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  • The life of Television frontman, Tom Verlaine

    Songwriter, singer and guitarist Tom Verlaine embodied the ideals of punk in more ways than one. From turning down a record deal from Clive Davis to inspiring the Ramones themselves, the famed frontman of the band Television left an indelible mark on the punk/alternative music scene of the 70’s.

    Verlaine died on Saturday, Jan. 28 at the age of 73. The musician passed away from an unspecified “brief illness,” according to Jesse Paris Smith, daughter of Patti Smith

    Tom Verlaine was the frontman and guitarist for the band Television. He died Jan. 28 at the age of 73. Photo via Getty Images
    Tom Verlaine was the frontman and guitarist for the band Television. He died Jan. 28 at the age of 73. Photo via Getty Images

    Before he was a punk icon, Tom Verlaine was simply Tom Miller, a young boy from New Jersey. When he first heard the Rolling Stones as a teen, he traded in his saxophone for a guitar and embarked down the path of rock n’ roll. 

    Still, his earlier jazz influences, listening to the likes of John Coltrane and Stan Getz, would contribute to his unique style of playing long after he picked up the six-string. In favor of punk’s typical style of gritty power chords, Verlain’s sound was often characterized by comparatively clean and improvisational guitar work.

    Together with his school friend Richard Meyers (stage name Richard Hell), Verlaine would form the band Neon Boys, which after a few member rotations, would become Television.

    CBGB played an important role nurturing early punk bands like Television and the Ramones
    CBGB played an important role nurturing early punk bands like Television and the Ramones | photo via Getty Images

    Television became a fixture of the emerging punk scene in New York in the 1970’s. The band frequently played at the music club CBGB, a venue now famous for its role in nurturing early punk bands like the Ramones and Blondie.

    While Television never quite became a mainstream success, their debut album Marquee Moon, released in 1977, is widely regarded as the quintessential punk album of the decade. Its unique approach to the genre would inspire waves of bands – from the Red Hot Chili Peppers to Joy Division – in the years to come. 

    Although only 8 tracks, Marquee Moon was a complex body of work. Its title track alone  is over 10 minutes long. Matt LeMay of Pitchfork, described Veraine’s guitar playing on Marquee Moon in a retrospective review of the album: “Taken out of context, the guitar solos on Marquee Moon aren’t just unimpressive; they’re downright illogical. Everyone who plays guitar will, at some point, learn the solo from “Stairway to Heaven,” but it’s practically impossible to sit down and actually play anything from Marquee Moon.”

    Television's debut album Marquee Moon released 1977. Verlaine, 2nd fromm left
    Television’s debut album Marquee Moon released 1977. Verlaine pictured second from left.

    Initially Marquee Moon ranked on the Billboard 200 albums chart, although it actually performed better in Europe. Decades later the album would be recognized for its truth worth, listed on both Rolling Stone‘s  2003 list of the 500 greatest albums of all time and as number 3 on Pitchfork’s list of the best albums of the 1970s. 

    Television broke up only a year after in 1978, shortly after the release of their second album Adventure. However, in the 90’s they would reunite and release their self-titled third and final album.

    Verlaine was not deterred by the band’s initial breakup, starting his solo career in 1979. Over the decades he put out a mixture of LPs and albums and collaborated with music icons the likes of David Bowie and the Violent Femmes. His last two solo albums, Songs and Other Things and Around, came out in 2006.

    Tom Verlaine of Television playing a modified Jazzmaster | Photo via Reddit
    Tom Verlaine of Television playing a modified Jazzmaster | Photo via Reddit

    Verlaine led a relatively quiet life in the last decade, rarely touring and releasing no new music. He was modest about both his work and career telling the Irish Times in a 2013 interview, that he himself was tired of the hype around Marquee Moon.

    I don’t want to really talk about that record any more. I don’t know why people have such an interest in it. I just don’t get it. So much has been mentioned about that album there’s probably not much more that can be said.

    Tom Verlaine

    He would then add regarding the production, “It’s basically a live record with the mistakes patched up and with some editing here and there. I never think of it in any context in particular. It seems to get rediscovered by a new generation every 10 years or so, which is kinda cool.”

    While Verlaine’s death is tragic, it’s possible even more generations will now discover his iconic work. Those that were already fans of his work now mourn his sudden passing.

