Straight out of a pair of shows at Mulcahey’s on Long Island, the Disco Biscuits have their sights set on Fall Tour, with shows in Texas and the Midwest culminating with a five-show run in the Northeast. Over October 27+28, they’ll be celebrating Halloween weekend at the Capitol Theatre in Port Chester.
Joining Disco Biscuits this fall will be TAUK Moore (featuring Kanika Moore of Doom Flamingo) and SunSquabi on select dates.
Tickets are available via an Artist Pre-Sale on Wednesday, June 21 at 10am Local time, Venue Pre-Sale(s) on Thursday, June 22 at 10am Local time, and a general On-Sale on Friday, June 23 at 10am Local time.
VIP Packages are available, and will include early entry to each venue + early access to merch, pre-show soundcheck, a group photo with the band, limited edition show poster, and a commemorative laminate & lanyard.
Disco Biscuits Summer and Fall Tour Dates July 6 – Rexford, MT – Abayance Bay July 7 – Livingston, MT – Pine Creek Lodge July 8 – Livingston, MT – Pine Creek Lodge July 9 – Livingston, MT – Pine Creek Lodge July 11 – Boise, ID – Revolution Concert House July 12 – Spokane, WA – Knitting Factory July 13 – Seattle, WA – The Showbox July 14 – Bend, OR – Midtown Ballroom July 15 – Portland, OR – Roseland Theater July 18 – Blue Lake, CA – Blue Lake Casino July 19 – Stateline, NV – Harrah’s South Lake Tahoe July 20 – San Francisco, CA – The Fillmore July 21 – Los Angeles, CA – The Roxy Theatre July 22 – Solana Beach, CA – Belly Up Tavern [SOLD OUT] August 10 – East Hampton, NY – The Clubhouse August 10-12 – East Durham, NY – Catskill Mountain Jubilee August 13 – Dewey Beach, DE – Bottle and Cork September 15 – Austin, TX – Far Out Lounge and Stage * w/ TAUK Moore (TAUK ft. Kanika Moore) September 16 – Austin, TX – Far Out Lounge and Stage ^w/ Sunsquabi September 20 – Minneapolis, MN – First Avenue September 21 – Chicago, IL – Riviera Theatre ^w/ Sunsquabi September 22 – Milwaukee, WI – Pabst Theater September 23 – Indianapolis, IN – The Vogue Theatre September 24 – St. Louis, MO – Delmar Hall October 24 – Burlington, VT – Higher Ground October 25 – Hartford, CT – Infinity Hall October 26 – Portland, ME – State Theatre October 27 – Port Chester, NY – The Capitol Theatre October 28 – Port Chester, NY – The Capitol Theatre
Pop icon Taylor Swift finished her run of hometown Pennsylvania shows to a record breaking crowd in Pittsburgh Saturday, June 17. She also happened to be the first tour to play in the Acrisure Stadium twice. However, breaking records is nothing new for Taylor. She has been dominating the music charts for the past decade and somehow still continues to surpass her previous records.
Photo Credit: TAS Rights Management
A sunny day in Pittsburgh made it perfect for the first opener of the night OWENN to make his mark on The Eras Tour. This artist looks to mix bluesy rock with airy R&B. He exudes an enigmatic spirit that no doubt comes from his many years working as a backup dancer for Taylor and other renowned pop stars. Indie pop musician Girl in Red followed up the night with her intense guitar riffs and rockstar energy. She creates music in the lens of a gay woman who talks about love in the queer space. She performed popular hits “… i wanna be your girlfriend,” and “bad idea!”.
