Feb
27
Floodwood feat. Al Schnier & Vinnie Amico of moe.

all good news

 
Railroad Earth
Floodwood feat. Al Schnier & Vinnie Amico of moe. | @9:30 club | view more info »
Feb
27

Railroad Earth

Floodwood feat. Al Schnier & Vinnie Amico of moe.


Friday Feb 27|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Railroad Earth

official band site »

There’s a great scene in The Last Waltz – the documentary about The Band’s final concert – where director Martin Scorsese is discussing music with drummer/singer/mandolin player Levon Helm. Helm says, “If it mixes with rhythm, and if it dances, then you’ve got a great combination of all those different kinds of music: country, bluegrass, blues music, show music…”

To which Scorsese, the inquisitive interviewer, asks, “What’s it called, then?” “Rock & roll!”

Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…”

Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is.

And like The Band, the members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.”

Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.” Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”

That was the beginning of Railroad Earth’s journey: since those early days, they’ve gone on to release five more critically acclaimed studio albums and one hugely popular live one called, “Elko.” They’ve also amassed a huge and loyal fanbase who turn up to support them in every corner of the country, and often take advantage of the band’s liberal taping and photo policy. But Railroad Earth bristle at the notion of being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass or country band, which sometimes leaves music writers confused as to how to categorize us. We’re essentially playing rock on acoustic instruments.”

Ultimately, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin/bouzouki player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point; it all starts right there. Anything else just comments on the songs and gives them color. Some songs are more open than others. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.”

So: they can jam with the best of them and they have some bluegrass influences, but they use drums and amplifiers (somewhat taboo in the bluegrass world). What kind of music is it then? Mandolin/vocalist John Skehan offers this semi-descriptive term: “I always describe it as a string band, but an amplified string band with drums.” Tim Carbone takes a swing: “We’re a Country & Eastern band! ” Todd Sheaffer offers “A souped-up string band? I don’t know. I’m not good at this.” Or, as a great drummer/singer/mandolin player with an appreciation for Americana once said: “Rock & roll!”


Floodwood feat. Al Schnier & Vinnie Amico of moe.

official band site »

The foothills of the Adirondack Mountains in upstate New York, also known as “The Leatherstocking Region” is home to Floodwood, the northeast’s newest progressive string band. While the band is merely a year old, there is already a huge buzz around this band as they've been tearing up festivals, PACS, & clubs on the east coast with their original brand of newgrass.

Al Schnier & Vinnie Amico not only play together in moe., one of the premier touring bands in the country, but they've also recorded & toured as the Americana group Al & The Transamericans for over a decade.

Likewise, Jason Barady spent over 10 years recording & touring with the Bluegrass group Wooden Spoon from Taos, until returning to his hometown in central, NY.

Nick Piccininni is a largely self taught violinist, who learned his bluegrass chops the old fashioned way - in festival picking circles & bluegrass festivals. He's been a professional banjo player & fiddler in high demand on the bluegrass circuit since the age of 13, & has toured w/ The Abrams Brothers, The Atkinsons, The Delaneys, & more.

Bass player, Zachary Fleitz is a Berklee Graduate & Hypnotic Clambake alumnus. Zach joined forces w. Wooden Spoon & has played w. J & Nick for the last few years.

 
An Evening With
Railroad Earth
@9:30 club | view more info »
sold out
Feb
28

An Evening With
Railroad Earth



Saturday Feb 28|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930
Sold Out


An Evening With
Railroad Earth

official band site »

There’s a great scene in The Last Waltz – the documentary about The Band’s final concert – where director Martin Scorsese is discussing music with drummer/singer/mandolin player Levon Helm. Helm says, “If it mixes with rhythm, and if it dances, then you’ve got a great combination of all those different kinds of music: country, bluegrass, blues music, show music…”

To which Scorsese, the inquisitive interviewer, asks, “What’s it called, then?” “Rock & roll!”

Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…”

Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is.

And like The Band, the members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.”

Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.” Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”

That was the beginning of Railroad Earth’s journey: since those early days, they’ve gone on to release five more critically acclaimed studio albums and one hugely popular live one called, “Elko.” They’ve also amassed a huge and loyal fanbase who turn up to support them in every corner of the country, and often take advantage of the band’s liberal taping and photo policy. But Railroad Earth bristle at the notion of being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass or country band, which sometimes leaves music writers confused as to how to categorize us. We’re essentially playing rock on acoustic instruments.”

Ultimately, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin/bouzouki player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point; it all starts right there. Anything else just comments on the songs and gives them color. Some songs are more open than others. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.”

So: they can jam with the best of them and they have some bluegrass influences, but they use drums and amplifiers (somewhat taboo in the bluegrass world). What kind of music is it then? Mandolin/vocalist John Skehan offers this semi-descriptive term: “I always describe it as a string band, but an amplified string band with drums.” Tim Carbone takes a swing: “We’re a Country & Eastern band! ” Todd Sheaffer offers “A souped-up string band? I don’t know. I’m not good at this.” Or, as a great drummer/singer/mandolin player with an appreciation for Americana once said: “Rock & roll!”


 
The Road To DelFest with
The Travelin' McCourys featuring Billy Nershi (of String Cheese Incident) & The Jeff Austin Band (formerly of YMSB)
@9:30 club | view more info »
Mar
6

The Road To DelFest with
The Travelin' McCourys featuring Billy Nershi (of String Cheese Incident) & The Jeff Austin Band (formerly of YMSB)



Friday Mar 6|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Road To DelFest with
The Travelin' McCourys featuring Billy Nershi (of String Cheese Incident)

official band site »

The Travelin’ McCourys do not stand still. They are on the road—and online—entertaining audiences with live shows that include some of the best musicians and singers from all genres. It’s always different, always exciting, and always great music.

No other band today has the same credentials for playing traditional and progressive music. As the sons of bluegrass legend Del McCoury, Ronnie McCoury on mandolin and Rob McCoury on banjo continue their father’s work—a lifelong dedication to the power of bluegrass music to bring joy into people’s lives. And with fiddler Jason Carter and bassist Alan Bartram, the ensemble is loved and respected by the bluegrass faithful. But the band is now combining their sound with others to make something fresh and rejuvenating.

They recently played with the Allman Brothers at Wanee Fest and then brought the house down at Warren Haynes’ Annual Christmas Jam, an invitation only Southern Rock homecoming. Their jam with the Lee Boys was hailed by many as the highlight of the evening, and once word of the live video hit the streets, sent new fans online to watch a supercharged combination of sacred steel, R&B, and bluegrass. They’ve also performed with Warren Haynes, Phish, and have a tour scheduled with the aforementioned Lee Boys. Ronnie McCoury described it as “peanut butter and jelly.” It was just right.

They can push forward so far because their roots are so deep. The band has a confidence that only comes with having paid their dues with twenty years on the bluegrass road. Other groups and new fans hear this immediately—the tight rhythm, the soulful material, and the confidence in taking bluegrass from the safety of the shore into uncharted waters.

Ronnie says, “We like to go in and play traditional bluegrass music the way we do it with Dad, but we also like to be able to step into situations where we can really stretch out. If we need to plug in, we’ll plug in. We’re open to anything.”

It’s that attitude, backed up by talent, that marks great musicians, traditional or progressive. The Travelin’ McCourys are twenty-first century musical pilgrims and adventurers. They’re onto something new, just like Bill Monroe was in the 1940s, but now we can see and hear that adventure live or online. Go see them, or—if you hold still long enough—they’ll come to you.