    Michale Stipe, formerly of R.E.M said on Instagram, “Bless you Tom Verlaine and thank you for the songs, the lyrics, the voice! And later the laughs, the inspiration, the stories, and the rigorous belief that music and art can alter and change matter, lives, experience. You introduced me to a world that flipped my life upside down. I am forever grateful.”

    Mike Scott of The Waterboys tweeted: “Tom Verlaine has passed over to the beyond that his guitar playing always hinted at. He was the best rock and roll guitarist of all time, and like Hendrix could dance from the spheres of the cosmos to garage rock. That takes a special greatness.”

  • Kingston’s Old Dutch Church to host Al Olender “Alentines Day” Show on Feb. 4

    Singer/Songwriter Al Olender has announced a one-off Valentines themed show at Old Dutch Church in Kingston on February 4th.

    Alentines day poster

    The show, dubbed “Alentines Day”, will be a “cathartic taking back of Valentines Day for everyone” says Olender. Special Guests will join her in performing new songs and old favorites off her debut album Easy Crier. The show is also dedicated to the city of Kingston itself, culminating in an intimate dream performance for Olender.

    “This show is for the broken-hearted, the new relationship energy you don’t know where to put, the crushes you’ve had and have and maybe will meet at this show.”

    Al And Easy Crier

    On her debut full-length album Easy Crier, Olender asks: what happens if we vow to never tell a lie, ever again? On Easy Crier, Olender pieces together her most vulnerable moments to produce a celebratory and beautiful rumination on grief, and reminds us of the power that comes in really getting to know yourself.

    Al Olender performing
    Al Olender

    Recorded at The Church in Harlemville, NY, the album sees delicate keys dance alongside acoustic plucks, brooding strings and lush harmonies. There are moments of exploring the often fine line between funny and sad that makes Easy Crier a portal for relief. It’s an album that takes each shattered, heartbroken piece and puts them back together to form a strangely beautiful mosaic.

    For Tickets and more information, visit ImpactConcerts.com

  • An Interview with Reese Fulmer and the Carraige House Band

    Unity is a great thing in music. Having one person with all the spotlight supported by shadow people makes for good reality television, but in real, vibrant people, the most passionate players seek each other out for lessons in applied sorcery. One such coven surrounds Reese Fulmer and makes up Reese Fulmer and the Carriage House Band. Their sound reflects the yearning of music holding hands with collective years of talent. I sit with Reese and discuss the finest in carriages. 

    reese fulmer

    Liam Sweeny: You’ve said that Reese Fulmer and the Carriage House Band is as much a concept as a band. It’s an evolving ensemble of some of the area’s top performers. People, talented people, come and work on your music. And for there to be that kind of draw, your music has to have a deep appeal. What do you feel draws people to your work?

    Reese Fulmer: I wish I knew the right answer for this question. I think one reason is that I approach my own music with a reverence that resonates with the way they feel about music in general. I love my music and I love how they help it grow. I recognize the work they do on stage, in preparation, and with their other groups, and deeply respect the talent they have and I’ve made it clear that I trust them completely. I value their time and try to keep it interesting for them, and I make sure I’m organized and easy to work with. 

    If there is any sort of deep appeal, I think it’s as much a credit to the variety of live music and the quality of the players I’ve been exposed to as anything else. There’s a wide range of sounds that make their way into my writing and then every time I get to play with the band I hear new things and it influences my work from there. So through that I’ve been able to improve my own songwriting and continue bringing them new stuff and new ideas, and I think they’ve seen that progress and embraced the way I’m going about being a bandleader. 

    LS: Working with other musicians is fulfilling, but its also a challenge. Because as much as you have a vision for your work, they’re going to have an interpretation of it that you might not see coming. How to you manage to keep your sound the way you like it while allowing others to give it new directions?

    RF: When we play live, everyone in the band has total freedom. I come up with the arrangements and some vague ideas about a vibe I think makes sense but within that structure I never tell anyone what to do. I throw a bunch of colors at the wall and they react to each other. I rarely have a plan for who takes which solos, I decide in the moment and they stay on their toes. They know that all I want is for them to be themselves. That probably gets at your first question too. The Carriage House Band sound will be whatever they decide to make it and that’s the way I like it. 

    On the studio work I sometimes give more specific direction, but again I’m calling on people because I know their sound and I want to hear their version of my idea. Most of my guidance has to do with dynamics and timing. I think Chris Carey and I have a good production balance where I outline the broad strokes and Chris has such a great ear and can finetune harmonies and smaller details within that structure. 

    reese fulmer
    photo by Frankie Cavone

    LS: You were nominated for a 2022 Listen Up award, Radioradiox’s first award show. Whether or not you have high regards for awards, this was the first of its kind, and you made a list drawn up entirely by supporters and fans. Seeing as how we live or die by support, how important do you think fan recognition is?