Photo Credit: TAS Rights Management
Settling into everyones seats before Taylor took the stage is an environment that can not be recreated anywhere else. Fans are decked out in memes, iconic Swift looks, handmade outfits, and even dressed as her pet cat. From young girls to dads, the crowd is full of an array of people. A lot of which carry around friendship bracelets that they trade with other fans. All inspired by the song “You’re On Your Own Kid.” The Eras Tour pushes connection and bonding between people who might not rather say a word to each other. How many concerts do you go to and not even talk to all the strangers standing around you for those few hours? The level that Taylor Swift is at undoubtedly prompts lack of intimacy that smaller shows get. Taylor recognizes this and uses tactics to create a loving space for her fans. Something that the artist is all too familiar with: seeing the status quo and going against it yet again.
No Bad Seats
The anticipation before Taylor took the stage was uncanny as fans ran to their seats. Chaos definitely ensued once the two-minute timer went on the big screen. Something about a Taylor Swift concert that stands true is that calling it a “concert” just doesn’t feel like a big enough word to encapsulate the broadway production happening on stage. The countless outfit changes, dance routines, fireworks, introspective visuals, pyro, and acting performances are nothing short of spectacular. There is no bad seats at this show. No matter if you’re in the nosebleeds or on the floor, this tour offers so much to their audience visually.
Photo Credit: TAS Rights Management
Immediately as Taylor was seen by the crowd everyone went insane. There were tears shed, people hugging, and just about everyone screaming. It’s been five years since she has toured so it was only fitting that she opened up the night with “Miss Americana & the Heartbreak Prince,” with the line ‘it’s been a long time coming.’ As the night proceeded Taylor took us through the many eras she has had over the years beginning with the album Lover.
Photo Credit: TAS Rights Management
With a throwback to Fearless and traveling to the Folklore house this show was a journey for fans. Many of which have grown up with Taylor and could pin point moments in their life with song releases. As she has gone through these different eras so has her avid listeners. The artist pays homage to her lifelong fans by having an acoustic session each night to play two secret surprise songs. She first brought out special guest Aaron Dessner in honor of Father’s Day Weekend. The two performed “seven” which examines troubled relationships with fathers. Taylor called to celebrate her own Dad that day as well as any fathers or father figures for those in the crowd. The second surprise song wished to celebrate Taylor’s rerecording of Speak Now which releases on July 7. She played the song “The Story of Us” on that album which left fans excited.
Photo Credit: TAS Rights Management
The Eras Tour Leaving its Mark
The span of The Eras Tour goes through Taylor’s 10 studio albums beginning in 2006 with Debut. There’s something special about seeing a musical artist have an intense and overwhelming support over the many years. Each album has countless hits that has broken records. Her heart wrenching lyricism and catchy beats has only improved with each release. The fanbase has strengthened over the years and continues to takeover cities with each stop over the weekend. A craze that seems all too similar to Beatlemania. Swifties are dominating the concert space. They have supported her relreases of albums so she can own her own art and sold out this tour. Even fans who couldn’t score tickets have driven countless hours just to stand outside the stadium to hear her songs.
Photo Credit: TAS Rights Management
Whether you are a hardcore Taylor Swift fan or not, you can’t deny that she is the moment. She herself has defined this era in time, not only in the music space but in our culture. In the way we tell stories and view our idols. In the way we choose to consume media and celebrate our friendships. In the way we hope to call out the wrongdoings we see in the world and make conscious choices everyday to correct them. In the way that we are trying to improve on the upbringing of the next generation of young girls. In hopes that those girls can see women in positions of power and never have to question if they can do the same.
Setlist: Miss Americana & the Heartbreak Prince, Cruel Summer, The Man, You Need to Calm Down, Lover, The Archer, Fearless, You Belong With Me, Love Story, ’tis the damn season, willow, marjorie, champagne problems, tolerate it, …Ready for It?, Delicate, Don’t Blame Me, Look What You Made Me Do, Enchanted, 22, We Are Never Ever Getting Back Together, I Knew You Were Trouble, All Too Well (10 Minute Version), the 1, betty, the last great american dynasty, august, my tears ricochet, illicit affairs, cardigan, Style, Blank Space, Shake It Off, Wildest Dreams, Bad Blood, seven, The Story of Us, Lavender Haze, Anti-Hero, Midnight Rain, Vigilante Shit, Bejeweled, Mastermind, Karma
President Joe Biden, in a briefing on June 15, spoke on his progress in eliminating “junk fees” that companies often charge. Many major ticketing companies, such as Live Nation, SeatGeek, and xBk will be switching to “all-in” ticket pricing, where all fees will be disclosed upfront.
