her tap into her sensual side, as she pays homage to the late Aaliyah. 

     The thing that captivated me most about her [Aaliyah] was how she was so soft and feminine but a Tomboy and strong. That song in particular was a homage to that time and those sounds. 

    Creatively, Raia feels her niche falls within that dichotomy, the grey area between delicacy and strength. Wanting to portray a sultry, yet dominant presence rather than the damsel in distress image many pop stars carry in the early stages of their careers. 

     I think I’ve become better at executing my vision and that comes down to confidence and faith. 

    Her creative freedom can be found through her alter ego, Carbon Girl, a superhero character whom Raia plans to base much of her upcoming EP, 2989, on. Representing the strength Raia is looking to emit through her music.

    What drives me most is thinking about being on stage and being connected to 20,000 people at one time. And everybody, for a moment is there with the music, forgetting about their differences, forgetting about what’s going on in their life that may not be ideal, and you just have a moment with people.

    With a relaxed, recently awoken tone throughout, Raia remained nonchalant throughout the interview. Until, the topic turned to the reason behind her perseverance in the music industry. It was then that the fervor in her voice could be heard, reacting strongly to the thought of creating music without performing. It became clear that, through nearly two decades of pursuit, one thing has remained the same, Raia’s passion for performance and the cathartic feeling of live performance.

    I like making music in my room that I can listen to, but I wouldn’t still be going if that was the motivation. The motivation is those moments.

  • Universal Preservation Hall Announces 2021-2022 Schedule

    Proctors Collaborative has announced the next block of upcoming shows at Universal Preservation Hall in Saratoga Springs. 

    Universal Preservation Hall

    After a brief opening in Feb. 2020, as with many venues across the country, UPH had to close its doors briefly before opening again during the COVID-19 pandemic as an exhibit hall in July 2020. 

    UPH is incredibly unique and adaptable as a year-round cultural center with multiple spaces. Our main performance space is a 700-seat, state-of-the-art theatre in the round and has been designed so that no audience member will be farther than 60 feet from the performer. There’s not a bad seat in the house!

    Teddy Foster, Director of UPH

    After a couple of very successful exhibits, celebrating local music with the 2021 Capital Region Thomas Edison Music Awards and welcoming new inductees to the Capital Region Thomas Edison Music Hall of Fame, we’re excited to open our doors again for this great line-up of events.

    Max Weinberg’s Jukebox  

    7:30 p.m. Sunday, Nov. 21. The Great Hall at UPH, $39.50 – $69.50 

    Storm Large: Holiday Ordeal  

    8:00 p.m. Thursday, Dec. 16. The Great Hall at UPH, $37.00 – $77.00 

    It’s a Jazzy Christmas  

    7:00 p.m. Saturday, Dec. 18. The Great Hall at UPH, $27.50 

    The Bad Plus  

    8:00 p.m. Thursday, Jan. 13. The Great Hall at UPH, $27.00 – $43.00 

    Hipster Assassins 

    8:00 p.m. Friday, Jan. 28. The Great Hall at UPH, $17.00 – $37.00 

    Bakithi Kumalo & the Graceland Experience  

    7:30 p.m. Saturday, Feb. 5. The Great Hall at UPH, $17.00 – $37.00 

    Howard Jones Acoustic Trio  

    7:30 p.m. Saturday, Feb. 12. The Great Hall at UPH, $27.00 – $67.00 

    The King’s Singers  

    7:30 p.m. Thursday, Feb. 17. The Great Hall at UPH, $23.00 – $58.00 

    The Seven Wonders – Fleetwood Mac Tribute  

    7:00 p.m. Friday, March 4. The Great Hall at UPH, $17.50 – $42.50 

    Ladysmith Black Mambazo  

    7:00 p.m. Saturday, March 5. The Great Hall at UPH, $32.50 – $62.50 

    Irish Hooley with The Screaming Orphans  

    7:00 p.m. Saturday, March 12. The Great Hall at UPH, $25.00 

    Spa City Guitar Festival  

    Friday – Sunday, March 18-20. The Great Hall at UPH, $32.50 

    Top of the World – a Carpenter’s Tribute  

    7:30 p.m. Saturday, March 26. The Great Hall at UPH, $23.00 – $57.00 

    Brad Mehldau  

    7:00 p.m. Friday, April 15. The Great Hall at UPH, $35.00 – $65.00 

    Journeyman  

    7:30 p.m. Saturday, April 22. The Great Hall at UPH, $17.00 – $37.00 

    All tickets are available on Nov. 15 by phone at 518.346.6204 or online at universalpreservationhall.org. 

