NYS Music 2024

Tag: NYC

  • West Village Performance Space The Kitchen Announces Winter/Spring 2025 Season

    The Kitchen, a performance space located in the West Village neighborhood of Manhattan, has announced two new projects for the upcoming 2025 season.

    Lisa Alvarado and Gordon Hall will bring their performance installations to the space, while The Kitchen’s first traveling exhibition continues to distribute the organization’s work outside of New York and expand its approach to being “without walls.”

    The Kitchen

    The Kitchen‘s 2025 season will be transformed by these two monumental installation works that become new platforms and frameworks for explorative performance, while simultaneously continue to work within new modes of distribution in its first-ever traveling exhibition. 

    The latter represents a momentous step forward in the organization’s “Without Walls” programming, which harnesses the potentials of locational and institutional porousness and has presented work in dynamic sites ranging from a gas station and a park to radio and web broadcasts, often in bold cross-institutional collaborations.

    The Kitchen Winter/Spring 2025 Season Schedule

    Lisa Alvarado: Shape of Artifact Time 

    The Kitchen at Westbeth | Feb. 27–Apr. 12, 2025 | Wednesday–Saturday, 12–6pm,
    Performances: Feb. 28 and Mar. 1, 2025, 5pm
    Opening Reception: Feb. 28, 2025, immediately following the performance 
    Tickets: $10-30 sliding scale

    Lisa Alvarado’s interdisciplinary practice is rooted in cultural tradition and social history. Born and raised in San Antonio, Texas and based in Chicago, Alvarado works as a visual artist and musician with the ensemble Natural Information Society. Alvarado is inspired by the “timing and processes of slow transformation within the ground — transforming minerals, elements, and landscapes.” She calls this pace geologic time and understands these changes as “a metaphor for our internal shifts, such as in how we carry memory, loss, and inherited struggle.” 

    Code Switch: Distributing Blackness, Reprogramming Internet Art at MOCAD

    Museum of Contemporary Art Detroit | May 2–Aug. 10, 2025 | Wednesday–Sunday, 11am–5pm (Thursdays and Fridays 11am–8pm)

    The first of its kind internationally, Code Switch: Distributing Blackness, Reprogramming Internet Art is a multi-sited exhibition exploring and redefining the history of “Black data,” centering and celebrating contributions by artists of African descent to the rapidly advancing field of new media art and digital practice. Drawing its title from André L. Brock’s groundbreaking text Distributed Blackness: African American Cybercultures (2020), the exhibition explores the relationship between Black cultural production and the legacy of computation as a mode of machinic engagement and creative inspiration. This exhibition will take on two components—the first part, a historic archival timeline as presented by The Kitchen in collaboration with The Schomburg Center for Research in Black Culture in Fall 2024 (October 15–December 19, 2024); the second part, a contemporary group show, to take place Spring 2025 (April 25–September 7, 2025) in partnership with the Museum of Contemporary Art Detroit (MOCAD). 

    Gordon Hall: Hands and Knees

    The Kitchen at Westbeth | May 1–31, 2025 | Wednesday–Saturday, 12–6pm

    Opening Reception: Saturday, May 10, 2025, 4–6pm

    Performances: May 9, 10, 17, 24, and 31

    Tickets: Free

    For this newly commissioned body of work, Gordon Hall continues their practice in sculpture and performance with an installation of functional furniture-like sculptures that support reclining bodies in unexpected ways. Animated by a transgender politics that question the norms that govern embodied life, Hands and Knees extends Hall’s investigation into the politics of vulnerability and corporeal support. Performers demonstrate possible uses of the sculptures in weekly performances that emerge from Hall’s inquiry into the paradoxical interplay of vulnerability and liberation in moments of waiting.

  • Hearing Aide: Joy Buzzer’s “Pleased to Meet You”

    New York City’s own Joy Buzzer released their debut album, Pleased to Meet You for Wicked Cool Records on October 25th. Recorded in the heart of New York City, the LP boasts 10 tracks that clock in at just over 30 minutes. Pleased to Meet You is defined by the power-pop songwriting of Jed Becker, sending the listener on a blast to the past through a fresh lens.

    Formed in 2021, Joy Buzzer is a collaborative project merging the minds of The Lord Calverts and The Doppel Gang. The band consists of Jed Becker and KG Noble on guitars, Nick DeMatteo on bass, Mark Brotter on drums, and Kevin Lydon on lead vocals. This release welcomes the return of Lydon, and features guitarist Askold Buk, who helped produce the record alongside Becker. Half of the record was mixed by Grammy and Emmy award winning mixer, engineer and producer Carl Glanville. The remaining tracks were produced by Eber Pineiro. 

