Following the release of “Baltimore Scrappledorf,” ElephantProof have announced tour dates for January 2022. Accompanying artists for the January dates include Annie in the Water, Pigeons Playing Ping Pong, and K.R.I.S.
The genre-bending group with powerhouse Goose drummer Ben Atkind was one of the most talked about performances at Fred the Festival after their late night set in Garcia’s Forest.
A very Ted set at Fred The Festival for ElephantProof.
“ElephantProof was a journey that took me everywhere I ever wanted to go with music. It got dark, it got deep into theory and wild chords that I never thought would work together, and the music was ALWAYS weird in the best way.”
-Chad
Heavily rotated since Fred, ElephantProof’s 2021 album EP EP displayed versatility for the drummer and showcased a variety of styles blended together to land somewhere between Lettuce and BoomBox with a jazzy twist.
“Baltimore Scrappledorf” gave an energetic surge to listeners, and left many feeling as though the best is yet to come at future shows.
“When surrealism meets the human ears and eyes, you know you’re at an ElephantProof show. Bringing sights and sounds together that make a recipe for an unforgettable experience.”
– Mandy
Expect no relaxation of the face when seeing ElephantProof
As the Goose tour shows no signs of slowing down, take every chance to see this band when possible.
For more on the mysteries that happened at Fred the Festival, check out our review below.
Hot off the heels of attending the 2021 Rock and Roll Hall of Fame Induction Ceremony, where he paid tribute to Charley Patton, Gary Clark Jr. headed back out on the road with a stop at The Capitol Theatre in Port Chester, NY on Wednesday, November 3.
Gary Clark Jr.
On night two of a three-night stand, Clark took the crowd on a musical journey traversing a soundscape from sojourns of simplicity through to explosions of sound. To support this pilgrimage, Gary enlisted King Zapata on guitar, Jon Deas on keyboards, Elijah Ford on bass, and J.J. Johnson on drums. Their prowess provided the infrastructure for Clark to explore the musical expanse.
The show opened with the potent “Bright Lights.” Clark is not afraid to update arrangements as “Fellin’ Like a Million” shifted to a beat-based groove while the falsettos in “I Walk Alone” articulated the emotional distress of the piece.
Gary Clark Jr.
Throughout the night the tall Texan would step forward and affix himself to a spot on the stage enabling the power and fury of his playing to radiate out to those in attendance. A well calibrated light show helped fine-tune the aura surrounding the stage which added an exponential element to the show.
Opening duties were delegated to hip hop rappers Blackillac. The duo, who had been taken under Clark’s wing years back, shared what they called “their version of the blues.” From the first beats you could sense the Austin musicians influence bestowed upon them. Moving from established tunes to freestyle and back, Blackillac achieved their goal to prepare everyone for the headliner.
Blackillac
To close out the two-hour show, Gary strapped on a Flying V guitar and launched into “Pearl Cadillac.” A lone spotlight illuminated the man and his guitar as the distinctive notes from the song extended to the rafters. Standing tall and proud, Clark thanked everyone and sent them off into the night as he faded into the darkness at the back of the stage.
On Thursday, November 11, pianist, composer and ensemble leader Michele Rosewoman will present “A Function at the Junction: Ancestral Bridge, Musical Streams” / “Una Función en el Cruce: Puente Ancestral, Corrientes Musicales,” a collaborative, multimedia event that will bring together Rosewoman’s New Yor-Uba ensemble, Francisco Mora Catlett’s Afro Horn and Román Díaz’s Rumba Ensemble in live performance with video documentation, a subsequent HotHouseGlobal broadcast and Habana/Harlem panels.
The program will take place at the Clemente Soto Velez Center, Flamboyan Theater in New York City at 107 Suffolk St, as part of Arts for Art’s three-day festival, Jazz Libre. Tickets are available here, with a cost of $15/set, $25/night in-erson, and $5 for a livestream. View the full schedule here.