The Jeff Austin Band (formerly of YMSB)

official band site »

Mandolinist Jeff Austin is unstoppable. He is celebrated for his fleet fingers and penchant for improvisation on stage, but those qualities also speak volumes about how he chooses to live. Austin has cultivated his natural musical abilities and allowed himself to be driven by his boldest instincts. In this way, he has been able to build positive, exciting momentum around his life’s greatest passion.

Austin’s enthusiasm for the vast, vibrant world of music was rooted in him as early as he can remember: “I was always raised very musically. My mom always had music playing; she always sang.” It’s no surprise then that Austin himself grew up singing too. From beginning to end of his years in grade school just outside of Chicago, he sang in classes, choirs, and musicals, allowing his musical influences to lead him where they may. “I started listening to Willie Nelson and Waylon Jennings,” Austin says. “And then the Beatles, that turned into Bob Dylan, and then the Grateful Dead and Phish.”

“This is it. This is the band. We’re here and we’re focused,” he says with glee. He’s referring to his handpicked ensemble, featuring long-time collaborator Danny Barnes on banjo and guitar, guitarist Ross Martin, bass player Eric Thorin, and Cody Dickinson of the North Mississippi Allstars on percussion.

The Simple Truth, the group’s 2015 debut solo album and Austin’s first recording for Yep Roc records, is no simple affair. His legions of fans have long known of Austin’s eclectic musical influences. Here, instead of familiar jam band motifs, listeners will find hints of power pop, country ballads, bluegrass and rock. Assisting the band is an array of acclaimed guests including Todd Snider, Jenn Hartswick, Brendan Bayliss of Umphrey’s McGee and Sarah Siskind.

“I love writing a three-minute song with a hook that would grab a five-hundred-pound marlin as much as I like writing something that goes, ‘okay, after the bridge, it’s going to open up and just go wide.’”

Indeed, “wide” is what Jeff Austin is all about. He wants new and different, complex and interesting. He wants everything the music world has to offer, and he’s willing to work hard to get it.

It’s hard not to notice Austin’s enthusiasm for the new project. “As the primary writer and singer, my name may be attached to the thing, but this is everybody’s band,” he says. “To see the work these guys are doing on a nightly basis, embedding themselves and the dedication to work, it’s ridiculous. It’s a cool thing to be a part of.”


 
Sons Of Bill & The London Souls
@The 8x10 | view more info »
Mar
12

Sons Of Bill & The London Souls



Thursday Mar 12|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Sons Of Bill

official band site »

“This is a record that takes me back to some of the creative heights we achieved in Wilco,” says producer Ken Coomer about Sons of Bill’s latest LP Love and Logic, due out on Thirty Tigers September 30, 2014. “I’m only interested in making records that are still going to be relevant ten years from now, and this is one of them. It’s unmistakably the real thing.”

This is an ambitious album for the three brothers Sam, Abe, and James Wilson, who share equal duty singing and writing throughout Love and Logic. The Virginia roots obviously run deep, with dreamy pedal steel, banjo, and three part harmonies that could have only been learned at church. But the record moves into enough layered pop productions and rock and roll bravado throughout to keep you guessing as to just who these boys are, and what they’ve been listening to.

It’s easy to say that Sons of Bill can sound more like Townes Van Zandt or early R.E.M. depending on the track, even moving into their own brand of down-home psychedelia that American Songwriter described as a “countrified Pink Floyd.” But the real achievement of Love and Logic is the songwriting, the Wilson brothers’ ability to craft literate and deeply introspective lyrics while still managing to deliver it all as a rock and roll band. It’s a soul-searcher’s soundtrack for an over-stimulated age. A roots rock album that stands out in 2014.

Sons of Bill became more than Charlottesville’s best kept secret with the release of the Sirens LP, a brash rock and roll record, which debuted on the Billboard top 200 and #12 on the Heatseekers chart in 2012. The band toured extensively on both sides of the Atlantic for a year and a half and gained some notoriety for their fiery live performances and road dog work ethic. But Love and Logic certainly marks a turning point for the band– a more sober, reflective, version of themselves– the sound of a band coming into its own.


The London Souls

official band site »

The London Souls’ unique reinterpretation of classic hard-hitting rock and roll formulae recalls elements of the past with an ever-present boundless energy, fit to cement their place in the future.

Tash and Chris have been nothing short of a best-kept-secret among New York City concertgoers since the band’s formation in 2008, building a fervent and dynamic fan base leveraged by their ever-substantiated reputation for consistently well-rehearsed and impassioned, explosive live performances.

The band’s celebrated sound and spirit draws significant influence from the driving force of British rock pioneers Cream and Led Zeppelin, to billowing and bouncing funk and soul, to the layered harmonies and memorable hooks of The Beatles and The Hollies, to the contemporary psychedelia of My Morning Jacket among many more.


 
Electron
American Babies | @Baltimore Soundstage | view more info »
Mar
20

Electron

American Babies


Friday Mar 20|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


Electron

official band site »

Electron, the Philadelphia based super-group featuring Marc Brownstein and Aron Magner of The Disco Biscuits, Tommy Hamilton from Brothers Past, and Mike Greenfield of Lotus!


American Babies

official band site »

Since 2007, American Babies has been the mouthpiece for Philadelphia based musician Tom Hamilton. After spending the early 2000s building a national fan base fronting the electro-rock band Brothers Past, releasing two critically acclaimed albums, and averaging 150 shows a year, a change was in order. "Musically, I wanted to get back to the basics" he explains, "Get the song right, first. Then worry about the live show and how the music opens up from there."

 
BoomBox
@Rams Head Live | view more info »
Mar
26

BoomBox



Thursday Mar 26|doors 8:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


BoomBox

official band site »

BoomBox, the electronic duo compromised of versatile producers, DJs, songwriter, and multi-instrumentalists Russ Randolph and Zion Rock Godchaux, recently released their first new studio album in 4 years, Filling In The Color, following 2010’s downriverelectric and 2006’s debut record Visions of Backbeat. Godchaux calls the new record “further evolved” from the bands’ signature sound, an electronic blend of soulful Rock and Blues based dance music incorporating Backbeat, Psychedelia and Funky House sounds.

The band created a majority of the album on the road over the past two years. “It was written mainly in transit – backstage, hotel rooms, and places like the interstate in different vehicles,” says Godchaux. A handful of tracks on the new album, including “Waiting Around” and “Dream“, incorporate live guitar riffs that were pulled from soundboard multi-tracks as the band experimented with the new tracks on the road. “There’s a live energy mixed in with that. A lot of the new tracks were developed in the live setting,” Randolph says. “And you’re recording that part with an audience in front of you, so it’s a totally different vibe than if it were just the two of us in the studio or hanging out at my house.”

The band returned to their hometown of Muscle Shoals, AL to complete the tracks at Randolph’s home studio. “90% of it was cut in the Shoals,” says Randolph. There was an added historical significance to recording in Muscle Shoals given it’s rich recording history, where legendary soul artists such as Aretha Franklin and Otis Redding once laid down records. “The history obviously has some bearing on the emotional tone of the creative process,” Randolph said.

While Filling In The Color draws from many influences in Randolph and Godchaux’s lives’, the record ultimately comes from an honest, personal place. “It comes down to a search for a certain sound,” says Godchaux, “a certain feel. It’s something we hear in our heads all the time. Forces from within are the driving, motivating factor in pointing this sound out to people.”

“We want the listener to be able to play the record front to back, not just a few tracks,” Godchaux said. “To enjoy the album as a whole. Day or night, happy or sad, from the speaker on their phone to the thumping sound system. We are song makers. That’s what we do. And this record should be confirmation that we are doing what we are supposed to be doing with our lives.”