As stated in his State of the Union Address, Joe Biden planned to fight against junk fees. These junk fees are hidden charges that companies add onto a person’s bills without them really being able to do anything about it. This can often pose an issue for working class people, where these extra charges can quickly add up. For the live music industry, this often occurs at the end of the purchasing process after a person has already spent time comparing options. According to Biden, the solution to this is “all-in pricing,” where all fees are presented upfront in order to not surprise consumers at the end of their purchase.
Biden mentioned several companies represented at the briefing who had already been using the process, such as TickPick, DICE, Newport Festival Foundation, and Airbnb. Some had been using all-in pricing for years, whereas others, like Airbnb, only started recently.
One of the companies to recently agree to this plan was Live Nation, which will automatically list all prices at its own venues upfront starting this September. Customers will also have the option of an all-in option for all other tickets on the platform. Other companies joining it include: SeatGeek, a smaller, mobile-focused ticketing company; and xBk, a small venue in Des Moines, Iowa.
This is real transparency, which leads to more competition, brings down costs for working Americans, keeps growing our economy from the middle out and the bottom up, not the top down.
President Joe Biden
Biden called for competitors to these companies to follow suit and adopt this pricing model as well. He affirmed that this was not the final step, and there was more work to do to address issues in the online ticketing industry and with junk fees. Biden also thanked Congress for the legislation they are working on to address junk fees across industries.
Quarters of Change, an alternative rock band based in New York City, has just announced a headline tour spanning the US. The group will kick off their twenty-city trek in Virginia Beach on September 14th and will come to a close in NYC in December.
The band is no stranger to the title of headliner as earlier this year, Quarters of Change wrapped their first-ever US headline run, TheDeluxe Tour. The inaugural event was largely sold-out and featured the group in historic venues including Los Angeles, CA’s The Roxy Theater, and New York’s Irving Plaza.
Last year, Quarters of Change unveiled a deluxe edition of their debut studio album Into The Rift. Originally released in July of 2022, Into The Rift introduced and solidified Quarters of Change as a standout quartet going beyond the typical conventions and traditional boundaries of genre to take the rock scene by storm. Into The Rift (Deluxe) boasts three new songs, including “To Let Go,” “T Love – Extended,” and “Blue Copper.”
Through the release and re-release of their first album along with shoutouts from celebrity fans such as Joe Jonas, Fred Durst, and Lewis Capaldi, Quarters of Change have worked their way not only into the limelight but into a second headline tour. The band is expected to announce plans for new music in the coming weeks, but until then fans can look forward to the upcoming performances.
The Quarters of Change Show
September 14 – Virginia Beach, VA – Elevation 27
September 16 – Charlottesville, VA – The Southern
September 18 – Pittsburgh, PA – Thunderbird
September 19 – Columbus, OH – A&R Music Bar
September 21 – Ann Arbor, MI – Blind Pig
September 22 – Milwaukee, WI – XRay Arcade
September 23 – Iowa City, IA – Gabe’s
September 24 – Lawrence, KS – Bottleneck
September 26 – Dallas, TX – Club Dada
September 27 – Houston, TX – White Oak Music Hall
September 28 – Austin, TX – Antones
September 30 – Orlando, FL – The Social
October 01 – Tampa, FL – Crowbar
October 03 – Columbia, SC – New Brookland Tavern
October 04 – Athens, GA – Georgia Theater
October 06 – Charlotte, NC – Neighborhood Theater
October 08 – Baltimore, MD – Ottobar
October 13 – Asbury Park, NJ – House of Independents
The Rock & Roll Hall of Fame has announced the opening of a new Hip Hop exhibit in commemoration of the genre’s 50 year anniversary. The exhibit, “Holla If Ya Hear Me,” will be the most in-depth of its kind and will open on June 29th at the Hall of Fame’s primary location in Cleveland, Ohio.