    RF: This is a tough one. I think it’s easiest if I don’t mention my regard for awards. But in terms of lifting the presence of an artist or band in a regional music scene, the opportunity to be nominated and recognized in that capacity where it puts your name in front of a community that really cares about music is important. To write someone’s name in a category for nomination should mean that you must have been impacted by their music on some level, and to me that right there is the most compelling part. And as an annual event it serves another important purpose where we can gather and celebrate how prolific and creative we’ve collectively been over the past year. 

    LS: At this writing, which may be surpassed, you have an EP out called All the Time in the World. It features an impressive cast of characters, including two people I’ve followed since being in ink, Brian Melick and Caity Gallagher. And that’s not to really play favorites or anything. Tell us about the album, and what you were imagining for it?

    RF: So the full vision for the album is to be a complete 12 song project. At this point I’ve got four recorded, the studio versions anyway, and the rest I’ll put together as I go. There may be a few live recordings released in the meantime. The common thread for the writing on the album has to do with our experience of time, which was a theme that I kept finding in my songs. It really appears in all my writing to some extent, but these are a collection of the earlier works. Front to back, it will probably have a broad range of production and ideas, most of which I haven’t thought of yet. And yes, I have a massive amount of respect for all the musicians featured on the project so far. They’ve approached it with a lot of detail and care and already made it into something larger than I could have designed.

    LS: A theme that I see surrounding you is versatility. Your music reflects it, one couldn’t imagine anything coming out of what you do that wasn’t versatile. But versatility is relative. You could have a country song where every player can play every part, and they’re versatile, but it’s the same song. What does versatile mean to you?

    RF: There’s a belief in martial arts that the best form is to follow no form at all, which implies a certain level of fluency in all of them. I think that the foundation of how I’ve learned about music has been without form for the most part, at least within the independent roots scene as a whole. The bands I’ve connected with have played really loose and relaxed, regardless of genre or background, and communicated the joy of that feeling to the audience. All those different playing styles are just variations on that same language. The players I’ve been lucky enough to play with have that level of fluency on their instruments and can hear whatever sound I give them and give back what it needs from them. 

    LS: The future looms large, and there’s no end to the projects that could be forthcoming, not just for you but for the people in the cast and crew. Can you tell us what you’re doing in the near future, and maybe a few projects of some of the other players? And in particular, anything that brings your general ensemble together. The floor is yours.

    RF: Thanks for giving me the chance to talk about this stuff! I’ve got full band release shows at the Park Theater on 1/26 and the Cock n Bull on 2/23 which will coincide with tracks 3 and 4 being available online. I’m starting to plan out my spring and summer schedule, which should include some trips around to small northeast venues. Most of that will be solo or duo/trio whenever possible. And playing as much as I can with larger versions of the band, at venues around the area and on festival stages. Hopefully we’ll keep finding people that want to listen!

    There are a ton of projects that are connected to Carriage House Band players. To narrow it down a bit, here’s a list of regional bands (in no order and definitely incomplete), with familiar faces behind them, to pay attention to: Honeysuckle, Rodeo Barons, North & South Dakotas, Blue Ranger, Super 400, Family Tree, Drank the Gold, Wax Shamu, the full band projects of Girl Blue, Angelina Valente, Sydney Worthley, Carolyn Shapiro, and Hold on Honeys, O-Man & The Nite Trippers, Golfstrom, Heard, Daisycutter, Jim Gaudet & The Railroad Boys… all of them creating amazing music. I’m grateful that they find ways to share their time and talent on my music here and there.

    This interview originally appeared in The Xperience Monthly.

  • Oropendola Releases “Knocking Down Flowers” off upcoming debut album

    Brooklyn‘s Oropendola has announced the release of her newest LP Waiting For The Sky To Speak out on March 17th. Along with this exciting news, she has just released the single track on the album “Knocking Down Flowers,” accompanied with a beautifully hazy and shimmering video to go with it.  

    When listening to “Knocking Down Flowers,” Schubert finds life in the least likely of places: a construction site. Here, she recognizes and illuminates the power of living at the intersection of contrasts.  