Filling In the Color is currently available in all digital stores. CD + Vinyl packages are currently available for pre-order and will feature a coloring book of conceptualized artwork for each song, allowing fans to “Fill in the Color” as they see fit.


 
All Good and Simon Posford Present
Shpongle: The Shpongletron 3.1
Phutureprimitive | @9:30 club | view more info »
Apr
1

All Good and Simon Posford Present
Shpongle: The Shpongletron 3.1

Phutureprimitive


Wednesday Apr 1|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


All Good and Simon Posford Present
Shpongle: The Shpongletron 3.1

official band site »

With over 80 years’ experience collectively, Simon Posford and Raja Ram are more than qualified for the exploration into the unclassifiable music frontiers they have ventured into; ‘SHPONGLE’ is a new world of traditional sounds, acoustic guitars, Moroccan drums, Turkish operatic singing, cello, double bass, backing vocals and silver flute blended together with the computer wizardry of Simon Posford's studio production.

Simon Posford (aka Hallucinogen) has long had a reputation as the, 'Hallucinogenius,' a imitable pioneer in sound experimentation, from his seminal first album, 'Twisted' which reached No.28 in the French charts selling over 50,000 copies worldwide, up to his recent Millennium hit, 'Mi-Loony-Um' with its up-to-the minute modem melodies. His international fan base has flowered from country-wide to world-wide in the last ten years, since his humble beginnings at Youth's Butterfly Studios in Brixton. This year alone he has played over 16 sell out gigs around the world, each with a capacity of over 1500 people, in Australia, Israel, New York, San Francisco, Los Angeles, Moscow, Geneva, Montreal, Tokyo to name just a few.

Raja Ram is the innovative sonic co-pilot producing alongside Simon and providing inspirational artwork for the album covers and the website. as well as his unmistakable flute solo's in C Major. A founding member of the band Quintessence in the sixties. Raja has many years of band experience in the music industry. Not only a band member but also the creator of TIP Records along with their infamous party sound and energy, he is not only a brilliant flautist but the inspirational man behind the ‘Shpongle’ concept.


Phutureprimitive

official band site »

Phutureprimitive is the moniker of Bay Area producer and songwriter Rain. Early childhood photos reveal Rain sitting at the piano plinking keys, grinning from ear to ear… a true sign of things to come. Continuing his early fascination, Rain was later drawn to electronic music, inspired by its ability to combine the best of organically played instruments and the synthetic pleasures of sounds more exotic to the human ear. After beginning a DJ career in the 90s, Rain began incorporating the music he was making in his home studio into his DJ sets. That was all it took to trigger a full blown love affair with electronic music and the process of its creation… and Phutureprimitive was born.

Phutureprimitive’s music is best described as dripping wet love drops of nasty mind melting sonic bliss. Lush melodies drift across intricate rhythms, groove heavy beats and warm, fuzzy bass lines. Often exploring a dark and dense palette, there is also a profound sense of tranquility and beauty, engaging the listener into hypnotic movement and often escalating into a full-on kinetic experience. Shimmering with cinematic qualities, his music ultimately speaks to the body, mind and soul.

 
Tribal Seeds
The Movement | Leilani Wolfgramm | @9:30 club | view more info »
Apr
2

Tribal Seeds

The Movement
Leilani Wolfgramm

Thursday Apr 2|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Tribal Seeds

official band site »

From San Diego, California, award-winning reggae group Tribal Seeds have become known for their spiritually driven, refreshing rock vibe they have infused with the roots style of reggae music. Originally started by two brothers, Steven Rene Jacobo (lyrics, vocals, guitar) and Tony-Ray Jacobo (producer, keyboards, back up vocals). Tribal Seeds now boasts six members, including: Carlos Verdugo (drums), Victor Navarro (bass), E.N Young (keyboards, back up vocals) & Ryan Gonzo (guitar, back up vocals).

Tribal Seeds’ unmatched musical talent and authentic sound has brought them to the forefront of the reggae rock genre, as their art form has reached people of all ages across the United States, and worldwide. The band’s debut, self titled album “Tribal Seeds” was released in 2008 with their second album “The Harvest” following, June of 2009. iTunes named both albums “Best Of” in the Reggae genre, for their respected years. Their debut album helped garner them the “Best World Music” title at the San Diego Music Awards in 2008, and “The Harvest,” which contained fourteen new and original songs, debuted at the number 5 spot on the Billboard Reggae Charts. The tracks, written and produced by Tribal Seeds, were recorded and mixed by Alan Sanderson at Signature Sound Studios in San Diego, and mastered by Erik Lobson at Universal Mastering.

On July 19, 2011, Tribal Seeds gave listeners a brand new EP entitled “Soundwaves,” which peaked at number 2 on the Billboard Reggae Charts. The band notes that the album was inspired by their life experiences, being on tour, and their desire to inspire youth to raise their voices and seek a higher consciousness. More music is in the works and is schedule to be released in 2013. Already, the band has released three new singles, “Run The Show”, “Did Wrong” & “Night & Day” which are available for download.

Tribal Seeds have toured throughout the United States, and have also performed in Mexico, Guam & Aruba. They have shared the stage with artists such as Dave Mathews Band, Jack White, Red Hot Chili Peppers, Jane’s Addiction, Skrillex, MGMT, Cee Lo Green, Jason Mraz, Matisyahu, Sublime with Rome, Taking Back Sunday, O.A.R., Pretty Lights, Steel Pulse, The Wailers, Pepper, Collie Buddz, Julian Marley, Stephen Marley, Gregory Isaacs, SOJA, Rebelution, and many more.


The Movement

official band site »

Hailing from Columbia, South Carolina, the reggae-rock group The Movement was formed in 2004 by a trio of Sublime and Pixies fans. Joshua Swain, Jordan Miller, and John Ruff, aka DJ Riggles, launched The Movement with their "alternative reggae" debut album, On Your Feet. In 2008, the group met Chris DiBeneditto, a Philadelphia-based producer who had worked with like-minded acts such as Slightly Stoopid and G. Love & Special Sauce.

Relocating to Philadelphia, they recorded 2008's, Set Sail, at DiBeneditto’s Philadelphonic Studios. The album has sold over 10,000 copies to date. The Movement expanded with the addition of Gary Jackson on drums and Jason "Smiles" Schmidt on bass. In 2012, Miller left the group, and the trio, now fronted by Swain, released their fourth album Side By Side, debuting at #2 on the Billboard Reggae Chart.

Leilani Wolfgramm

official band site »

Leilani Wolfgramm is a singer, songwriter, and guitarist with Tongan roots from Orlando, Florida. Three years ago she started playing along side her brothers, Zech and Nasur in their reggae band, Hor!zen. After a year she set out on a solo career releasing an EP entitled, "I Burn." Leilani has toured with Fortunate Youth and the Supervillians and has shared the stage with acts such as Ballyhoo, Dirty Heads, Tribal Seeds, Sublime ft. Rome, New Kingston and The Movement. She is currently working with producer and artist, E.N Young on her upcoming EP that will be dropping in the Summer of 2014.

 
Pigeons Playing Ping Pong & Tauk
Big Something | @Rams Head Live | view more info »
Apr
2

Pigeons Playing Ping Pong & Tauk

Big Something


Thursday Apr 2|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Pigeons Playing Ping Pong

official band site »

Funk, Rock, Electric ENERGY: These four Pigeons bring it every night. Based out of Baltimore, MD, Pigeons Playing Ping Pong has an undeniably unique and versatile live sound that ascends peaks of musical ecstasy. Their evolving arrangement of original compositions, psychedelic improvisational jams, and contagious smiles have ‘The Flock’– their self-identifying fanbase that stretches from coast-to-coast– coming back for more. One of the fastest growing emerging artists in the jam and festival scene these days, Pigeons Playing Ping Pong is here to bring the party with their danceable electro-funk grooves and infectious ability to bring positive energy to any environment.