The exhibit, sponsored by Technics, will feature some of the most influential artists of hip-hop ranging back to its birth including: Jay-Z, Grandmaster Flash, Roxanne Shante, Chuck D, Salt N’Pepa, The Notorious B.I.G., Queen Latifah, and countless more. From these artists, “Holla If Ya Hear Me” will display handwritten lyrics, clothing, some of the earliest gear used to create hip-hop beats, as well as displays highlighting historic social issues that inspired infamous singles.
More specific artifacts being highlighted include the handbill from the “All Star Birthday Bash for DJ Kool Herc”, which served as the birth of hip-hop at the 1520 Sedgewick Avenue house party in 1973, along with items from other key moments such as the release of Rapper’s Delight and hip-hop’s first rivalry of 1984.
“Holla If Ya Hear Me” will continue through “the new school” era featuring artifacts from the time’s most important moments like LL COOL J’s first single on Def Jam Records; First Album by female hip-hop act to go Gold & Platinum; Salt-N-Pepa’s jacket’s from the “Push It” video; and select items that commemorate hip-hop’s social consciousness which will feature artists from Public Enemy; Kendrick Lamar; Ice-T and Queen Latifah. The Moguls of hip-hop will end the exhibit with pieces from Jay-Z, Sean “Diddy” Combs, Russell Simons and more.
Salt N’ Pepa, the incredibly successful hip-hop group from the 80s and 90s who gave public audiences the music staples “Push It” and “Shoop,” commented on their extraordinary past in hip-hop and their anticipation for the new exhibit.
Going on to receive multiple platinum records and becoming one of the best-selling hip-hop groups of all time, was more than we could have hoped for. It was a major milestone in hip-hop’s trajectory over the past 50 years and we are so excited to be able to celebrate this important moment in music’s history with the Rock & Roll Hall of Fame. We are honored to be a part of the new Holla If Ya Hear Me exhibit and hope everyone enjoys seeing some of our most iconic and important pieces from our career.
Salt N’ Pepa
To further celebrate the anniversary, the Rock Hall Shop will be offering an assortment of merchandise including T-shirts, hoodies, and accessories from some of hip-hop’s most influential artists and brands. New styles will be released all summer long.
Further information about the exhibition as well as the full artifact listing can be found here.
CAD Management and Equity Residential kicked off their Afterglow Concert Series on May 31st. The series, which runs until September 7th, features headlining performances by students and alumni of the NYU Clive Davis Institute (CDI) of Recorded Music at venues across New York City and New Jersey.
CAD Management is a consulting firm that advises in the development and growth of artists and brands which has partnered with multifamily owner and operator Equity Residential to produce the fifth iteration of the Afterglow Concert series. This years series is a collection of free intimate rooftop and lounge performances that aims to support the development of NYU CDI student performers as well as independent artists across the tri-state area.
“We are extremely excited to continue this great partnership with Equity Residential. Not only does this concert series give incredibly talented student performers from NYU’s Clive Davis Institute a unique opportunity to grow their fanbase, but provides a platform for them to tackle the biggest struggle we see many young artists trying to overcome, which is building their hard ticket value and tour history in a competitive market like New York City.”
Clayton Durant, Founder of CAD Management
The headliners from the institute include Jackson Craig and Chloé Sauntereau with special appearances by students such as Zoe Tan and SENAIDA. The tour will also feature a set by SK Da DJ and regional support from NYU Steinhardt alumni Mari Barbieri and New Jersey based Jackie Nese.
The Afterglow Concert series is presented at a time in which the demand for concerts has reached an all time high, giving independent artists the unique opportunity to tap into the environment of insistent concert requests as well as continue to support the independent live music scene across New York and New Jersey themselves.