    Waiting For The Sky To Speak is Joanna Schubert’s debut album as Oropendola, a word that means “golden pendulum.” The album’s emotional core comes through on roiling ballad “Trust the Sun” and clear-eyed album closer “When You Carried Me,” which both look to the sun, another kind of golden pendulum, as a guiding force.  

    Set to release March 17th, these tracks shimmer with bursts of energy and emotion, swinging from playfulness to earnestness with deft, technicolor brushstrokes. The album is a celebration of choosing life even in the face of its ephemerality, and of finding motion even in the midst of stillness. 

    While much of the rest of Waiting for the Sky to Speak careens across black-ice patches of inner conflict, both these songs offer a tentative hand outward, towards love, friendship, and family. The fixed sun in a changeable sky as she coaxes herself back out into the world. 

    Joanna says of the track and its inspiration, “In January 2020, I started recording myself improvising every morning – “morning pages” inspired by The Artist’s Way, a creative self-help book. I recorded morning pages #1 soon after a pivotal, complicated, on-and-off relationship “reached its end. Round and round we went, addicted to one another, unable to break free of a sticky cycle that prevented us from fully blooming together. That song seed turned into Knocking Down Flowers within a few days.” 

    To listen to more of Oropendola, click the link here.

    For more information about Oropendola and upcoming tour dates, click the link here.

  • The Van Pelt Announce First New Album in 25 years, Saint Vitus Bar show

    For the first time in 25 years, New York City based The Van Pelt have announced their upcoming fourth studio album, Artisans & Merchants, which will be released March 17th. The album will join a series of shows, including stops at Brooklyn’s Saint Vitus Bar.

    The Van Pelt

    The album was recorded and mixed in Summer / Fall 2021 by Jeff Zeigler at Uniform Recording in Philadelphia, PA, and features guest appearances by Nate Kinsella and Ted Leo among others. The Van Pelt has returned to explore what was left behind with Artisans & Merchants.

    This is not a reunion album. This is vindication. For lovers of The Van Pelt, listening to Artisans & Merchants is like hearing the voice of a dear friend you haven’t seen in years — a friend you used to share countless beers with over banter that went nowhere other than delivering a solid night. Your friend is older, they’ve changed. In some ways you’re worried for them. In other ways, it’s the same old them, a soul too unique to ever be altered.

    The Van Pelt frontman Chris Leo
    The Van Pelt

    The first single “Punk House” is out everywhere now along with a brand new music video. The video features digitized archive footage from The Van Pelts US tours of the mid-90s.

    When a bunch of old VHS tapes were unearthed, we had them digitized and they turned out to be from tours of the mid-90s. The footage is mainly of daily banalities: random purchases at rest stops, packing and unpacking the van, highway views that could be on the outskirts of Any Town USA. Yet there is a nostalgia to it that’s compelling to everyone

    Chris Leo

    For more information, and to purchase tickets, visit thevanpelt.bandcamp.com

  • Lil Baby and Michael B. Jordan Deliver a Saturday Night Live Knockout

    For the second episode of Saturday Night Live in 2023, Michael B. Jordan, star of the Creed franchise, hosted for the first time with musical guest Lil Baby.

    lil baby saturday night live

    The cold open featured Mikey Day as Attorney General Merrick Garland, who made light of classified documents found in former presidents homes, but made Garland out to seem more serious and tough than his demeanor implies. Day (as Garland) said, “I may look like I was born in a library, but there is something you should know: Merrick Garland don’t play.” The opening ended with a reference to Tyre Nichols and the recent release of videos confirming police brutality, this time in Memphis.

    For his monologue, Michael B. Jordan wore a plum colored suit, offering that “Tonight, Michael B. Hosting. Michael B. Nervous. Michael B. Vulnerable. Michael will be aight.” Reaffirming that he was indeed single, Jordan had a playful monologue, with female cast members coming to the stage hitting on him, including Ego Nwodim in a full wedding dress.

    The first sketch of the night was one of the strongest, with a ‘Good Morning Today’ TV show with a premise of a cooking segment being conducted by a reporter (Sarah Sherman) and weatherman (Jordan) both of whom were stuck on a roller coaster for 19 hours at full speed. Sherman ran with this out-there concept that has been present this season more than in recent memory, using her eccentric talent and joining the ranks of past female physical comedy cast members, among them Kristin Wiig, Cheri Oteri, Molly Shannon and Gilda Radner.

    The first song from GRAMMY winning trap rapper Lil Baby performed “California Breeze” from his October 2022 album It’s Only Me. With a live four-piece band, Lil Baby wore a green basket weave coat
    while performing on a red-lit stage that look like you were staring into wreckage, with a giant crack through middle of the set.