    Photo by Nancy Adler

    Pleased to Meet You is front to back catchy hooks and tasteful lead guitar lines. The band references artists like Fountains of Wayne, XTC, and Todd Rundgren as their source of songwriting inspiration. Tackling themes of introspection and relationships, Joy Buzzer’s arrangements and harmonies showcase their unique voice and individualized perspective, all while staying true to the genre. The musical chemistry between each member is on full display for this release.

    Well-crafted synthesizer and guitar solos, alongside memorable choruses fuse rock and pop influence to create the undeniable sound that is Joy Buzzer. When commenting on the album, the band says it’s a “bold, declarative statement of [their] intention to deliver super high-energy songs, with witty lyrics and huge hooks.” 

    Pleased to Meet You is currently available on all streaming services here. Find out more about Joy Buzzer and support them directly at joybuzzerband.com

    1. Philly Invasion: City Wide and Wax Jaw take on NYC’s Bowery Ballroom

      It’s only right for 2024 to end with a slew of high-energy concerts. On Friday, December 20, two Philadelphia based bands, City Wide and Wax Jaw, journeyed to Bowery Ballroom. The two shared similar goals: charm local New Yorkers and supportive listeners through dynamic and compelling music. 

      A view of City Wide and their audience, from the back of Bowery Ballroom

      Before these two Philadelphia based bands hit the stage, the night started off with The DTs. This modern pop duo, consisting of David Cacciatore and Tom Losito, channeled a variety of sounds. Melding into rock, punk and blues, The DTs sought to bring their hometown of Jersey to the forefront. They experimented with harmonies, catchy lyrics and rockin’ guitar riffs. The DTs also performed their new single, “Cherry,” an uplifting track, with roots in adolescent memories.

      Slowly as the DT’s set came to a close, more people started to trickle into the venue. Just after 9pm, Wax Jaw took center stage, ready to bring the energy. This past year, Wax Jaw has rapidly made its mark in the Philly music scene, drawing inspiration from punk and new wave genres. Evoking a sense of nostalgia while highlighting trans voices, the band is made of the singer Shane Morgan, drummer Ian DiBruno, bassist Greg Blanc, and guitarists Sean Vannata and George Fenton. Throughout this leg of the tour, Ben Manning replaced DiBruno’s spot on the drums.

      Right off the bat, Fenton took over the microphone, calling out to the audience to gather close and get ready to dance. Upon hearing his words, fans pressed close to the edge of the stage, tilting their heads back and forth in tune to the music.  Known for their album, Between the Teeth (2023), the band played hits such as “Be the Man,” “Mirror” and “Attitude.”  Morgan kept the crowd entranced, each song more powerful than the last. With a focus on lyricism and balanced instrumentals, the driving drum beats grounded the audience.  Halfway through the set, Fenton urged everyone to gather close to the ground. Reaching crescendo, band members and fans jumped up in the air, clapping hands and singing along.

      Wax Jaw’s high-octane performance set the mood for the rest of the night. Fans split into groups, chattering in anticipation about the previous bands until 10:30 rolled around. At this point, the front of Bowery Ballroom was packed. City Wide entered only a few moments later, earning a roar from the crowd. Vocalist Emily Goldenberg immediately made her presence well known, her strong and captivating vocals pairing perfectly Simon Sheintoch, Evan Brink and Patrick Crosgrave. Ben Manning joined once again on the drums, sticks flying as he pounded the bass and snare.  

      Placed into the alternative genre, City Wide draws inspiration from classic rock and upbeat melodies seen in tracks by The Lumineers and Mt. Joy. They honed a charismatic stage presence and their hit, “Countdown” seemed to resonate with frequenters of the Ballroom. Goldenberg declared this song was meant to pay homage to the upcoming New Year, counting down from10 in the midst of the chorus. City Wide also made sure to balance out the night with some songs on the slower side, including “Higher & Higher.”

      The evening concluded with City Wide returning for an encore. Each member donned Christmas themed sunglasses to cover Chuck Berry’s “Run Rudolph Run.”  A whirlwind of energy overtook the room, bodies swaying in time to the rocking, fast paced rhythm. Ending 2024 right at Bowery Ballroom, both Wax Jaw and City Wide hope to play NYC once again in the coming year.