Beginning in the afternoon on Friday, May 26 through the late evening on Sunday, May 28, the 12th installment of the beloved Boston Calling music festival returned to its home at Harvard University in Boston (Allston), Massachusetts this past Memorial Day weekend.
For three straight days, more than 40,000 fans of all ages passed through the gates into the Harvard Athletic Complex where they were welcomed daily to engaging activities such as a ride on a 100-foot Ferris wheel, delicious food served up by 29 local vendors, and of course, great music performed by 51 artists (17 each day) across four outdoor stages dubbed the Green Stage, the Happy Valley Red Stage, the Blue Stage and the Tivoli Audio Orange Stage, which championed acts with local ties to New England.
Paramore | Photo Credit: Michael Dinger
Inaugurated in 2013, the acclaimed Boston Calling festival is produced by Boston Calling Events, owned in part by Boston-based Crash Line Productions, whose hallmark of bringing new sounds each and every year was on full display again. In step with the festival’s commitment to securing an iconic mix of musical performances, headlining the festival on Day 1 (Friday) wereRock & Roll Hall of Famers Foo Fighters. Having played in New Hampshire two days prior, this would only betheir second official concert following drummer Taylor Hawkins’ tragic death in March 2022. The Lumineers, soulful alternative-folk rockers from Denver, Colorado, headlined Day 2 (Saturday) of the festival. Day 3 (Sunday) of the festival was headlined by indie rock darlings Paramore, formed in Franklin, Tennessee in 2004. Paramore, having already performed at the festival back in 2018, made their triumphant return on the heels of releasing their sixth studio album, This is Why.
Foo Fighters | Photo Credit: Michael Dinger
Boston Calling also featured renowned co-headliners on each day, including The National and Boston natives Dropkick Murphys on Day 1, the latter who quickly stepped in for the art-punk trio YeahYeahYeahs due to an undisclosed illness announced the day prior. The Celtic punk band’s frontman, Ken Casey, would announce to the crowd during their blistering set, “The Yeah Yeah Yeahs said ‘no no no,’ but we never say no!” Day 2 saw seven-time Grammy Award-winning singer/songwriter Alanis Morissette take the Red Stage, playing her first show in Boston since 2012. Queens of the Stone Age, alternative metal rockers from Seattle, Washington, brought their hard-pounding musicianship toDay 3 of the festival. Having recently announced their long-awaited eighth studio album, In Times New Roman, they thrilled their die-hard fans with two new tracks from this forthcoming release (June 16), including “Emotion Sickness” and “Negative Space.”
Dropkick Murphys | Photo Credit: Michael DingerQueens of the Stone Age | Photo Credit: Michael Dinger
Joining these headlining and co-headlining acts were well-established artists such as Noah Kahan, Bleachers, The Flaming Lips (who celebrated the release of Yoshimi Battles The Pink Robots by performing the 2002 album in its entirety), King Gizzard and the Lizard Wizard (the psychedelic rock band from Australia who were forced to bow out of last year’s festival due to COVID-19), Mt. Joy, Maren Morrisand many more.
Bleachers | Photo Credit: Michael DingerMt. Joy | Photo Credit: Michael DingerThe Flaming Lips | Photo Credit: Michael Dinger
The holiday weekend also offered its patrons plenty of performances from up-and-coming talent, including Razor Braids, The Beaches, The Aces and The Linda Lindas (an all-girl quartet ranging in age from 13 to 19 who easily won over the crowd after a personal introduction to their set by the Mayor of Boston, Michelle Wu), to name just a few.
The Beaches | Photo Credit: Michael DingerThe Linda Lindas | Photo Credit: Michael Dinger
Although the temperature each day of the festival was not as hot as it could have been for this time of the year, the sun did take its toll on some of the audience members who were not adequately hydrated. I witnessed firsthand at least five people who appeared to faint due to heat stroke, all of whom required to be quickly pulled out of the crowd by security and whisked away for treatment by EMT personnel.