    Lil Baby appeared on Saturday Night Live back in 2019 during DJ Khaled’s set, joining Lil Wayne, John Legend, Meek Mill, SZA and others as a tribute to Nipsey Hussle, who was fatally shot in Los Angeles months before.

    https://www.youtube.com/watch?v=-GLGokc-RwY

    Weekend Update felt a little short this week, but did welcome back Angel (Heidi Gardner) as ‘every boxer’s girlfriend from every movie about boxing ever.’ This led to Jordan appearing as Adonis Creed from the Creed films, of which the third installment is out in March.

    The second performance from Lil Baby on this week’s Saturday Night Live was the song “Forever” on the same blue hued same stage but with only a pianist and rapper Fridayy projected onto the wall behind Lil Baby and singing the chorus. Fridayy appears on the studio version, and also produced the track alongside Bizness Boi & Fortune.

    https://www.youtube.com/watch?v=Q1k8lNjiRoY

    Of note, earlier this week, a unionized group of post production workers at Saturday Night Live authorized a strike so as to expedite negotiations on their first contract, which they report as having stalled. The group is unionized with the IATSE-affiliated Motion Picture Editors Guild last year and handles post-production on pretaped sketches, including music videos and commercial parodies. There were still three pre-taped sketches this week, and two last week, so it may be possible that SNL will be even more live in coming weeks if the strike does take place.

    SNL is back on February 4 with host Pedro Pascal and musical guest Coldplay.

  • Grammy Nominated Shemekia Copeland Announces NYC Tour Date

    Grammy Nominated Shemekia Copeland has announced her new tour to promote her Grammy nominated album Done Gone Too Far. Copeland will perform at City Winery in New York City on Wednesday, February 1st.

    LOS ANGELES, CA— MARCH 18, 2022 RECORDING ARTIST, BLUES SINGER, SHEMEKIA COPELAND FOR ALLIGATOR RECORDS. Photos by Victoria Smith Make Up by KATE KATS

    Touring After A Winning Year

    Her newest single “Too Far To Be Gone” features guest appearances by her friends Sonny Landreth, Cedric Burnside, Kenny Brown, Oliver Wood, Charles Hodges and Aaron Lee Tasjan.

    She was also recently nominated for four Blues Music Awards for Album Of The Year and Contemporary Blues Album Of The Year (for Done Gone Too Far),  Song Of The Year (for “Too Far To Be Gone”) and Instrumentalist Of The Year (Vocals). Copeland was also the 2021 Blues Music Award for B.B. King Entertainer Of The Year.

    Two Decades Of Talent

    Shemekia Copeland is is considered the blues/soul voice of her generation. As a contemporary Black woman, she brings her immense talent and charisma to topical new originals that reflect her deep social conscience. She delivers her hard-hitting musical truths through her eyes, those of a young American Black woman, a mother, and a wife. But she likes to have fun too, and her music reflects that.

    “This album was made by all sides of me — happy, sad, silly, irate — they’re all a part who I am and who we all are. I’m not political. I’m just talking about what’s happening in this country” Says Copeland.

    LOS ANGELES, CA— MARCH 18, 2022 RECORDING ARTIST, BLUES SINGER, SHEMEKIA COPELAND FOR ALLIGATOR RECORDS. Photos by Victoria Smith Make Up by KATE KATS

    Copeland has performed thousands of gigs at clubs, festivals and concert halls all over the world since her Alligator Records debut Turn The Heat Up hit in 1998. She has appeared in films, on national television, NPR, and in magazines and newspapers. She’s sung with Bonnie Raitt, Keith Richards, Carlos Santana, and many others. Copeland has also shared a bill with The Rolling Stones. In 2012, she performed with B.B. King, Mick Jagger, Buddy Guy, and others at the White House for President and Mrs. Obama. She has appeared on PBS’s Austin City Limits and was the subject of a six-minute feature on the PBS News Hour.

    NPR’s Jazz Night In America recently aired an hour-long program featuring Copeland. In April 2022, she performed at the United Nations General Assembly Hall for International Jazz Day celebrations. Copeland continues to host her own popular daily blues radio show on SiriusXM’s Bluesville

    Tickets for her upcoming show are available at www.citywinery.com and shemekiacopeland.com

    Done Gone Too Far is now available to stream and purchase.