On December 18, the event will be broadcast on Cuban national television (and beyond) as part of a 2-night event (Dec 18/19) through the HotHouseGlobal streaming platforms on Twitch, YouTube, HotHouse’swebsite, and Facebook Live. A recipient of the prestigious Southarts Jazz Road Creative Residency grant, Rosewoman has created a night that gives broader space and voice to the inspirations and traditions that have shaped and nurtured her.
With New Yor-Uba, we pay homage to the journey of centuries-old Yoruba traditions from Nigeria through Cuba to present-day New York, reflecting its contemporary manifestations.
Michele Rosewoman
The ensemble’s distinctive repertoire features Ms. Rosewoman’s original compositions and visionary arrangements that incorporate a large spectrum of Cuban spiritually-based musical traditions including, Yoruba (Nigeria), Arará (Dahomey), Abakuá (Calabar) and rumba/guaguanco, a uniquely Cuban musical form.
Rosewoman’s vision is that of a unique community of musicians in NYC with deep ties to both spiritually-based Cuban folkloric traditions and contemporary jazz, Rosewoman, Román Díaz and Francisco Mora Catlett share conceptual, artistic and spiritual intersections. Rosewoman sees this residency as an opportunity to “incorporate and stage the work of treasured co-creators who also highlight these traditions in unique contemporary contexts, while building bridges between artists and cultural voices based in NY and also those artificially separated by Cuba/U.S. policies.”
Master folklorist Román Díaz, a member of all three ensembles (leader of one), as well as a former member of Yoruba Andabo (Cuba) has been a featured and foundational member of her New Yor-Uba ensemble since 2008. Fulfilling a desire to further share her music (deeply informed by traditions born of Cuba) with Cuban audiences through her partnership with HotHouseGlobal, especially gratifying for Ms.Rosewoman is the fact that Mr. Diaz is featured in all 3 ensembles.
Michele Rosewoman | Credit: Chris Drukker
Michele Roswoman’s New Yor-Uba lineup includes: Michele Rosewoman– piano/vocals. Alex Norris–trumpet. Mike Thomas- alto & soprano saxophone, Isaiah Collier-tenor saxophone. Chris Washburne–trombone/bass trombone/tuba. Gregg August–bass. Robby Ameen–drums. Román Díaz – percussion/vocals. Rafael Monteagudo–percussion. Mauricio Herrera-percussion/vocals, Abraham Rodriguez- lead vocals.
This project enables us to share Mr. Díaz with the Cuban communities he is born of but separated from, as they experience his impact on the jazz community here in the U.S,” says Rosewoman. “And by ‘taking’ this music to Cuba, we all return to the source and pay homage to the roots of our inspiration, nurturing this junction.
Francisco Mora Catlett’s Afro Horn, an avant-garde ensemble that highlights the African presence in the Americas through an assemblage of prime musicians and a repertoire of written and improvised jazz expressions and Cuban folkloric influences, will also perform. Mora is especially known for his work with Motown, Sun Ra and Max Roach and as co-founder of the Oyu Oro Afro-Cuban Experimental Dance Company (2000) with his wife Danys Perez Prades, performing dance and music from the African Diaspora. Lineup: Francisco Mora Catlett–drums. Sam Newsome–soprano saxophone. Román Díaz –percussion. James Weidman–piano. Rashaan Carter–bass. Alex Harding–baritone saxophone.
Francisco Mora Catlett’s Afro Horn
Also performing is Román Díaz, a scholar of religious and folkloric music, composer & performer of folklore and contemporary jazz. Considered both a pillar of the New York City jazz avant-garde and one of Afro Cuban music’s great innovators, his Rumba Ensemble displays his vision of the confluence of New York City’s tradition of music of the African diaspora. He has performed and recorded with Merceditas Valdes, Raices Profundas, Paquito D’Rivera, Michele Rosewoman, Henry Threadgill, David Virelles, Jane Bunnett, Juan Carlos Formell, Orlando “Puntilla” Rios, Oriente Lopez, Afro Horn& Danilo Perez among many others.