The only critique that I have for this year’s festival is also the same as 2022’s festival, the merchandise tent line was long, exceedingly long. As I talked to fans who were proudly wearing their new t-shirt or hat, I learned that time spent in line (and away from the stages) was a minimum of two hours! Often, the sought after merch had already been sold-out. However, fans were at least able to complete an order form for the requested item to be shipped at a later date.
Fans soaking in the action at the Red Stage (Day 2) | Photo Credit: Michael Dinger
No festival experience is considered complete without first meeting and interacting with fellow fans. My own personal encounters included talking to Paul from Toronto, Canada in front of the Green Stage for most of Friday afternoon. I learned that he and his 16-year old son drove for eight hours Thursday night and into the wee morning hours to see the Foo Fighters for the first time. Paul emotionally shared with me that his son “will always remember this, so it was well worth it.” On Friday, I also met Kirby from Danbury, Connecticut, an avid fan of all music genres, as well as a talented drummer and guitarist. He revealed to me that he was dealing with painful plantar fasciitis in both feet, so when I saw him again on both Saturday and Sunday along the rail of the Red Stage, I was glad he was able to still see the artists he loves up close and personal. Being a graduate of the University of Connecticut (UCONN), it was also a pleasure to spend time speaking with Seth for a few hours, a UCONN professor for nearly 20 years and an amateur live music photographer.
Shane Hawkins Joins Foo Fighters Onstage | Video Credit: Michael Dinger
During a festival filled with three days and nights of highlights, it’s easy for me to pick out my favorite one. Throughout the Foo Fighters’ two hour set, Dave Grohl’s devastation by the loss of his friend and bandmate was palpable – on his face and in his speeches to the audience. So, when Grohl welcomed to the stage “one of [his] favorite drummers in the world,” 17-year old Shane Hawkins, it was truly a goosebumps moment. With Shane taking a couple of minutes at the drum kit to adjust the stool height left for him by the Foo Fighters newest member, Josh Freese, Grohl stalled for time. “Hello Boston, how’s it going over there? Earlier, I was in my dressing room and I heard the audience going absolutely fucking bonkers for someone. And I was like, who the fuck is playing that someone is going [this crazy]? It was Niall Horan [of One Direction fame], is that his name? How’s it going there Shane? Oh my God, there is a curfew Shane. This is an old song from our first record and when we play it . . .” Abruptly, in came Shane with a thunderous drum roll to launch “I’ll Stick Around.”
For some fans, The Allman Brothers 1971 live double-disc, At Fillmore East, was the pinnacle of the band’s career and artistry. It was the culmination of years of relentless touring, a door-to-door musical missionary work that sold fans on bandleader Duane Allman’s unique fusion of blues, rock, big band styled melodic harmony and extended jazzy improvisation into a form that, more than any other, gave birth to the still-thriving jam band idiom. While At Fillmore East remains one of rock’s most revered live albums, it was another crafted after Duane’s death, 1973’s Brothers and Sisters, which was their commercial highpoint.
With over seven million copies sold, Brothers and Sisters was their best-selling album. It was also the one that generated a level of fame that would find them swaying a Presidential election, headlining the world’s largest rock festival, ushering in the commercial juggernaut of Southern Rock and, yes, even becoming the subject of a steady stream of Hollywood tabloid fodder.
In 2015, Paul penned the definitive title on the band, the New York Times best-selling oral history, One Way Out: The Inside History of The Allman Brothers Band. He is also co-author of another comprehensive biography of an American blues master, Texas Flood: The Inside Story of Stevie Ray Vaughan.