  • Mikeala Davis Closes out ‘Dead of Winter’ Residency at Tubby’s and Abilene on February 1& 2

    On the brink of a new album, Rochester native, Mikeala Davis and her band, Southern Star, will complete their residency as one of the hottest live music acts in upstate New York. The Catskil transplant returned home for a set of performances at Abilene in Rochester and Tubby’s in Kingston.

    The “Dead of Winter” residency began during a notoriously quiet period live music-wise. A run of sold-out performances have re-affirmed belief that fresh sets, familiar places and homegrown talent would bring people out to enjoy live music.

    Mikeala Davis and Southern Star complete their residency at Tubby’s and Abilene.

    Mickeala Davis and Southern Star on the Rise

    In effect, “Dead of Winter” began with a performance at Tubby’s on Wednesday, January 18, with Davis and Southern Star performing weekly on Wednesdays and Thursdays at Tubby’s and Abilene. However, the final two nights of Southern Star’s residency will be on February 1 and 2. To boot, the band will perform two sets nightly, starting with their own tunes and a later Grateful Dead themed set. As a result, the Dead set themes have been varying by week; Mik’s Picks Vol. 1: ‘67-‘72 for week 1, Garcia in its entirety for week 2, and Mik’s Picks Vol. 2: ‘73-‘87 for the upcoming February shows. While, the Abilene show is sold-out but tickets for Mikeala Davis at Tubby’s on Wednesday night can be found here.

    Mikeala Davis and Southern Star have seen all of their Kingston shows sold out.

    We’re planning two sets every night. First set is original songs and second is a dead set. This is a chance for us to revisit some old songs and experiment with new ones while continuing to explore the music of the Grateful Dead. Hope to see you there!

    – Mikaela Davis

    A classically trained harpist, Mikeala Davis’ style brings together elements of classic rock, ’60s and ’70s pop, roots Americana, and contemporary modern singer-songwriter croons. Davis and Southern Star have shared bills with such names as Bob Weir, Bon Iver, Lake Street Dive. Moreover, Davis joined Phil Lesh & Friends during the first weekend of their Phil-o-Ween residency at The Capitol Theatre. Her newest release is 2022’s The Relix Sessions, which focuses on live versions of tracks from 2018’s Delivery. At the present time, the group is planning a new studio album that will mark the first official studio recordings by Davis and Southern Star.

  • The Gibson Brothers Inspire with Darkest Hour

    “I feel your pain” was a catch-phrase made popular by former President Bill Clinton, in an attempt to convey empathy. Brothers Leigh and Eric Gibson have a new album, Darkest Hour , set for release on January 27th, might be the best example on how music can draw empathy out of us. This is especially true in the track, “I Feel The Same Way As You”.

    The Gibson Brothers have had wonderful success in the world of bluegrass, and there’s no stopping them now. Superb songwriting on “Darkest Hour” they deliver 12 tracks produced by Jerry Douglas. The album holds dear to the standard bluegrass and a few of the tracks have lap steel, percussion, and electric guitar masterfully blended together by Jerry Douglas.

    Connecting through Conversation

    You know Gibson makes some really fine guitars. There’s nothing like the Gibson brothers! I had an extended converation on The Long Island Sound podcast, as we took a deep dive into their back story and the pending release of their new album, Darkest Hour.

    I’m so interested in families, wives and husbands and brothers who play music together. The musical journey of the brothers on a dairy farm in northern New York, about two miles from the Canadian border. Their dad would alway keep instruments around the house, he’d order a banjo or pick up a fiddle at an auction or order a guitar, but nobody played. Little did their father know that his was laying the foundations for his son’s future musical career.

    The Gibson Brothers Eric and Leigh

    Instrumental Influences

    Eric O’Hara, who still plays in the band these days, was instrumental (pun intended), in helping the brothers Gibson woodshed and hone their craft. They began getting serious about playing music when they were eleven and tweleve years old. The influence of Country and Bluegrass music stayed steady as they listened to Merle Haggard and Earl Scruggs. Living so close to the Canadian border, the fiddle played a big part in Canadian Country music.

    Early in their career, the Gibson Brothers did not have the opportunity to travel South, so they looked North. The CBC (Canadian Broadcasting Company), was a was an influence. The Tommy Hunter show had country music every Friday night, and they’d have American country people come up, but also really good Canadian country, artists were on the show. they would see people like Gordon Lightfoot, on CBC, and so many great songwriters from Canada, like Stan Rogers.