Having launched their East Coast buzz from very successful weekly residencies at The 8×10 in Baltimore, high profile festival spots including Catskill Chill, The Werk Out, Camp Barefoot, Wormtown Music Festival and others have put the memorable band name on the lips of music lovers and groove nuts. As a result, the grass roots response to the more than 200 shows the band played in 2013 was remarkable, with significant audiences showing up for first time plays in new markets from Colorado to Florida.

As Pigeons continue to expand their touring they continue to grow their Flock and expand people’s minds (musically…). Whether it be at a major festival or your local rock club, Pigeons will show you a good time. Get ready for some fun…


Tauk

official band site »

TAUK is Heavy Instrumental Rock Fusion created by Matt Jalbert (guitar), Charlie Dolan (bass), Alric “A.C.” Carter (keyboard-organ), and Isaac Teel (drums). The transcendent instrumental band seamlessly brings together genres as diverse as melodic rock, fusion, gritty funk, progressive rock, ambient, classic rock, hip hop and jazz.

The Oyster Bay, New York-based quartet has received accolades from a number of tastemaking authorities, including an “On The Verge” feature in Relix Magazine and frequent rotation for the singles “Mindshift”, “Dead Signal” and “In the Basement of the Alamo” on Sirius XM Jam On. Despite their years of experience as a musical unit, the quartet is a young promising band that Jambase calls “a guaranteed quickly- ascend band.” The Washington Post describes the band by saying: “TAUK’s instrumental music melds genres and styles, creating a hard-charging, often melodic fusion that – thanks to a penchant for improv – offers limitless possibilities” And The Deli Magazine singles out the band’s compelling melodic sense through explaining: “the quartet has a rare ability to channel emotional melodic leads, and all without a lead singer.”

The band’s latest album, Collisions, is a breakthrough in that it finally captures the essence of TAUK’s entrancing live shows. It’s a thoughtfully composed album with captivating hum-along melodies, but this time the band was able to road test the songs, allowing the recorded versions to reflect the group’s adventurous improvisations. The 10-song album spans delicate ethereal textures, highly imaginatively funky drumming, labyrinthine arrangements, and fiery solos—often in the same song.


Big Something

official band site »

With a powerful sound that is both refreshingly original and yet classic in its approach, BIG Something fuses elements of rock, pop, funk, hip hop and improv, in order to take listeners on a journey through a myriad of musical styles. Formed in 2009, Big Something is one of the most exciting new rock bands to emerge from the southeast. The band features Nick MacDaniels (guitars, vocals), Doug Marshall (bass), Josh Kagel (keys, synth, trumpet), Casey Cranford (sax, EWI), Jesse Hensley (lead guitar), and Ben Vinograd (drums).

With the help of Grammy-Nominated producer John Custer the group recorded and released their 2010 debut concept album, Stories from the Middle of Nowhere, which quickly captured Home Grown Music Network’s 2010 Album Of The Year Award and spent several months at number 1 on the jambands.com radio charts. Stories from the Middle of Nowhere was followed up by the widely well-received live album, Live from Uranus, as well as 2013’s Self-Titled which captured 3 different album of the year awards. Most recently the band released their highly 3rd full length studio album Truth Serum on Nov. 4th, 2014 featuring a special guest appearance from NYC turntablist DJ Logic.

After several years of relentless touring, Big Something has performed across the country as direct support for the likes of Galactic, moe., The B52s, Robert Randolph and The Family Band, Zach Deputy, DJ Logic, Toubab Krewe, Dopapod, and countless other up and coming artists. In turn, they have become a high demand festival act, and have appeared at FloydFest, Camp Barefoot, Blackwater, Shakori Hills Grassroots Festival, Pink Moon, Strangecreek, Wormtown, Mantrabash, Smilefest, NC Music & Arts Festival, Front Porch Fest, Domefest, and many more. BIG Something also hosts their own annual summer music festival and campout in Mebane, NC called The Big What?, which has sold out two years in a row, further propelling this imaginative, entertaining, and musically progressive jamband rooted in traditional American music of the southeast to a much wider national audience.

 
Turkuaz
The Fritz | @Gypsy Sally's | view more info »
Apr
2

Turkuaz

The Fritz


Thursday Apr 2|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Turkuaz

official band site »

Credible bios are supposed to be objective and not full of superlatives and hyperbole, but it’s hard to avoid gushing when the subject is a funk army of multi-instrumentals and singers that is part freight train and part tyrannosaurus rex, who—even on an off night—can blow away a room on the basis of sheer physics alone. That’s one way to describe Turkuaz, but it doesn’t address the music. In this regard, as with any band, influences are everything. One cannot escape them as one seeks to carve out a unique sound for themselves. Still, there are so many benefits to having Sly & The Family Stone, Rick James, Parliament and Bohannon in your record collection. With this as the basis for a recipe, Turkuaz adds healthy doses of jittery, world-pop-power groove—reminiscent of Remain In Light era Talking Heads—and a passion for Motown and R&B, resulting in a refreshing twist on the funk idiom.


The Fritz

official band site »

After four years of traveling the Southeast, steadily building a reputation as a live act not to be missed, Asheville-based quintet The Fritz played exceptionally strong sets at The Catskill Chill and The Bear Creek Music Festival in the Fall of 2014, and showed thousands of new fans what throngs of Southeastern music lovers have known for years: The Fritz likes to get funky. As much as they take their funk seriously, the band takes it’s songwriting just as seriously, but the wellcrafted song is not the final product in the live forum… and this is where they shine, as The Fritz are masters of improvisation, carefully weaving the personality of the band and the crowd into each performance.

While the music may range from hard driving soul to progressive rock, there is the common thread of The Fritz’s passionate energy, and whether live or in the studio, the band creates an energetic dance party every time. In March of 2013, The Fritz released Bootstrap, a collection of songs written over their years touring the Southeast. As they work on their upcoming third release, new fans and old eagerly anticipate the new music. To tide them over, The Fritz offers free downloads of live shows from their website and a steady diet of live performances, from the Southeast to the Midwest and the Northeast. All of this to support the fans and share the music, one show at a time—live or otherwise—as The Fritz continues their relentless drive to bring that intoxicating energy to crowds everywhere…

 
The Larry Keel Experience
@Gypsy Sally's | view more info »
Apr
9

The Larry Keel Experience



Thursday Apr 9|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


The Larry Keel Experience

official band site »

Larry Keel is described by some reviewers as the most powerful, innovative and all-out exhilarating acoustic flatpicking guitarist performing today. Keel has absorbed the best lessons from his Bluegrass family upbringing, both sides deeply steeped in the rich mountain music culture and heritage of Southwest Virginia. From there, he has always integrated that solid musical grounding and natural-born talent with his own incomparable approach to flatpicking the guitar and composing original music. He's also got a knack for choosing interesting and appealing material from all realms of music with guts, whether it's a tune written by a fellow song-writer/musician friend, or a tasty cover from any number of genres all over the map. The combination is pretty irresistible, and has earned Keel the highest respect and billing among the top acoustic musicians alive, and some now gone: Tony Rice, Chris Thile,Vassar Clements, Sam Bush, Del McCoury, John Hartford, Bill Monroe, Peter Rowan, and Darol Anger to name a few. And his fierce, high-spirited energy also appeals to young rockers, jammers and alt country pickers and fans who are equally drawn to Keel’s deep rumbling voice, his earthy and imaginative song-writing, and his down-home-gritty-good-time charm. Keel regularly collaborates with JamBand and Rock giants Yonder Mountain String Band, Keller Williams, Jorma Kaukonen, David Nelson, Little Feat, Rebirth Brass Band, Dirty Dozen Brass, Railroad Earth, members of String Cheese Incident and Leftover Salmon, amongst others.