  • Billy Strings Reveals 2022 Tour Dates, 4-night Run at Capitol Theatre

    Grammy Award-winning music innovator Billy Strings reveals a continuation of his current headline tour alongside co-writers and string swordsman in their own right Billy Failing (banjo), Royal Masat (Bass, vocals) and Jarrod Walker (mandolin, vocals, guitar).

    Billy Strings Tour

    Arguably the most talked about in the announcement is the four night run at The Capitol Theatre in Port Chester, a truly historic laboratory for experimental music. Dates listed below. Tickets will go on sale this Friday, November 19 at 10:00am ET. On that Friday, the Billy Strings tour will be making a stop in Wilkes-Barre, PA if patience is not on one’s side. Full details at www.billystrings.com/tour.

    Billy Strings Tour
    Full Rainbow

    All Forms of Energy 

    Energy has been a word that has gotten tossed around superfluously over conference tables, yoga mats and barstools. Excessive presence of the metaphysical concept has robbed us from having a name for what happens when we truly feel the impact of sound, light and heat combine in such a way to shift minds.

    Billy Strings Tour

    Avatar

    Some call Billy things like “the reincarnation”, “the next____”, and occasionally “the next avatar”. There is certainly something special about a person that thinks and plays in such expansive styles while also having full mastery of accepted structures. It is uncommon for the same person to also have concern for the safety and wellbeing of his fans. It is not often that “the ___ of our generation” will return to his elementary school to give guitars to all the kids. Bass fishing early after playing a sold out show is absolutely not the thing expected from a musical mastermind. Arguably, most accurate description of Billy is “the realest one.”

    Moth and Light Bulb

    Egregious terms like “face melt” have unfortunately replaced the rather touching feeling of euphoria washing over our senses when dazzled by lights that somehow give the music a voice when there are no lyrics. The depth of emotion intended for each song transcends the light. The musical experience at a Billy show would not have the same depth of meaning if it looked any other way. Seeing and hearing beauty is where true presence begins to form and life outside of that concert disappears.

    The intentional layering of light in a kaleidoscope of textures, colors and shapes evoke feelings that register more like a fine textile selected by lighting designer Roger Gant just for us; in this moment. It is said that moths are attracted to lightbulbs because they are designed to move towards the moon, but lightbulbs are relatively brighter. Imagine being that moth and you have an idea of what Roger’s shows look like. 

    The Wave Master

    Andy Lytle gets pitted in the barrel of sound waves. Generosity exists all over the Billy camp. A valued community has formed thanks to Andy Lytle’s free live streams on Mixlr.com/billy-streams for every show. His pre-show and set break playlist is one for the ages and it is worth tuning in early to enjoy. To take on an extra task like mixing beautifully for all of the people at home while simultaneously managing fast changing complex music being played is seen and appreciated. 

    Billy Strings Tour
    Photo by Jesse Faatz: The Giver. Keeper of memories. Encapsulator of emotion.

    The Ref

    Compassion is the key. While Billy Strings is the name on the shirt, all band and crew members contribute to a show with power that does not compare. It is more than a battle. Kata might even be too tame. There is more going on here. There is a volley going between the front of house and the stage, with photographer Jesse Faatz playing referee. There is great honor in record keeping creatively while history is being made. Jesse provides this selfless service by absorbing the cumulative experience of thousands and somehow fitting it into a few images. With each night’s log entry, a protective space has been created so that we can look back and let all of the feelings rush back from those treasured moments. 

    So pitted

    Purpose

    Attending a Billy Strings production means experiencing innovation, evolution and often complete mindshift for a better life. When there is no way to explain why something feels so good is when the cosmos, higher power or  spiritual elements start to roll in and true attachment and loyalty begins to form. We feel protective over this thing that feels so good and want others to join in.

    Billy Strings Tour

    Afterglow

    At some point though, after the show, everything will begin to settle down. We will anticipate a little more volley of light, sound and heat between masters of photons, waves, frequencies, photons, pickups, gammas, cadences, cadenzas, and canons (both musically and photographically). Yes, it is incredible, but it is also here now and we accept this beautiful experience as part of life. 

    Deep pink adds a little something extra.