Román Díaz ‘s Rumba Ensemble: Román Díaz -percussion/vocals. TBA-percussion. Clemente Medina-percussion. Rafael Monteagudo-percussion. Abraham Rodriguez-vocals, TBA- vocals. Onel Mulet-saxophone/flute.
Three years since their last trip to Port Chester, Ween will return to the Capitol Theatre for three nights to paint the town brown.
Tickets for the February 18, 19 and 20 shows will go on sale Friday, November 12 at 10am. Get tickets early via venue pre-sale on Thursday, November 11 from 10am-10pm using password TURNTHECAPBROWN. Get Ween at The Capitol Theatre tickets .
Indie music fans gathered in Brooklyn Steel Monday, November 1st, for a sold-out show featuring co-headliners Beach Fossils and Wild Nothing with support from Hannah Jadagu.
Beach Fossils at Brooklyn Steel, Photographed by David Reichmann
New York City local Hannah Jadagu opened up the show with a number of her top tracks, including Think Too Much, Bleep Bloop, and he latest track release, “All My Time Is Wasted.” Having been signed to Sub Pop at 18, Hannah has already amassed more than 100,000 followers on Spotify and only continues to grow. During her set she took the time to thank Beach Fossils and Wild Nothing for bringing her along on the tour, and noted bittersweetly that this was her final show with them. You can listen to her music here.
Hannah Jadagu at Brooklyn Steel, Photographed by David Reichmann
Wild Nothing took the stage next, bringing an upbeat atmosphere and their signature synthwave indie-pop sound. Having last played Brooklyn Steel in 2019 to record their live album, Live From Brooklyn Steel, frontman Jack Tatum mentioned how special this venue is to him, thanking the crowd for coming out. The crowd danced and swayed throughout their set, and the setlist included some of their biggest hits, like Partners In Motion, Paradise, and Shadow (which closed out their set). You can listen to their catalog here.
Wild Nothing at Brooklyn Steel, Photographed by David Reichmann
Local Brooklyn legends Beach Fossils entered to an already-fired-up crowd, with Van Halen’s “Jump” playing over the speakers as they walked onstage. They wasted no time jumping into their extended 16-song setlist, playing numerous fan favorites from throughout their catalog. They opened with “This Year,” followed by their hit single “Sugar.” Some notable tracks include “Down The Line” (their most-streamed song to date, with nearly 2.4 million views on Youtube), “What A Pleasure,” “Sleep Apnea,” “Out In The Way” (performed with Wild Nothing), and “Daydream” as the closer.
Beach Fossils at Brooklyn Steel, Photographed by David Reichmann
Beach Fossils have a new record coming out, “The Other Side of Life: Piano Ballads,” which you can pre-order on vinyl here and listen to here when it releases on November 19th.
The Flaming Lips returned to Brooklyn last night for the first of two shows at Bushwick’s Brooklyn Steel. Only the second stop on a world tour, the band returns to the live stage following the pandemic with dates across the US, Canada and the UK into next summer. Special guest and Flaming Lips collaborator Particle Kid provided opening support, featuring a guest appearance by Sean Ono Lennon.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The tragedy of the Astroworld festival last week has not only shocked so many people, but has also changed the mindset of performers and venues alike. Flaming Lips frontman Wayne Coyne began the show with a long speech on the topic, urging fans to look out for everyone around them, promising that they would stop the show in the event someone needed help. He addressed the desire of so many to let their emotions run loose at shows, and he reminded us all that we can still “go crazy” in a good and positive way. This motif continued through the show, with breaks between songs and bright house lights to make sure everyone was safe.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The Flaming Lips released their debut record Here It Is in 1986, and have cultivated an extensive discography ever since. Back in 2020, the band released their sixteenth studio album, American Head via Warner Records. For Record Store Day 2021, the band released The Soft Bulletin Companion on vinyl for the first time ever. The rare recordings are B-sides and early mixes that accompany the band’s early breakthrough record The Soft Bulletin.