To set the scene for this latter chapter of the band, Paul begins with a compact, pre-fame history of each of the original Allman Brothers players. There is Duane and Gregg’s early days as the Allman Joys and the underrated Hourglass, Duane’s time as a session musician and in Derek and the Dominoes and guitarist Dickey Betts’s experience pioneering dual lead and melody in the Second Coming alongside Larry “Rhino” Reinhardt. His description of Betts as “Zen Charles Bronson” is worth the cover price of the book alone. The preamble takes us up to their breakthrough days after At Fillmore East, when all should have been well but really wasn’t. The entire band, minus drummer Butch Trucks, were addicted to heroin. Duane would die in a motorcycle crash a couple of months after its release; bassist Berry Oakley would be dead by the same cause a year later.
Paul’s book captures the Allmans at a time of uncertainty — of rebuilding a band and a shifting in their creative power balance. The addition of young Chuck Leavell on keys and Lamar Williams on bass would help usher in a new style, in studio and on the stage. Williams would bring more of a solid groove to the rhythm section, one propelled with a pick made from a Clorox bottle by the seasoned bassist (my favorite bit of weird trivia in the book). Twenty-one-year-old Leavell would add a depth of harmony, honky tonk swing and a new, virtuoso lead voice to complement the Allman’s new, one guitar lineup.
That one guitarist, Dickey Betts, would emerge from Duane’s shadow to be the leader of the band during Brothers and Sisters. He would pen four of the six originals on the disc, including “Ramblin’ Man,” the Allman Brothers’ first and only Top Ten hit. The tune would feature one of late bassist Berry Oakley’s final contributions and harmony guitar by Les Dudek. The author also shares how Betts, unhappy with the tempo, asked for the song to be speedup, then changed his mind. In a mix up, the speed up version was released, with Betts’s voice in a higher than wanted range, infuriating the mercurial guitarist. This tune ushered in an old school country feel to the Allmans’ sound and even spurred a mighty accolade from Bob Dylan who called it “one of the best songs ever written.” Guitarist Dudek would also be featured on another Betts’ standout from the album, “Jessica,” a tune the author adds was written as an exercise inspired by the work of two-fingered jazz great Django Reinhardt.
One reason Betts assumed leadership was Gregg Allman’s dividing his time between recording Brothers and Sisters and his first solo disc, Laid Back. Here, Paul delves into Gregg’s love of Laurel County folksingers, his own desire to be viewed a part of the creative community of his onetime roommate in L.A., Jackson Browne.
Paul’s book provides a balanced perspective on Phil Walden, the man who served as both manager and record company for the band through his Capricorn Records. Walden would have an up then way down history with the band and would, via their success, build an empire largely around Southern rockers like The Marshall Tucker Band, Charlie Daniels and others. There are some colorful descriptions of Walden’s annual Capricorn Picnic and Summer Games, which drew strange bedfellows like Andy Warhol and boxing promoter Don King to rub shoulder with the rowdy Southern rockers.
Author Alan Paul – photo by George Lange
One of the more interesting chapters is how the Allman Brothers help revive the Presidential campaign of Jimmy Carter, something covered in great detail in the wonderful 2020 documentary “Jimmy Carter: Rock and Roll President.” Paul also spends a great deal of time exploring the history of The Allman Brothers’ on-going touring partnership with the Grateful Dead, something culminating with Summer Jam at Watkins Glen, the 1973 festival which attracted a world record 650,000 attendees. For the gossip minded, there’s a detailed look at the star-crossed union of Gregg and Cher, a relationship which, like the band itself, was severely compromised by Allman’s addictions. Another factor compromising the band was guitarist Betts’ dependence of cocaine and alcohol, something which made his stage performances, and the bands, more unpredictable as time passed. By 2000, Betts would be out of the band for good and The Allman Brothers would never play “Ramblin’ Man” again.
Like his earlier book on the Allmans, Paul’s latest is an honest and very in-depth assessment of the most commercially vital era of the band. In creating it, Paul had access to hundreds of hours of never-before-heard interviews with the band and its confidants, including Dickey Betts and Gregg Allman, from ABB archivist Kirk West.