    Morning Light

    The comfortable, lingering, pink-feeling haze after such a powerful experience is something also seems difficult to describe.There was once a word that was kept locked up and safe, only to be used in those declarative moments of beauty, connection, wonder, commitment, appreciation and gratitude. Cortisol coursing through us, feeling accepted within our tribe and cozy with our minds.  What was it again? Oh.That word is love. 

    To read about why you feel like you’ve experienced this before, check out our article on the Deja Vu experiment recreated last year

    Deja Tu? Double Deja Vu: 2? To read more on a Billy Strings tour conspiracy theory, check out this extremely well researched, in-depth look at one tour that could change everything.


    BILLY STRINGS CONFIRMED 2021-2022 TOUR DATES 
    November 16—Portland, ME—State Theatre (SOLD OUT)
    November 17—Boston, MA—Boch Center Wang Theatre (SOLD OUT)
    November 19—Wilkes-Barre, PA—Mohegan Sun Arena
    November 20—Detroit, MI—The Fillmore (SOLD OUT)
    November 21—Detroit, MI—The Fillmore
    November 30—New Orleans, LA—The Civic Theater (SOLD OUT)
    December 1—New Orleans, LA—The Civic Theater (SOLD OUT)
    December 2—Houston, TX—White Oak Music Hall (SOLD OUT)
    December 3—Austin, TX—ACL Live at The Moody Theater(SOLD OUT)
    December 4—Dallas, TX—The Factory in Deep Elum(SOLD OUT)
    December 9—Atlanta, GA—The Eastern (SOLD OUT)
    December 10—Atlanta, GA—The Eastern (SOLD OUT)
    December 11—Atlanta, GA—The Eastern (SOLD OUT)
    December 12—Atlanta, GA—The Eastern (SOLD OUT)
    December 17—Nashville, TN—Marathon Music Works(SOLD OUT)
    December 18—Nashville, TN—Marathon Music Works(SOLD OUT)
    December 30—Grand Rapids, MI—GLC Live at 20 Monroe(SOLD OUT)
    December 31—Grand Rapids, MI—GLC Live at 20 Monroe(SOLD OUT)
    January 1—Grand Rapids, MI—GLC Live at 20 Monroe(SOLD OUT)

    All dates below (except Tempe, AZ and London on-sale this Friday, November 19 at 10:00am ET

    February 3—Port Chester, NY—The Capitol Theatre
    February 4—Port Chester, NY—The Capitol Theatre
    February 5—Port Chester, NY—The Capitol Theatre
    February 6—Port Chester, NY—The Capitol Theatre
    February 11—Greensboro, NC—Greensboro Coliseum
    February 12—Norfolk, VA—Chartway Arena
    February 15—Augusta, GA—Bell Auditorium
    February 16—Augusta, GA—Bell Auditorium
    February 18—Knoxville, TN—Civic Auditorium
    February 19—Knoxville, TN—Civic Auditorium
    February 26—Tempe, AZ—Innings Festival
    March 3—Madison, WI—The Sylvee
    March 4—Madison, WI—The Sylvee
    March 5—Madison, WI—The Sylvee
    March 9—Cleveland, OH—KeyBank State Theatre
    March 11—Cincinnati, OH—Andrew J Brady ICON Music Center
    March 12—Cincinnati, OH—Andrew J Brady ICON Music Center
    March 26—London, UK—Islington Assembly Hall (SOLD OUT)
    March 27—London, UK—Islington Assembly Hall (SOLD OUT)
    April 1-3—Olympic Valley, CA—WinterWonderGrass Tahoe
    August 26-28—Tisbury, MA—Beach Road Weekend

  • Kendall Street Company and The Dirty Grass Players December Tour Features shows at Caffe Lena and Cafe Wha?

    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.

    Kendall Street Company

    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.

    The Dirty Street Grass Company Tour Dates
    12/4 – Baltimore, MD – The 8×10
    12/5 – Manhattan, NY – Cafe Wha?
    12/8 – Newmarket, NH – The Stone Church Music Club
    12/9 – Cambridge, MA – Sonia Middle East Restaurant and  Nightclub
    12/10 – Saratoga Springs, NY – Caffe Lena
    12/11 – Burlington, VT – Nectar’s
    12/12 – New Haven, CT at Stella Blues LLC

    Tickets for all Dirty Street Grass Company tour dates are on sale now, and can be purchased here. 

    Access to the livestream can be purchased for $5 at https://caffelena.tv/categories/live-streams. For more information, please visit www.kendallstreetcompany.com or www.dirtygrassplayers.com.