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
One surprise nugget for the evening was the live debut of deep cut “Assassination of the Sun” off the band’s 2003 EP Ego Tripping At The Gates Of Hell. Afterwards, Wayne addressed the crowd, telling them about his ecstasy seeing a room full of fans enjoy a song they’ve never heard played live. Other essential tracks played included the epic “Yoshimi Battles The Pink Robots, Pt. 1,” “Do You Realize??,” and “She Don’t Use Jelly.”
The Flaming Lips at Brooklyn Steel, 11/8/21. Photo by Buscar Photo
The tour continues with another show tonight at Brooklyn Steel, plus two more New York shows. They’ll be playing on November 12th in Syracuse at Crouse-Hinds Concert Theater, and then in Albany on November 13th at The Palace Theatre. Check out the full run of dates on Song Kick and see our Brooklyn Steel night 1 photo gallery below. Wayne Coyne also has his own cannabis brand, Love Yer Brain, available now.
Hey Uticats, Police, Primus, and Phish fans, do you remember when Oysterhead played the Utica Memorial Auditorium on November 9, 2001? It was Stewart Copeland and Les Claypool’s first time in Utica. Trey Anastasio’s first of four musical projects debuted in the Mohawk River city at the base of the Adirondacks.
If you recorded the HBO show Reverb ,you’ll have a VHS tape of Oysterhead’s inaugural tour footage from Los Angeles’s Palladium to New York City’s Roseland Ballroom during its Fall 2001 episode. Their last television performance would be from NBC studios in NYC for on Late Night with Conan O’Brien.
Ironic collaboration considering the trios background during the 1980’s. Stewart Copeland went from playing the Fire Barn Club across from Syracuse City Hall with his band “The Police” to selling out the Carrier Dome a year later at Syracuse University & various other arenas across the world during the decade.
Les Claypool was in California during the 1980’s auditioning for Metallica’s vacant bassist slot at the time. He was also brainstorming with drummer Jay Lane and guitarist Larry LaLonde about a new project called Primus.
In 1983, we know that Trey Anastasio just hooked up with Syracuse native drummer Jon Fishman at University of Vermont to form their new group appropriately named Phish.
The only collision was during Fall Tour 1996 when Les Claypool and his band Primus sat in with Phish for “Wildwood Weed Harpua” in Las Vegas. Phish covered “So Lonely”by the Police in November 1998. That’s all we knew. These artists were certainly castaways at sea during the 1980’s while The Police’s “Roxanne” dominated the air waves.
It all started in New Orleans by “Superfly” during Jazz Fest who curate random musicians to play the late night gig. Les was called on by Superfly with the intention “of musicians to get other interesting musicians to play a night club after Jazz Fest” Claypool called up Trey and Stewart from always wanting to work with them. It was that simple. Although Trey told HBO’s Reverb of the trios seed while the pearls were jamming
I get these glimpses of potential and chemistry between the three of us. First time we got together we did a jam in my barn and I thought it was incredible. Then we did the Strand Theater show and I thought it kind of sucked. But then Stewart sent me the good moments of the show and those motivated me…We got to do another album, We got to tour Japan.
Trey Anastasio
Trey told The New Yorker in Fall of 2015 the hilarity of the trio snowshoeing through Vermont to the surprise of locals who recognized the formation. “Could you imagine walking through the snowy woods and seeing me Les and Stewart on the trail?” They didn’t make it to Japan but they made their way to Utica, New York’s Memorial Auditorium for their 14th show of a national 22 tour date support of their only album The Grand Pecking Order.