 
Kung Fu & Twiddle
The Fritz | @Rams Head Live | view more info »
Apr
11

Kung Fu & Twiddle

The Fritz


Saturday Apr 11|doors 8:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Kung Fu

official band site »

In the vanguard of the new-funk movement, KUNG FU is quickly popularizing their unique sonic contribution “NU-SION”, blurring the line between intense electro-fusion, and blistering dance arrangements. Making funk fusion music “cool” again, the band draws on influences such as early Headhunters, Weather Report, & Mahavishnu Orchestra, and merges those ideas with technical fireworks and a contemporary EDM informed sensibility. The ensemble, a seasoned pedigree that reads like a late-night summer festival all-star jam has been described by critics and fans of Galactic & Umphrey’s McGee alike as “lethal funk”, “explosive”, “jaw dropping”, and “musically mesmerizing”. For the uninitiated, the experience is typically shocking yet the focus is simple: ENTER THE DRAGON!

Kung Fu features Tim Palmieri on guitar (The Breakfast), Robert Somerville on tenor sax (Deep Banana Blackout), Todd Stoops on keyboards (RAQ), Christopher DeAngelis on bass guitar (The Breakfast) and Adrian Tramontano on drums/percussion (The Breakfast).


Twiddle

official band site »

Twiddle, a Vermont based quartet, spins tall tales over an intricate soundscape of hi-def shred. Their fresh multi-genre approach conjures up jazz, classical, and bluegrass, but above all, masterfully blends reggae and funk. Obliterating laws of improvisation, their complex arrangements never fail to leave crowds lusting for more. With sage songwriting and unmatched variety, Twiddle’s thrilling infancy continues to exceed all expectation.

After whimsically jamming in the fall of 2004, the founding members of Twiddle immediately recognized chemistry and a common seriousness. By the second semester at Castleton State, Mihali Savoulidis and Ryan Dempsey were already intertwining harmony and fantasy, birthing Twiddle staples like ‘Frankenfoote’ and ‘Gatsby the Great’. Brook Jordan, and Billy Comstock, Twiddle’s original bassist, complemented these melodies with a densely layered, and exciting funk rhythm This young foursome had taken Castleton by storm, toured the northeast, and composed an impressive catalog of original tunes before becoming upper-classmen.


The Fritz

official band site »

After four years of traveling the Southeast, steadily building a reputation as a live act not to be missed, Asheville-based quintet The Fritz played exceptionally strong sets at The Catskill Chill and The Bear Creek Music Festival in the Fall of 2014, and showed thousands of new fans what throngs of Southeastern music lovers have known for years: The Fritz likes to get funky. As much as they take their funk seriously, the band takes it’s songwriting just as seriously, but the wellcrafted song is not the final product in the live forum… and this is where they shine, as The Fritz are masters of improvisation, carefully weaving the personality of the band and the crowd into each performance.

While the music may range from hard driving soul to progressive rock, there is the common thread of The Fritz’s passionate energy, and whether live or in the studio, the band creates an energetic dance party every time. In March of 2013, The Fritz released Bootstrap, a collection of songs written over their years touring the Southeast. As they work on their upcoming third release, new fans and old eagerly anticipate the new music. To tide them over, The Fritz offers free downloads of live shows from their website and a steady diet of live performances, from the Southeast to the Midwest and the Northeast. All of this to support the fans and share the music, one show at a time—live or otherwise—as The Fritz continues their relentless drive to bring that intoxicating energy to crowds everywhere…

 
Hurray For The Riff Raff
Son Little | @9:30 club | view more info »
Apr
21

Hurray For The Riff Raff

Son Little


Tuesday Apr 21|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Hurray For The Riff Raff

official band site »

Hurray For The Riff Raff is Alynda Lee Segarra, but in many ways it's much more than that: it's a young woman leaving her indelible stamp on the American folk tradition. If you're listening to her new album, 'Small Town Heroes,' odds are you're part of the riff raff, and these songs are for you.

"It's grown into this bigger idea of feeling like we really associate with the underdog," says Segarra, who came to international attention in 2012 with 'Look Out Mama.' The album earned her raves from NPR and the New York Times to Mojo and Paste, along with a breakout performance at the 2013 Newport Folk Festival, which left American Songwriter "awestruck" and solidified her place at the forefront of a new generation of young musicians celebrating and reimagining American roots music. "We really feel at home with a lot of worlds of people that don't really seem to fit together," she continues, "and we find a way to make them all hang out with our music. Whether it's the queer community or some freight train-riding kids or some older guys who love classic country, a lot of folks feel like mainstream culture isn’t directed at them. We're for those people."

Segarra, a 26-year-old of Puerto Rican descent whose slight frame belies her commanding voice, grew up in the Bronx, where she developed an early appreciation for doo-wop and Motown from the neighborhood's longtime residents. It was downtown, though, that she first felt like she found her people, traveling to the Lower East side every Saturday for punk matinees at ABC No Rio. "Those riot grrrl shows were a place where young girls could just hang out and not have to worry about feeling weird, like they didn’t belong," Segarra says of the inclusive atmosphere fostered by the musicians and outsider artists who populated the space. "It had such a good effect on me to go to those shows as a kid and feel like somebody in a band was looking out for me and wanted me to feel inspired and good about myself."

The Lower East Side also introduced her to travelers, and their stories of life on the road inspired her to strike out on her own at 17, first hitching her way to the west coast, then roaming the south before ultimately settling in New Orleans. There, she fell in with a band of fellow travelers, playing washboard and singing before eventually learning to play a banjo she'd been given in North Carolina. "It wasn't until I got to New Orleans that I realized playing music was even possible for me," she explains. "The travelers really taught me how to play and write songs, and we'd play on the street all day to make money, which is really good practice. You have to get pretty tough to do that, and you put a lot of time into it."

"The community I found in New Orleans was open and passionate. The young artists were really inspiring to me," she says. "Apathy wasn’t a part of that scene. And then the year after I first visited, Katrina happened, and I went back and saw the pain and hardship that all of the people who lived there had gone through. It made we want to straighten out my life and not wander so much. The city gave had given me an amazing gift with music, and it made me want to settle there and be a part of it and help however I could."

Many of the songs on 'Small Town Heroes' reflect that decision and her special reverence for the city. She bears witness to a wave of violence that struck the St. Roch neighborhood in the soulful "St. Roch Blues;" yearns for a night at BJ's Bar in the Bywater in "Crash on the Highway;" and sings of her home in the Lower Ninth Ward on "End of the Line." "That neighborhood and particularly the house I lived in there became the nucleus of a singer songwriter scene in New Orleans," she explains. "'End Of The Line' is my love song to that whole area and crew of people."

The scope of the album is much grander than just New Orleans, though, as Segarra mines the deep legacies and contemporizes the rich variety of musical forms of the American South for the age of Trayvon Martin and Wendy Davis. "Delia''s gone but I'm settling the score," she sings with resolute menace on "The Body Electric," a feminist reimagining of the traditional murder ballad form that calls on everything from Stagger Lee to Walt Whitman. She juxtaposes pure country pop with the dreams and nightmares that come with settling down with just one person in "I Know It's Wrong (But That's Alright)," while album opener "Blue Ridge Mountain" is an Appalachian nod to Maybelle Carter.