    And that song started coming and I came through the kitchen door and my wife started talking to me said I gotta go, I gotta go upstairs ,I gotta write I gotta get this down.

    Eric Gibson

    Success by a Thousand Trys

    Wondering if they could recall their one big break into the music industry, Leigh Gibson said “it was such a slow climb, we were prepared for when things don’t always go your way in your career, which will happen. It’s Ups and Downs, you know, but sometimes we’re glad that we weren’t that act that just jumped on the scene.”

    Things sometimes go by so fast that it is hard to appreciate what just happened. The boys recounted an experience meeting a future celebrity early in their career in Nashville.

    Erik: “Well, I mean, it was early on, we’re playing, playing the station and stuff. And one of the guys is hanging around was the guy named Dirk Bentley just happened to be working on a deal, you know, and nice guy. Just don’t know who you’re gonna run into.”

    In Nashville, the Gibsons were meeting and rubbing elbows with their heroes. They met Dave Ferguson, before he hit the big time, and recorded their first album. Ferguson is a ‘s a legend now, but when they met he was second engineer, now he’s one of the hottest producers in Nashville and, and eighteen years later, he remembered the Gibsons and wanted to do a record. And then when they did the record in 2018, it was supposed to be with Dave Ferguson, and then they get a call from their manager who said, Dan Arbok of the Black Keys wants to be involved. Circumstances came together and as they say, “The rest is history”.

    I Go Driving

    “I go driving”, the sixth track on Darkest Hour, is one of the only songs Eric had written at night. He was feeling stir crazy, wanting to get out of the house, he went for a ride and drove on Backroads of his hometown, listening to Old Country music and just trying to pretend that things were going to be good again. Eric: “And that song started coming and I came through the kitchen door and my wife started talking to me said I gotta go, I gotta go upstairs ,I gotta write I gotta get this down.”

    Energy exudes itself in Bluegrass music and the Gibsons Brothers sure know how to deliver.

    Tour Dates

    Eric and Leigh have begun their tour to promote the album.

    Catch The Gibson Brothers On Tour

    Jan. 27 – Fairfield, CT – StageOne

    Jan. 28 – Shirley, MA – Bull Run

    Jan. 29 – Newburyport, MA – Firehouse Center

    Feb. 2 – Glens Falls, NY – The Park Theater

    Feb. 3 – Clinton, NY – Kirkland Art Center

    Feb. 4 – Norwood, NY – Norwood Central School

    Feb. 9 – Annapolis, MD – Rams Head

    Feb. 10 – Richmond, VA – The Tin Pan 

    Feb. 11 – Rocky Mount, VA – Harvester Performance Center

    Feb. 12 – Durham, NC – Motorco Music Hall

    Feb. 16 – Newport, KY – The Southgate House Revival

    Feb. 18 – Nashville, TN – Analog at Hutton Hotel

    Feb. 19 – Asheville, NC – The Grey Eagle

  • World Music Institute Announces Spring And Summer Season

    Celebrating their 38th year in NYC, World Music Institute has announced their spring and summer 2023 season with sixteen performances featuring artists from over a dozen countries.

    wmi

    About World Music Institute

    Founded in 1985 as a not-for-profit, World Music Institute (WMI) has served as one of the leading presenters of world music and dance within the United States. WMI is committed to presenting the best in traditional and contemporary music and dance from around the world with the goal of inspiring wonder for the world’s rich cultural traditions, promoting awareness and appreciation and encouraging cross-cultural dialog and exchange. WMI presents at venues throughout the city and depends on both public and private funding to accomplish its mission.

    The program is supported, in part, by public funds from the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council.

    Season Highlights

    This Season’s events include the 12th annual edition of the institute’s popular Dancing The Gods Indian dance festival, and Brazilian musical legend Hermeto Pascoal. They will be joined by Korean folk-pop sensation ADG7, West African pop icons Vieux Farka Touré , Fatoumata Diawara, and many more.

    World Music Institute Executive Director Gaby Sappington states “The second half of our 2022-2023 Season continues to reflect our commitment to offering audiences affordable access to the most exciting, innovative, and meaningful voices in world music and dance. Some of them are already well known, while others are up-and-coming. All of them are united by a passion for their respective cultures and the arts. We are thrilled to bring them to NYC’s stages, celebrating our motto: MANY CULTURES – ONE WORLD.”