The Oysterhead trio’s distinct backgrounds came to light in Utica when Les addressed a sign from the GA crowd in bold magic marker titled “Les is Evil.” Claypool told the New York audience during Rubberneck Lions:
I’m looking directly at a bright red sign that says Les is Evil. I don’t know if that’s a fair thing to say. Are you saying in comparison to Mr. Happy Pants Trey Anipasta that I’m the evil one? Is what your saying? Because in the grand scheme of things compared to Marilyn Manson or GG Allin… I’m not very evil. In this situation if were looking at Trey Anastasio as the symbol of good than yes i am a symbol of evil. But not so much evil like ah Satan or Vlad the Impaler. More like Evil Kanevil… If there was a Harley Davidson sportster in this room and four trucks…I would jump those sons of bitches for you all
Les Claypool
Les Claypool & Trey Anastasio traded vocals all evening, with the 2001 anthem “Army’s on Ecstasy” resonating with the fall crowd. The Army’s on ecstasy so they say, I read all about it in USA Today. During “Shadow of Man,” Les appeared from the darkened hockey rink stage with a pair of extended eye balls attached to a LED space helmet portraying psychedelic illuminations toward the performance.
Trey used Jimmy Page like theremin signals from his antler-adorned custom Languedoc guitar, flickering sounds from the edge of his palm to the Upstate crowd. His acoustic Martin was pulled out for the twangy tune “Birthday Boys,” a tun that Claypool referenced in Colorado in February 2020, that the song is about four things. “Vegas, a penis, some cocaine and pair of breasts.” Trey added “it’s also about Kid Rock who was there with Les and I… the birthday boys”
Stewart Copeland emerged from behind his hanging percussion kit adjacent to the drum rig for all the bells and whistles of sound. He even got on vocals asking the clergy to “Wield the Spade.” After funking out on “Mr. Oysterhead” to close the night, the trio paid homage to the most Viking-like rock acts to grace the Americas, as Les Claypool took on Robert Plant’s howling for a cover of Led Zeppelin’s “Immigrant Song” for the encore.
Les Claypool returned to Utica just once in 2019 to the Saranac Brewery as part of The Lennon Claypool Delirium show. Attendees in the Utica crowd that night were fellow bassist Krist Novoselic from Nirvana and Rochester harpist Mikaela Davis. In November 2005 Trey returned to the Aud with Tony Hall on bass as changing cast of the Trey Anastasio Band during the Phish hiatus. The 11/11 nights special guests included Jon Fishman and Mike Gordon with the exception of Page McConnell. On Phish Fall Tour 2010 the Vermont quartet culminated their concert film Guyutica on DVD upon return to the Utica Memorial Auditorium, There is something about those Upstate, NY hockey arena stages that just rock.
God Damn, Playing in this Hockey Arena rink shit is fun
Les Claypool, Utica
Oysterhead, Friday 11/09/2001 Memorial Auditorium: Utica, NY
Set: Oz is Ever Floating, Rubberneck Lions, Little Faces—>Hello Skinny—>Army’s on Ecstasy, Radon Balloon, Pseudo Suicide, Shadow of a Man, Wield the Spade, Birthday Boys*, Mr Oysterhead
Gotham Early Music Scene also known as GEMS announced their Open Gates Project launching with three concerts featuring women of color. The concerts will take place November 12-14, 2021 across three boroughs of New York City.
Open Gates Project inaugural concert series is The Divine Feminine: Centering Women of Color in Early Music. This concert series is focusing on the 17th–century works celebrating the animating feminine spirit featuring an ensemble composed of women of color.
The 17th–century female composers it will be focusing on are Chiara Margarita Cozzolani, Barbara Strozzi, and Francesca Caccini. The concerts will be performed by outstanding rising and established American and international artists, with careers encompassing early, chamber, and Classical music, opera, jazz, and musical theater. The program is bookended with works devoted to the Virgin Mary. It opens with Madre, de los primores by New World visionary Sor Juana Inés de la Cruz who is considered the first great Latin American poet and recognized for her influential perspectives on women and scholarship. Pergolesi’s glorious and sublime Stabat Mater closes the program.