NPR has said that Hurray for the Riff Raff's music "sweeps across eras and genres with grace and grit," and that's never been more true than on 'Small Town Heroes.' These songs belong to no particular time or place, but rather to all of us. These songs are for the riff raff.


Son Little

official band site »

Future Soul

 
Trampled By Turtles
Web Of Sunsets | @9:30 club | view more info »
Apr
22

Trampled By Turtles

Web Of Sunsets


Wednesday Apr 22|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Trampled By Turtles

official band site »

On Wild Animals, Trampled by Turtles’ seventh studio album, themes of impermanence run deep, both lyrically and sonically. The quintet’s hybrid folk sound continues its evolution pushing the band further into the grey area between genres that defies pigeonholing.

Trampled By Turtles formed in 2003 in Duluth, Minnesota. From their beginnings on the Midwestern festival circuit, they have reached new heights with each album. The release of 2012’s Stars And Satellites saw the band play to more fans than ever, sell close to 100,000 albums, make their first national television appearance on The Late Show With David Letterman, and have their first concert feature, Live at First Avenue, broadcast on Palladia. This year will see the band headline Red Rocks Ampitheatre for the first time and the kickoff of their own festival, Festival Palomino, which will take place September 20, 2014 outside Minneapolis.

Lead songwriter Dave Simonett has been especially affected by change over the last few years. He relocated from Duluth to the city of Minneapolis. “When I lived in Duluth, I think I took connection with uncivilized nature for granted. There, I had to drive 20 minutes and I was in the middle of nowhere, and I did this almost daily,” says Simonett. “This was a very important ritual for me. Solitary time in a nearly untouched landscape is my version of church, so I think there is a bit of loss of religion in a lot of my work these days. I’ve always been a little obsessed with our struggle to stay connected to our simple animal side, the part of our nature that lived off the earth, hunted live game, worshipped trees and mountains. I believe a lot of sadness is caused by feeling disconnected with the rest of nature. A lot of what is instinctual for us is beaten down and frowned upon in modern society. It has to be confusing for the subconscious.”

Wild Animals found Trampled by Turtles working with a producer for the first time in four studio records. The band placed themselves in the capable hands of longtime Duluth, MN compatriot Alan Sparhawk of the band Low and engineer B.J. Burton (Poliça, Megafaun, Volcano Choir) who crafted a sonic landscape that was spatial and new at Cannon Falls, MN’s Pachyderm Studio (Nirvana, The Jayhawks).

Says Simonett on working with Sparhawk: “Alan is one of the most musically courageous people I know and that’s exactly the attitude we were looking for. He’s great at taking a song from its false conclusion all the way down to its very core and then building it back in new and interesting ways.”

And on Burton’s contributions: “He has an exciting way of looking at sound. He shares Alan’s courage in music in that he’s ready to take organic sounds and push them to new places. He’s extremely technically skilled but not tied to any recording dogma.”

The band’s signature harmonies are intact, although the contributions that Sparhawk and Burton added created a new depth. Tim Saxhaug, the band member who has traditionally done much of the vocal arrangement says, “The production team pushed the band to consider new ways of approaching harmony, and the result ‘opened our ears.’ I wasn’t sure that recording could feel new after six studio albums, but that went away on the first day. Making this album was the most creative I’ve ever felt in my life.”

When asked about themes in his writing, Simonett says, “I’ve always felt they’re just various ways humans have attempted to explain the unexplainable. To keep the fear of the darkness that waits for all of us at bay. The death of a loved one, the parting of friends, the changing leaves, the loss of love. All the little parts that come and go. In a way it’s refreshing because the knowledge that nothing will ever stay the same offers innumerable opportunities for rebirth.”

Sparhawk adds about the band’s relationship, “The sound that caught my ear was there from the beginning and stands to this day: I call it the ‘wall of strings.’ Taking instruments we have heard for generations, the Turtles dive in with post-punk energy and selflessness. Everyone has a part in the arrangement that leans on and enhances the others, always serving the song. The message is not about individuals – it’s about what can be done when people get together, apply their heart and soul, and make a little room for each other. Music has always had that potential, but it’s rare when it actually happens.”

Erik Berry says of the band’s chemistry, “From the earliest times we started playing, there has always been a real hard-to-define quality about our chemistry, something special. It’s been a treat to find that more than ten years in we still can turn new corners, at least new-to-us corners, together in the way we approach a song or a sound and still with that quality. That something that makes us, us.”

Wild Animals is the sound of a band at the peak of their potential, strengthened from a decade together, winning some and losing some, but growing none-the-less. The album captures the intense nature that goes with being alive, melding the universal and the personal.


Web Of Sunsets

official band site »

 
The Motet
Consider The Source | @Gypsy Sally's | view more info »
Apr
23

The Motet

Consider The Source


Thursday Apr 23|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


The Motet

official band site »

Hailing from Colorado, the Motet is a world-class improvisational funk band that has dedicated more than a decade to the healing powers of funky dance music. Although the early years of the band saw a constantly revolving cast of musicians, the most recent incarnation has been touring the country for the last several years developing a new and unique style with roots in funk, afrobeat, disco, electronic music, and soul. This new Motet has quickly gained a reputation for throwing infectious dance parties everywhere they go, creating a deep rapport between band and audience.

With the release of their 7th album, the Motet has once again showcased their commitment to pushing the sonic envelope while remaining dedicated to the musical traditions that have defined their sound. The band’s decision to call the album “The Motet” is a reflection that the group has finally become what it has striven to be throughout its existence. The album is a truly collaborative effort, with each member contributing equally to the writing process. In addition, the band spent hundreds of hours in the studio meticulously crafting vintage tones that hearken back to the glory days of funk music. The result is an organic collection of strong interlocking parts and melodies that sounds like nothing else on this planet.

All bands have their influences, and the Motet is no different. The band has a long-standing tradition of putting on a musical costume each Halloween, playing consistently sold-out shows along the front range of Colorado while performing the music of groups like Earth Wind and Fire, Parliament Funkadelic, Tower of Power, and Jamiroquai. The careful study of these bands has had an undeniable effect on the creative direction of the Motet. As bandleader and drummer Dave Watts told the Boulder Weekly, “We realized how effective a great song is on a crowd. Instead of just the energetics we’re used to bringing with improvising, soloing, and extended arrangements, we really decided to focus on tunes, because we understand how powerful a great song is.

“A great song needs a great band to play it, and the Motet proves to be more than adequate in that regard. In addition to Watts, Joey Porter (keys), Garrett Sayers (bass) and Ryan Jalbert (guitar) form a core rhythm section that has been playing together for nearly a decade. This time together has led to their characteristic deep rhythmic pocket, and has created the musical bonds that allow them to take their collective improvisation to heights bordering on precognition. The Motet horns consist of Matt Pitts (sax) and Gabriel Mervine (trumpet). Although deeply rooted in jazz, their time with the Motet has made them into one of the funkiest horn sections on the scene. Front man Jans Ingber rounds out the lineup with his soulful singing, welcoming stage presence, and “Soul Train” dance moves which inspire concert goers to boogie like no one is watching.

These seven musicians form what is undoubtedly the strongest, most cohesive incarnation of the Motet to date. Whether you’ve loved the Motet for years or you’re just tuning in, listen up. You haven’t heard the Motet like this, and you won’t be disappointed.