    2. Ecce Shnak Releases Pensive Track Prayer on Love

      New York City-based outfit Ecce Shnak has released their latest single off of their forthcoming EP titled Prayer on Love, meditating on the complexity of the word and all of its implications.

      Subverting all concepts of genre and style while playfully embracing the full spectrum of sonic opportunities, Ecce Shnak is truly a one of a kind band. Based in New York City, their art-rock endeavors span pop, classical, punk, and beyond as they tackle the wide variety of ideas that capture their interests most.

      Debuting in 2019 with Joke Oso with their second album Metamorphejawns soon to follow, Ecce Shnak has returned with the second pre-release single off of their latest project Shadows Grow Fangs.

      Self-described as their most “whole-grain rock song to date,” “Prayer on Love” considers the concept of love in contrast to the conclusions drawn by today’s society. 

      Richly textured with guitars, snare drums, and distinct vocals, the track explores their ruminations on the topic above the group’s signature sound that subverts notions of style and is simply overflowing with dedicated creative care and complexity. 

      “It’s a meditation on the nature of love and its diverse manifestations. It honors the complexity of love without declaring that it ‘is all we need.”

      – David Roush, frontman of Ecce Shnak

      Defining love as not a singular necessity but a beautiful, intangible entity that coexists with the countless other aspects of life and in turn only making the others more precious, “Prayer on Love” is an entrancing contemplation whose deft lyricism lends itself to a rather poetic track at large.

      Ecce Shnak has also published an official music video for “Prayer on Love” alongside the track’s release, featuring the members exploring their ruminations among a field of flowers and various eye-catching psychedelic visuals.

      “Prayer on Love” is one of five tracks slated for release on the band’s upcoming EP Shadows Grow Fangs, which will reach the public on February 7.

      For more information on their current endeavors, the upcoming Shadows Grow Fangs, and all things Ecce Shnak, be sure to check out their official social media pages here and here.

    3. Artists FlowPoetry and Noah Lehrman to Release “Flames & Flowers & Steam” Live Album from NYC Tour

      Spoken word artist FlowPoetry and multi-instrumentalist Noah Lehrman have announced the release of their live album slated to release Dec 17.

      FlowPoetry (aka Adam Pergament) is a neo/beat spoken word artist who hails from Madison, Wisconsin. Noah Lehrman is a NYC-native world/fusion drummer and multi-instrumentalist. The two artists were recently on tour in the Northeast when an opportunity arose at Rockwood Music Hall in NYC.

      Upon finishing their July 31 gig, the duo met up with pianist Shoheen Owhady for their second show of the day, a breakout midnight jazz set as a trio. The three talents felt a connection with Adam’s languid words and Noah and Shoheen’s stunning improvisation on “Tonight”, “DripStuck”, and “Get Up Off the Floor”, along with sparkling reimaginations of FlowPoetry classics “Holy Man”, “Garden”, and “Braincells”, topped by a literally show stopping version of “Rachet”- for an audience crawling with electricity.

      Flames & Flowers & Steam is the resultant live album of that late set at Rockwood. The album’s first two singles “Tonight”, an opening incantation that distills the evening’s magic down to its lyrical and experimental essence, and “Drip Stuck”, a romantic meditation on love and loss, are no available on Apple Music, Amazon Music, iTunes, Pandora, Spotify, and all streaming services and digital platforms.

      FlowPoetry and Noah Lehrman’s Flames & Flowers & Steam boasts 11 tracks. Each track more unique and exciting than the last. With sensational wordplay, fantastic musical dynamics, and overall, an intoxicating bunch of melodies, this live album is sure to impress the listener as it did the audience in attendance.

      That show marked the end of a Midwest-East Coast tour that spanned 3,000 miles, 11 cities, 8 states, 6 guests and 2 time zones, and saw the debut of music and improvisations touching on styles spanning jazz to jambands and edm to cosmic cowboy tunes.

      FlowPoetry/Adam is the originator of the lyrical jam poetry form, with over 1800 live US performances under his belt. As a drummer/percussionist, Noah has performed with members of moe., Phil & Friends, RatDog, and more, and he appears internationally as a singer-songwriter. Together they bring a lyrical sense and melodic beats to their song-structures, improvisational explorations, and psychedelic imagery.