The Open Gates Project and GEMS as a bigger entity is committed to helping make significant efforts to make early music performance opportunities more equitable for artists of color and more accessible to historically excluded communities of color. Over the coming year, the Project will offer a rich variety of music performed by distinguished artists for diverse audiences throughout New York City.
The three performances will take place starting on Friday, November 12, 2021 at 7 PM at the Holy Trinity Lutheran Church in Manhattan. Then on Saturday, November 13, 2021 at 7 PM at the Jamaica Performing Arts Center in Queens. And will wrap up on Sunday, November 14, 2021 at 4 PM at the Pregones Theater in the Bronx. All audience members must have proof of vaccination and wear a mask. Check the GEMS website closer to the opening dates for full COVID-19 protocols and any updates.
The lineup includes Nicole Besa singing soprano, Aine Hakamatsuka singing soprano, Heather Hill singing soprano, Amaranta Viera singing soprano, Tanisha Anderson singing mezzo-soprano, Guadalupe Peraza singing mezzo-soprano, AnnMarie Sandy singing mezzo-soprano, Hai-Ting Chinn singing alto, Jessica Park on violin, Maria Romero Ramos on violin, Amelia Sie on violin, Patricia Ann Neely on viola da gamba, and Duangkamon “Wan” Wattanasak on harpsichord.
The program includes performances of: Sor Juana Inés de la Cruz: Madre, de los primores, Chiara Margarita Cozzolani: O dulcis Jesu, Barbara Strozzi: I baci, Francesca Caccini: O vive rose, Alessandro Stradella: Sinfonia No. 22 in D minor, and Giovanni Battista Pergolesi: Stabat Mater.
Tickets are available for $15–$30 ($5 for students, ID required at venue) are all General Admission seating and are available onlineby calling 212-866-0468, or at the door depending on availability..
For more information on the GEMS Open Gates Project and its upcoming events visit their website.
Greensky Bluegrass continues their rigorous touring schedule this November on the West Coast, and have their sights set on the East Coast in January – they’ll make their way to the Northeast with The Infamous Stringdusters in January.
The Colorado group has just released their newest song, “Grow Together,” written by Paul Hoffman upon the arrival of his daughter. “I wrote this with my 5-week-old daughter at my feet. She laid there and listened, so content. I hoped this was the first of many experiences like this for her and I,” Hoffman told The Boot. “I reflected on the amazing gift her mother had given me and ‘Grow Together’ just fell out of my heart,” Hoffman continues. “It’s a testament to a new chapter in my life and a love song for the woman who made me a father.”
Accompanying the song is a documentary-style music video that offers intimate and behind the scenes content. A perfect visual companion for such a powerful song.
For the past century, bluegrass music has traditionally relayed real tales of American life, struggle, tragedy, and triumph. It gives a voice to the quiet, yet colorful stories woven into the fabric of the country itself. Greensky Bluegrass live these stories through their records and performances.
When touring ceased in 2020 in the face of the global pandemic, the band hunkered down and compiled demos individually at first, sharing emails and voice notes. In July 2020, they got together for the first time in four months, dedicating rehearsals to the development of the new material. Once circumstances safely permitted, they recorded what would become Stress Dreams during a session in Guilford, VT and two sessions in Asheville, NC with frequent collaborator “and old friend” Dominic John Davis as producer and “wizard engineer” Glenn Brown mixing. They preserved the hallmarks of their sound while widening its expanse.
“Greensky is and always has been very unique in our world,” says Paul Hoffman. “We put our love, energy, and focus into what we appreciate about our music. We come together as a band in a way that’s organic. We take a lot of pride in how we grow and challenge each other too. We’re maturing together. I think we get more Greensky all of the time.”