Consider The Source

official band site »

NYC trio Consider the Source defy easy description. If intergalactic beings of pure energy, after initiation into an order of whirling dervishes, built some kind of pan-dimensional booty-shaking engine, powered by psychedelics and abstract math, it’d probably just sound like a CTS tribute band. Drawing from progressive rock, fusion and jazz, with alien sounds soaked in Indian and Middle Eastern styles, CTS blends disparate parts into a striking, utterly original whole. Dubbed “Sci-Fi Middle Eastern Fusion”, the band’s music strikes a rare balance between cerebral and emotional, intellectual and primal. A relentless touring schedule has won the band a fervent following from California to Israel, with fans ranging from jam-band hippies and jazz cats to corpse-painted headbangers and prog geeks.

Formed in 2004, Consider the Source features Gabriel Marin on fretless double-neck guitar, bassist John Ferrara, and drummer/percussionist Jeff Mann. Called “the guiding light for his generation of six-stringers”, Marin channels the mystical fury of McLaughlin and Coltrane into wailing melodies, kaleidoscopic soundscapes and boneshaking riffs. With a background in classical musics both European and Indian, and an instinct for avant-jazz and destructive metal, Marin’s hypnotic fusion of styles is ever unpredictable. Ferrara’s propulsive, percussive attack, equally suited to simple grooves and impossible chords, can ground the music or launch it into space. His madcap gumbo of slap bass, Indian rhythms, earthy minimalism and complex tapping constantly pushes into strange new worlds, whilst still dropping thick booty-clap beats. Underneath them lies Mann’s rolling thunder; dense rhythmic architecture built from pure swagger and bounce. Half double-bass prog-metal, half crackle-pop Buddy Rich swing, with African and Balkan swirls, Mann’s muscular, freewheeling polyrhythms are the engine fuel for Consider’s multiversal mischief. Even when not improvising, Consider’s music is always a conversation, a roiling stew of dynamic interplay. Each member of Consider the Source alternately leads and follows, spars and assists; in any single song, alliances are made and broken, bargains struck and divorces finalized.

Touring from coast to coast, as well as Europe and the Middle East, has not only earned the band thousands of fans, but has allowed them to perform with wide variety of well-known artists, including Victor Wooten, Wayne Krantz, King Crimson Projekt, Kris Myers (Umphrey’s McGee), Wyclef Jean, Andy Statman, Grace Potter & The Nocturnals, Jacob Fred Jazz Odyssey, Dumpstaphunk, Keller Williams, George Porter, Jr., Jeff Sipe, Panzerballet (Germany), Eatliz (Israel), Freak Kitchen (Sweden), Morglbl (France), and many others. They have performed at numerous festivals and events, including Catskill Chill, The Big Up, Burning Man, Sun Seekers Ball (Canada), Mid-Summer Meltdown, Rootwire, the NYC Fretless Guitar Festival, and the NYC Gypsy Festival. The band’s latest album, “F**k It! We’ll Do It Live” is available at considerthesourcemusic.bandcamp.com.

 
Spirit Family Reunion
@The 8x10 | view more info »
Apr
23

Spirit Family Reunion



Thursday Apr 23|doors 7:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Spirit Family Reunion

official band site »

Spirit Family Reunion is a touring band based out of New York that aims to deliver raw, high-energy honest music. They have self-produced and self-released two full-length albums ("No Separation" 2012 & "Hands Together" 2015) as well as multiple songbooks and other collections of recordings.


 
TAUK
@Gypsy Sally's | view more info »
Apr
25

TAUK



Saturday Apr 25|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


TAUK

official band site »

TAUK is heavy instrumental rock fusion created by Matt Jalbert (guitar), Charlie Dolan (bass), Alric “A.C.” Carter (keyboard-organ), and Isaac Teel (drums). The transcendent instrumental band seamlessly brings together genres as diverse as melodic rock, fusion, gritty funk, progressive rock, ambient, classic rock, hip hop and jazz.

The Oyster Bay, New York-based quartet has received accolades from a number of tastemaking authorities, including an “On The Verge” feature in Relix Magazine and frequent rotation for the singles “Mindshift”, “Sweet Revenge”, “Dead Signal” and “In the Basement of the Alamo” on Sirius XM Jam On. Despite their years of experience as a musical unit, the quartet is a young promising band that Jambase calls “a guaranteed quickly-ascend band.” The Washington Post describes the band by saying: “TAUK’s instrumental music melds genres and styles, creating a hard-charging, often melodic fusion that – thanks to a penchant for improv – offers limitless possibilities” and The Deli Magazine singles out the band’s compelling melodic sense through explaining: “the quartet has a rare ability to channel emotional melodic leads, and all without a lead singer.”

The band’s latest album, Collisions, is a breakthrough in that it finally captures the essence of TAUK’s entrancing live shows. It’s a thoughtfully composed album with captivating hum-along melodies, but this time the band was able to road test the songs, allowing the recorded versions to reflect the group’s adventurous improvisations. The 10-song album spans delicate ethereal textures, highly imaginatively funky drumming, labyrinthine arrangements, and fiery solos—often in the same song.


 
Easy Star All Stars
The Skints | @The 8x10 | view more info »
May
8

Easy Star All Stars

The Skints


Friday May 8|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Easy Star All Stars

official band site »

Blending musical versatility, instrumental prowess, beautiful vocal harmonies and a premier rhythm section, the Easy Star All-Stars have established themselves as one of the top international reggae acts on the scene today. Thanks to their best-selling tribute album releases, Dub Side of the Moon (2003), Radiodread (2006), and Easy Star's Lonely Hearts Dub Band (2009), the remix album Dubber Side of the Moon (2010), as well as original releases Until That Day EP (2008) andFirst Light (2011), the Easy Star All-Stars have built a growing, dedicated fan base throughout the world, bringing together fans of reggae, classic rock, dub and indie rock into one big family.

The band has toured in over 30 countries on 6 continents, averaging over 100 shows per year for the past 5 years. They’ve played most of the major festivals throughout the world, including an unprecedented three-day, three-stage stand at Glastonbury in 2009, which earned them a UK Festy Award Nomination that year.

In 2013, the band has been celebrating the 10th anniversary of the release ofDub Side of the Moon with full plays of the album at many of their shows. In November, the band will play four shows that will include brand new visuals during Dub Side of the Moon, along with special guest dubbing of the live set by Toronto-based, Juno-Award Winning producer, Dubmatix.


The Skints

official band site »

Formed while at school In 2007, The Skints have been mashing it uptown, downtown and all around with their phenomenal live shows distributing their sound of reggae fusion and punk with urban attitude and style. Their sound developed while playing squat parties and underground bars in unfashionable parts of London. In 2008 they released a six song EP and were picked up by the Hidden Talent booking agency. This led to tours with The King Blues, Sonic Boom Six and visiting US bands like The Aggrolites Voodoo Glow Skulls, The Slackers. They have since signed with The Agency Group and are supporting the likes of Sublime with Rome, Less Than Jake, Bedouin Soundclash etc as well as playing Reading, Leeds , NASS and other big UK festivals.

 
Easy Star All Stars
The Skints | @Gypsy Sally's | view more info »
May
9

Easy Star All Stars

The Skints


Saturday May 9|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Easy Star All Stars

official band site »

Blending musical versatility, instrumental prowess, beautiful vocal harmonies and a premier rhythm section, the Easy Star All-Stars have established themselves as one of the top international reggae acts on the scene today. Thanks to their best-selling tribute album releases, Dub Side of the Moon (2003), Radiodread (2006), and Easy Star's Lonely Hearts Dub Band (2009), the remix album Dubber Side of the Moon (2010), as well as original releases Until That Day EP (2008) andFirst Light (2011), the Easy Star All-Stars have built a growing, dedicated fan base throughout the world, bringing together fans of reggae, classic rock, dub and indie rock into one big family.