Paul will be supporting the launch of the book with a variety of events around the country featuring a reading, Q&A and performance by his band, Friend of the Brothers. Paul ensemble will feature former members of Dickey Betts’ Great Southern, Jaimoe’s Jassz Band and the Phil Lesh Band and special guests including Duane Betts. The lineup includes a July 30 events at New York’s City Winery and August 4 and 5 at Daryl’s House in Pawling, New York.
Singer-songwriter Jackson Browne will perform four shows at the Beacon Theatre in New York City and one at the Tanglewood Music Center in Lenox, MA this August. Beacon Theatre dates will be the 22nd, 23rd, 25th, and 26th and the Tanglewood date is scheduled for the 31st.
A 2004 Rock and Roll Hall of Fame inductee, Browne’s stop at Tanglewood is his seventh appearance there since 1973.
Long before Browne’s induction into the Hall of Fame, his career would start in 1972 after the release of his self-titled debut album. Since that mark, Browne’s 14 studio projects, four live performance collections, and two compilations make up an immensely decorated tenure in the music industry for the musician.
If attending his upcoming August shows, prepare to hear some of his greatest hits such as “For A Dancer,” “The Pretender,” and more during his performance.
In 2002, Browne was the recipient of the John Steinbeck Award, given to artists whose works display environmental and social values that the author found crucial in linking together. Browne is well-known for his advocacy towards the environment and its connection to arts and human rights.
Alongside the Rock and Roll Hall of Fame, he would join the Songwriters Hall of Fame in 2007.
Beacon Theatre & Tanglewood Music Center Tickets
Beacon Theatre: Singer-songwriterJackson Browne will perform four shows on August 22, August 23, August 25, and August 26, 2023.
General tickets go on sale beginning on Friday, May 26 at 10 AM. Additional Presale, Fan, and VIP ticket information is available at LiveNation.com.
Tanglewood Music Center: Browne will be performing at the Koussevitzky Music Shed with his full band on August 31, 2023!
Tickets to Browne’s show will go on sale on Thursday, June 1 at 10 a.m. with additional information and tickets available at tanglewood.org.
Anyone and everyone is welcome to attend the Inclusion Festival – a sensory friendly, accessible music and wellness event for all ages and abilities. The festival’s 2018 debut marked the nation’s first festival designed to accommodate disabled people. The festival returns this year at the Kempton Community Center from July 14-16 in Pennsylvania’s Lehigh Valley region. The festival will feature virtual components to increase accessibility for those unable to attend the live event.
Activities
Presented by the non-profit Accessible Festivals and supported by Rex Foundation and Mimi Fishman Foundation, the Inclusion Festival offers a uniquely immersive, fully inclusive experience. The festival offers music, workshops, camping, art, relaxation areas, a resource fair, a parade, flow arts, and more. The events are presented in an environment entirely designed to be accessible for all, including sensory-friendly music, sensory-friendly supportive relaxation spaces, and more.
Additionally, in an effort to increase accessibility, the virtual component of the festival will include an accessible livestream with captions, virtual workshops, virtual sensory zones, home activities, and more.
Music
The festival largely emphasizes the role of music in connecting people. Music is a universal language with the ability to connect people from differing backgrounds and experiences. Inclusion Festival strives to feature diverse and disabled regional artists, showcasing a wide variety of genres and styles.
This year’s lineup will include Flux Capacitor, a trio of brothers from Pennsylvania who meld rock and electronica. Additionally, Gooch & The Motion will deliver a unique blend of country, blues, and rock & roll. Miss Cantaloupe will perform Fleetwood Mac’s Rumors album. Performances from Liz Bills & The Change,Lee Ross,Darlingtyn, and a special Inclusion Family Jam will bring celebrate inclusion through music.
More Information
All festival donations directly support Accessible Festivals, a non-profit committed to empowering communities through accessible music and recreation. Accessible Festivals fosters connection and understanding through music, creating an inclusive platform for all abilities and identities to connect. Inspiring the creation of safe, inclusive, and equitable communities
To purchase tickets, donate, get involved, or learn more about accessibility at the event, visit their website.