Nov 11 @ The Observatory | San Diego, CA Nov 12 @ The Fonda | Los Angeles, CA Nov 13 @ The Fox | Oakland, CA Nov 14 @ Crystal Bay | Stateline, NV Nov 17 @ Midtown Ballroom | Bend, OR Nov 18 @ Crystal Ballroom | Portland, OR Nov 19-20 @ The Showbox | Seattle, WA Nov 26-27 @ Kalamazoo State Theatre Dec 9 – 13 @ Strings & Sol | Puerto Morelos, Mexico Dec 30-31 @ The Factor | St. Louis, MO Jan 7-8 @ The Mission Ballroom | Denver, CO
Greensky Bluegrass featuring very Special Guests The Infamous Stringdusters
Jan 20 @ The Palace Theatre | Albany, NY Jan 21 @ The Met Philadelphia | Philadelphia, PA Jan 22 @ The Capitol Theatre | Port Chester, NY Jan 26 @ Flynn Theatre | Burlington, VT Jan 27 @ The State Theatre | Portland, ME Jan 28-29 @ House of Blues | Boston, MA Feb 2 @ Stage AE | Pittsburgh, PA Feb 3 @ Agora Theatre & Ballroom | Cleveland, OH Feb 4-5 @ The Anthem | Washington, DC Feb 17 @ The Pavilion at Pan AM | Indianapolis, IN Feb 18 @ Fillmore Detroit | Detroit, MI Feb 19 @ Riverside Theatre | Milwaukee, WI Feb 20 @ The Palace | St. Paul, MN Feb 23 @ Old Forester’s Paristown Hall | Louisville, KY Feb 24 @ Iron City | Birmingham, AL Feb 25-26 @ The Tabernacle | Atlanta, GA
Hot on the heels of the new record announcement (Toward the Fray releasing Feb. 18) made last month by Grammy and IBMA award-winners The Infamous Stringdusters, Infamous Stringdusters have announced a January through April tour of the same name. Truly coast to coast, the band will kick off on Jan. 20 in Albany, NY with good friends Greensky Bluegrass, touring through most of the east coast and into parts of the midwest and southeast.
Dustbowl Revival will hop on towards the end of March to make several stops in California, wrapping the 4 month tour in Seattle, Washington on April 9th. Pre-sales are, as of today, on-sale for headlining dates. General on-sale starts Thursday, Nov. 4 at 10 am PT. Please visit thestringdusters.com/tour for more information and to purchase tickets.
Toward the Fray, the band’s first release of original music since 2019’s Rise Sun, will be released on February 18th, 2022 on Americana Vibes via Regime Music Group. Fans can now listen to the first single, “Toward The Fray” below.
Bard College alumnus Chevy Chase will appear at a series of National Lampoon’s Christmas Vacation screenings in Utica, Albany and Binghamton in December. The events will include Chevy Chase performing live on stage plus an audience Q&A following the screenings.
Chevy Chase is an original member of NBC’s Saturday Night Live and over the years became a household name for his blockbuster movies like National Lampoon’s Christmas Vacation, National Lampoon’s Vacation, Caddyshack, Fletch, Three Amigos, and many more.
The screenings are taking place in different cities across the United States with three stops in New York currently. More screenings in New York could be announced in time though. The tour announces dates as they go, being precautious of COVID-19 spikes across the country.
The three stops in New York start in Utica on December 13, 2021 at the Stanley Performing Arts Center at 7:30PM. The second stop in New York will be on December 15, 2021 at the Palace Theatre in Albany at 7:30PM. And the last stop in New York currently will be on December 19, 2021 at the Visions Veterans Memorial Arena in Binghamton at 7:30PM.
Tickets to all three Chevy Chase National Lampoon’s Christmas Vacation screenings in New York and to the other stops on the tour can be purchased here.
For more information on Chevy Chase and his upcoming tour visit his website.