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    Schedule Of Events

    Red Baraat ‘Festival of Colors’ with Shubh Saran and Kahani (DJ)

    Friday, March 10, 2023
    Doors and DJ: 7 PM | Show: 8 PM
    Brooklyn Bowl – 61 Whyte Avenue, Brooklyn
    Tickets: $20
    Co-presented with Brooklyn Bowl

    Ladysmith Black Mambazo
    Rescheduled show: March 18, 2023
    Doors: 7 PM | Show: 7:30 PM
    Kaufmann Concert Hall at the 92nd Street Y – 1395 Lexington Avenue, Manhattan
    Tickets: $35 | $45 | $60
    Co-presented with 92NY

    Hamid Rahmanian’s Song of the North
    Friday – Sunday, March 24-26, 2023
    Friday and Saturday – Doors 7 PM | Show 8 PM, Sunday – Doors 2 PM | Show 3 PM
    Peter Norton Symphony Space – 2537 Broadway at 95th St, Manhattan
    Tickets: $25 | $35 | $45

    Tarta Relena
    March 30, 2023
    Doors: 7 PM | Show: 8 PM
    Tickets: $20 Advance | $25 Day of Show
    National Sawdust – 80 North 6th Street, Brooklyn
    Co-presented with National Sawdust

    NY Arab Festival
    Friday, April 7, 2023
    Doors and DJ: 8 PM
    Nublu – 151 Avenue C, Manhattan
    Tickets: $20 advance | $25 day of show
    Co-presented with NY Arab Festival

    Twelfth Annual Indian Dance Festival
    Come early each evening for a pre-performance slide lecture by curator Rajika Puri.
    Friday, April 14 and Saturday, April 15, 2023
    Doors: 7 PM | Lecture by Rajika Puri: 7:30 PM | Performance: 8 PM
    The Ailey Studios – 405 W 55th St, Manhattan
    Tickets: $35 / $45 / $55
    Night One: Sreelakshmy Govardhanan
    Night Two: Praveen Kumar

    Dakh Daughters with Opening Guest Balaklava Blues
    Thursday, April 20, 2023
    Doors: 7 PM | Show: 8 PM
    (le) poisson rouge – 158 Bleecker St, Manhattan
    Tickets: – Advance $30 | Day of Show $35

    KOKOKO!
    Saturday, April 22, 2023
    Doors: 7 PM | Show: 8 PM
    Public Records – 233 Butler St, Brooklyn
    Tickets: $25 Advance | $30 Day of Show
    Co-presented with Public Records

    Fatoumata Diawara with Opening Guest TBA
    Saturday, April 29, 2023
    Doors: 7 PM | Show: 8 PM
    Brooklyn Bowl – 61 Wythe Avenue, Brooklyn
    Tickets: $35
    Co-presented with Brooklyn Bowl

    ADG7
    Wednesday, May 3, 2023
    Doors: 7 PM | Show: 8 PM
    (le) poisson rouge – 158 Bleecker St, Manhattan
    Tickets: Advance $30 | – Day of Show $35
    With promotional support from The Korea Society

    Vieux Farka Touré with Guest
    Thursday, May 11, 2023
    Doors: 7 PM | Show: 8 PM
    Brooklyn Bowl – 61 Wythe Avenue, Brooklyn
    Tickets: Advance $25 | Day of Show $30
    Co-presented with Brooklyn Bowl

    Alam Khan with Manik Khan and Pandit Swapan Chaudhuri
    Saturday, May 20, 2023
    Doors: 7 PM | Show: 8 PM
    Merkin Hall at Kaufman Music Center – 129 West 67th Street, Manhattan
    Tickets: $35 / $45 / $55

    Hermeto Pascoal & Grupo
    Thursday, May 25, 2023
    Doors: 7 PM | Show: 8 PM
    Pioneer Works
    Tickets: $30 – standing room | $45 – general admission seating | $65 – preferred seating
    Co-presented with Pioneer Works

    Kiran Ahluwalia w/ Yacouba Sissoko
    Saturday, June 3, 2023
    Doors: 7 PM | Show: 8 PM
    Flushing Town Hall
    Tickets: $20 advance | $25 day of show
    Co-presented with Flushing Town Hall

    Yasser Tejeda with DJ Sabine Blaizin (Oyasound)
    Thursday, June 8, 2023
    Doors and DJ: 8 PM | Show: 9 PM
    Harlem Stage – 150 Convent Avenue, Harlem
    $20 – advance | $25 – day of show

    For World Music Institute’s season’s full schedule, with venue, artist, and ticketing info, visit www.worldmusicinstitute.org