      For more information on FlowPoetry and Noah Lehrman’s upcoming live album Flames & Flowers & Steam, click here.

    4. Rose Theater in NYC Hosts Premiere of “Blind Injustice” Performed by MasterVoices this February

      On February 3 and 4, Artistic Director Ted Sperling leads the 120–member MasterVoices Chorus in the premiere of the acclaimed opera, “Blind Injustice.” The show takes place at the Rose Theater at Jazz at Lincoln Center.

      blind injustice

      “Blind Injustice” features music by Scott Davenport Richards and libretto by David Cote. The opera tells the true story of the Ohio Innocence Project’s work to overturn the convictions of six men, women, and teens who were wrongly imprisoned for violent crimes they didn’t commit. The opera is based on the book of the same name by Mark Godsey and the casework by the Ohio Innocence Project at the University of Cincinnati College of Law. The inspiring 90-minute work in staged presentation showcases an operatic score infused with jazz, gospel, funk, hip-hop, and musical theater. The shows take place on Feb 3 and 4 at 7:30pm.

      “Blind Injustice” makes its New York premiere following a critically praised world premiere at Cincinnati Opera in 2019 and a subsequent production at PEAK Performances at Montclair State University (MSU) with Ted Sperling conducting and members of the MasterVoices Chorus joining MSU choristers in February 2024. Immediately following each performance, there is a 30-minute moderated conversation with four exonerees portrayed in the opera: Nancy Smith, Laurese Glover, Clarence Elkins, and Rickey Jackson, as well as artists and experts working in the field of criminal justice reform. Conversations are free to ticket holders.

      Rose Theater at Jazz at Lincoln Center

      MasterVoices (formerly The Collegiate Chorale) was founded in 1941 by legendary American choral conductor Robert Shaw. Under the artistic direction of Tony Award winner Ted Sperling since 2013, the group is known for its versatility and a repertoire that ranges from choral masterpieces and operas in concert to operettas and musical theater. Season concerts feature a volunteer chorus of 100+ members from all walks of life alongside a diverse roster of world-class soloists from across the musical spectrum.

      Conductor Ted Sperling

      One of today’s leading musical artists, Tony Award-winning Maestro Ted Sperling is a classically trained musician whose career has spanned from the concert hall and the opera house to the Broadway stage. Presently Artistic Director of MasterVoices, he has led such symphony orchestras as the New York Philharmonic, San Francisco Symphony, Chicago Symphony, Boston Pops, San Diego Symphony, Philadelphia Orchestra, Dallas Symphony, the Iceland Symphony, Czech National Symphony, and BBC Concert Orchestra, as well as New York City Opera and Houston Grand Opera. Put simply, you’ll want to catch him live conducting this opera in February.

      For more information on the upcoming “Blind Injustice” opera performed by MasterVoices at Lincoln Center, click here.

    5. Brooklyn-Based Composer Avinoam Ettun Releases Latest EP, “Looking Into Your Soul”

      Jerusalem-native Avinoam Ettun, currently based out of Brooklyn, has announced the release of his latest EP Looking Into Your Soul, released on December 6.

      Avinoam Ettun Releases Latest EP

      Avinoam Ettun is a contemporary music performer-composer and improviser based in New York City. With a focus on creating compositions for large ensembles and his own string quartet, Avinoam combines the sounds of electric guitar and chamber music. Ettun actively collaborates with animators, painters, filmmakers, and dancers and explores the intersections of different art forms. Ettun holds a Bachelor of Music in Composition from The Jerusalem Music Academy and a Masters from the New School.

      The EP features three instrumental tracks inspired by portrait imagery, recorded in collaboration with pianist Itamar Dahan, with Avinoam on guitar. The project combines jazz, contemporary sounds, and visual art. The first song on the EP, “East West” features a powerful piano riff, coupled with somber guitar tones. The track grows and morphs, hits highs and lows, before coming to a blissfully peace-laden ending.

      Avinoam Ettun Releases Latest EP

      Similarly, the title track, “Looking Into Your Soul” presents a hearty and emotional piano with an accenting guitar that adds little nuances to each section of the song. Each song sounds familiar, like it has a classic, vintage sound of talent that existed in the past. Avinoam Ettun takes this sound and makes it his own with a blend of notes of eastern instrumentation, and golden era classical music.

      Finally, the last track of the EP, “The Dreaming Kid in the Sand” tells a story without using words, as Ettun’s other songs on the album do. The title perfectly encapsulates the theme and vibe of the song. The song truly feels like a child daydreaming in a peaceful yet whimsical place. Avinoam’s music is dynamic, powerful, unique, and inspiring. This kind of music is what today’s soundscape lacks in my opinion. True compositions about true, heartfelt, spiritual themes.

      For more information on Avinoam Ettun and to check out his newest EP, “Looking Into Your Soul,” click here.

    6. Moon Hooch Brings Relentless Energy to Bowery Ballroom

      If you want to rave to a collection of saxophones and woodwinds, then Moon Hooch is the band for you. Yes it’s weird, yes it’s wild, and yes it’s a fun show to dance to. 

      Moon Hooch at Bowery Ballroom 12.7, Photo Credit: Aidan Lukomnik

      On Saturday, December 7, Moon Hooch brought their energetic mix of Jazz and Electronic music to Bowery Ballroom in downtown Manhattan.

      A truly New York sound, Moon Hooch was born when Michael Wilbur (Horns, woodwind, vocals), Wenzl Mcgowen (Horns, woodwind, synth), and James Muschler (original drummer) met at The New School. The band, now with Cyzon Griffin on drums, started playing together as buskers across the city. Often playing in the subway, Moon Hooch was banned from the Bedford Ave L station for bringing in crowds that were dangerously large. 

      Audience Member; Photo Credit: Aidan Lukomnik

      That history of busking can be heard in their music, as the trio at times evokes the guttural sounds of an oncoming train paired with high-pitched notes reminiscent of a closing subway door. They even use found objects, like a traffic cone, on stage as a mute to alter their sound. 

      Photo Credit: Aidan Lukomnik

      On December 7, COFRESI opened for Moon Hooch. The drummer and beatmaker brought together modern techniques (looping, drops, Trap and Dancehall melodies) with samples from hits like, “Ain’t No Sunshine,” “Stand By Me,” “Mr Sandman,” and “It’s Tricky” to create a sound all his own.

      COFRESI Photo Credit: Aidan Lukomik

      As Moon Hooch took the stage, audience members head banged, grinded, and jumped up and down – emphasizing how many different musical sub-cultures came out to see the band. 

      The band’s physicality is impressive, as Michael Wilbur and Wenzl Mcgowen dance throughout a set that’s over an hour while Cyzon Griffin’s rapid drumming holds down the beat. Throughout the set there wasn’t an idle monument with high energy songs one after another, only rarely bringing in classical music phrases to give the audience a breather before the beat drop.

      Photo Credit: Aidan Lukomnik

      At the same time, that lack of idleness has its own drawbacks. After a while, songs in the set started to run together with limited ability to determine where one song stops and the other begins. This run-on of songs was exacerbated by similar musical motifs and almost identical lighting cues that could cause a listener Deja Vu. While the band sometimes threw their hands up to engage the audience, they never stopped to talk to the crowd. Better performance pacing, verbal engagement with the crowd, and breaks between songs would do the band well. 

      Photo Credit: Aidan Lukomnik

      On this tour the band isn’t just bringing their relentless energy, they’re also trying to do good. At each city, the band is auctioning off a (small) tree and giving away all of the proceeds to replant trees across the country. In NYC they also worked with Support and Feed – a food equity organization that works to address challenges in food desserts and provide information on plant-based food.

      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik
      Photo Credit: Aidan Lukomnik

    7. Usher’s Past Present Future Tour Returns to New York City

      Fresh off a year that included the 2024 Super Bowl Halftime show and a critically acclaimed Las Vegas Residency, Usher brought Round Two of his Past Present Future tour for a two-night special in Brooklyn.

      The crowd embraced Usher, one of the most influential artists of the early 2000s — eight-time Grammy-winning, multi-platinum influential and is one of the best-selling musicians of all time. The R&B phenom dazzled Brooklyn’s Barclays Center with an all-world, shining spectacle that added to his allure.

      Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

      At around 9:30 p.m., the luminary touched the stage, commanding the landscape with a kind of mesmerizing aura and opened with “Coming Home,” the title track from his latest chart-topping outing. He followed that up with “Hey Daddy (Daddy’s Home),” which quickly summoned ecstatic gasps from the audience mid “I just wanna get your attention…” Like that, the sold-out audience went down memory lane singing right along.

      Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

      Between the hits (“You Make Me Wanna…,” “U Got it Bad”), (“Yeah!,” “OMG”), and (“There Goes My Baby,” “Throwback”), Usher’s undeniable collection of classics was undeniable.

      With each performance, each song sounded just as fresh as they did in 1997, 2001 or 2004 and is a testament to the singer’s enduring catalog. The show carefully curated these times by traveling through these eras as a way to illustrate the singer’s transformation through the years.

      Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

      Above all things, if anything was clear from the two-hour extravaganza other than that an Usher concert is top-tier experience, it’s that one of the world’s greatest entertainers of all time and is still at the top of his game.

    8. Electro Pioneers Kraftwerk Announces “Multimedia Tour 2025” Kicking Off in March

      German electro legends Kraftwerk has announced their return to North America for the “Multimedia Tour 2025.”

      Kraftwerk multimedia tour

      The tour kicks off on March 6 at Franklin Music Hall in Philadelphia and wraps up over a month later on April 24 in Dallas, TX. The tour sees a total of 27 dates and includes two stops in New York. Kraftwerk dazzles audiences at Kings Theatre on March 13 and the legendary Beacon Theatre on March 14. The “Multimedia Tour 2025” commemorates Kraftwerk’s breakthrough album Autobahn and their first U.S. Tour, which took place in 1975.

      Earlier this year Kraftwerk completed an extraordinary nine-night concert series celebrating 50 years of Autobahn–which was composed, produced, and recorded by founders Ralf Hütter and Florian Schneider in 1974–at Walt Disney Concert Hall in Los Angeles. The shows garnered rave reviews in the press, a compass for what’s in store for the “Multimedia Tour.”

      The multi-media project Kraftwerk was started in 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio in Düsseldorf, Germany, where they conceived and produced all Kraftwerk albums. By the mid 1970’s Kraftwerk had achieved international recognition for their revolutionary electronic ‘sound scapes’ and their musical experimentation with robotics and other technical innovations.

      With their visions of the future, Kraftwerk created the soundtrack for the digital age of the 21st century. Their compositions, using innovative techniques, synthetic voices and computerized rhythms, have had a major international influence across an entire range of music genres: from Electro to Hip-Hop, from Techno to SynthPop. In their live performances, Kraftwerk composer, author and producer Ralf Hütter illustrates his belief in the respective contributions of both man and machine.

      KRAFTWERK MULTIMEDIA TOUR 2025 DATES:

      MAR 06 – Philadelphia, PA – Franklin Music Hall

      MAR 07 – Pittsburgh, PA – Stage AE Outdoors

      MAR 08 – Toronto, ON – Massey Hall

      MAR 10 – Montreal, QC – Salle Wilfrid-Pelletier, Place des Arts

      MAR 11 – Boston, MA – Boch Center Wang Theatre

      MAR 13 – Brooklyn, NY – Kings Theatre

      MAR 14 – New York, NY – Beacon Theatre

      MAR 16 – Washington, D.C. – The Anthem

      MAR 17 – Charlotte, NC – Ovens Auditorium

      MAR 19 – Orlando, FL – Steinmetz Hall at the Dr. Phillips Center

      MAR 20 – Miami, FL – Adrienne Arsht Center

      MAR 23 – Atlanta, GA – The Eastern

      MAR 24 – New Orleans, LA – Orpheum Theater

      MAR 25 – Memphis, TN – Overton Park Shell

      MAR 26 – Nashville, TN – The Pinnacle

      MAR 28 – Detroit, MI – Masonic Cathedral Theatre

      MAR 29 – Chicago, IL – The Auditorium

      MAR 30 – Minneapolis, MN – Orpheum Theatre

      MAR 31 – Kansas City, MO – The Midland Theatre

      APR 02 – Denver, CO – Ellie Caulkins Opera House

      APR 06 – Portland, OR – Keller Auditorium

      APR 07 – Vancouver, BC – Queen Elizabeth Theatre

      APR 13 – Indio, CA – Coachella*

      APR 16 – Salt Lake City, UT – The Union

      APR 20 – Indio, CA – Coachella*

      APR 23 – Austin, TX – Bass Concert Hall

      APR 24 – Dallas, TX – Majestic Theatre

      *Festival appearance

      Tickets for “Multimedia Tour 2025 – 50 Years of Autobahn” go on sale to the general public Friday, December 13 at 10AM local. Registration for presale opens today, December 5, and presale begins Wednesday, December 11 at 10AM local. For more information on the tour and to register for presale, click here.