The band has toured in over 30 countries on 6 continents, averaging over 100 shows per year for the past 5 years. They’ve played most of the major festivals throughout the world, including an unprecedented three-day, three-stage stand at Glastonbury in 2009, which earned them a UK Festy Award Nomination that year.

In 2013, the band has been celebrating the 10th anniversary of the release ofDub Side of the Moon with full plays of the album at many of their shows. In November, the band will play four shows that will include brand new visuals during Dub Side of the Moon, along with special guest dubbing of the live set by Toronto-based, Juno-Award Winning producer, Dubmatix.


The Skints

official band site »

Formed while at school In 2007, The Skints have been mashing it uptown, downtown and all around with their phenomenal live shows distributing their sound of reggae fusion and punk with urban attitude and style. Their sound developed while playing squat parties and underground bars in unfashionable parts of London. In 2008 they released a six song EP and were picked up by the Hidden Talent booking agency. This led to tours with The King Blues, Sonic Boom Six and visiting US bands like The Aggrolites Voodoo Glow Skulls, The Slackers. They have since signed with The Agency Group and are supporting the likes of Sublime with Rome, Less Than Jake, Bedouin Soundclash etc as well as playing Reading, Leeds , NASS and other big UK festivals.

 
Zappa Plays Zappa
@Rams Head Live | view more info »
May
10

Zappa Plays Zappa



Sunday May 10|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Zappa Plays Zappa

official band site »

Dweezil Zappa was born on September 5, 1969 in Los Angeles—the son of Frank and Gail Zappa. It was inevitable that from the moment of his birth his life would be filled wall-to wall with music (his father having listed his religion as “musician” on Dweezil’s birth certificate). Dweezil’s early years were spent largely away from the spotlight—something of a rarity for the child of a celebrity, but perfect for cultivating a close relationship with his family.

Having watched his father perform concerts from the side of the stage since he was in diapers it was no surprise that he began to show an interest in music early on. At 6 years old he received his first guitar, a Fender Music Master from his dad. It wasn’t until he was 12 that he began to show a serious interest in manipulating the instrument to make music.

Having primarily heard the music his father was working on or listening to at home while growing up, Dweezil soon found himself exposed to some new sounds on the radio. Besides his father’s music he began listening to the Beatles, Queen, AC/DC, Led Zeppelin, Black Sabbath, The Who and Jimi Hendrix. Like many aspiring guitarists of his generation, Dweezil ‘s ear was caught in a stranglehold by the trailblazing guitar styles of Edward Van Halen and Randy Rhoads. He listened to their records for hours on end trying to figure out a way to translate what he was hearing in his head to his fingers at the other end of the guitar. Along the way, he had opportunities to ask his dad for some help. “I remember asking Frank to help me figure out the song ‘Revelation/Mother Earth’ from Blizzard Of Oz. I really didn’t know anything about chords and in that song Randy Rhoads was using classical music elements that were really new to rock guitar at the time. Frank helped me learn the finger picking intro.” To gain more fundamental knowledge of technique and scales Dweezil was fortunate to have some assistance from one of the musicians in his father’s band at that time, Steve Vai. Dweezil became remarkably proficient in a very short amount of time due to his intense practicing sessions.

“Steve made a notebook, which I still have, of scales and exercises and I practiced the stuff from that book at least 5 hours a day.” In 1982, at the age of 12 he made his first onstage appearance with his father’s band at the Hammersmith Odeon in London. “That was a great experience. I was so excited to have been asked to play but I was incredibly nervous. Since I could only really play lead in the key of A, Frank devised a hand signal for the band to modulate the song ‘Stevie’s Spanking’ down to A from it’s original key of B. After I finished my solo he gave the cue for the band to modulate back up. It was so cool how he had so much control over the music, it almost seemed like a magic trick to me. It made a big impression on me and has stuck with me my whole life.”

Later that year he recorded his first single, “My Mother Is A Space Cadet”, released on Frank Zappa’s Barking Pumpkin label. The amazing story behind that recording is that it was produced by Edward Van Halen. (On the sleeve it is credited as being produced by De Vards in order to avoid any contractual issues for Van Halen.)

“There are no words to describe how inspirational it was for me to be able to work with Edward on that recording. I was 12, a novice player and in complete awe of his super human accomplishments. I had a terrible sense of rhythm and he tried really hard to help me with that. I had only been playing for around 9 months and I had never practiced with a metronome. He was funny in the studio. We were all so young, just 12 and 13 and Edward joked that it was time for us kids to have a milk and cookie break. When I played the solo on “Space Cadet” Edward worked on getting the right guitar sound. That was one of my favorite parts of the session. We were using one of Frank’s brown Acoustic combo amps.

He had 5 or 6 of them that he was using on tour and Edward played through all of them to see which one sounded best. At one point he was teaching me about doing punch in over dubs, he explained that I had to play along with the parts that were already recorded so that it would seamlessly blend with the new part I was about to record. I remember it being very difficult to do since the stuff I played for the solo was not worked out ahead of time. I did the whole solo with all of the finger tapping stuff and vibrato bar dives. Edward made up a cool part that he showed me for after the solo that lead back to the vocal but I couldn’t bend the unison notes in tune since my hands weren’t strong enough. So he ended up playing the unison bend melody after the solo. The slide guitar intro came about around then as well. I couldn’t play that in tune either since I had never played slide before and it’s a specialized technique that takes a long time to master. He played that intro as well. Watching him do that stuff was so impressive. I did all of the other guitar stuff that you hear on the record”

In 1984, Dweezil contributed guitar solos to both “Stevie’s Spanking” and “Sharleena” on Frank’s album Them Or Us.

In 1986, Dweezil made his debut in Hollywood as an actor with his role in the classic 80s film “Pretty In Pink.” 1987 saw Dweezil raise his profile further with another film role alongside Arnold Schwarzenegger and Mick Fleetwood in “The Running Man.”

In television he worked as a guest MTV VJ. During that same period he recorded and released his first full length album, Havin’ A Bad Day. This album contained the single “Let’s Talk About It” which featured Moon Zappa on vocals and found itself on regular rotation on MTV. The video featured cameo appearances from Frank Zappa, Robert Wagner and Jane Fonda as well.

Around this same time, Dweezil made his own cameo appearances on records for a variety of diverse artists. He played a solo on the Fat Boys “Baby You’re A Rich Man”(http://www.youtube.com/watch?v=Ipzj_FvHgT8), as well as on the Grammy Nominated cover of “Wipeout” with Herbie Hancock and Terry Bozzio (http://www.youtube.com/watch?v=INdKbZB1mBA) from the “Back To The Beach” film soundtrack. He was asked to join Stevie Ray Vaughan and Bonnie Raitt in contributing guitar performances to Miami Vice star Don Johnson’s solo album. While Dweezil actually played on the song “The Last Sound Love Makes” it was his appearance in the video for Don Johnson’s single “Heartbeat” that would most notably link him to the project.

1988 saw Dweezil sign a deal with Chrysalis Records, releasing his second album My Guitar Wants To Kill Your Mama. The title track and video, a cover of the Frank Zappa single, found it’s way into the MTV rotation. More TV work followed in 1990 Dweezil and Moon Zappa starred with Laverne And Shirley legend Cindy Williams in a sitcom for CBS titled Normal Life.

With the release of his third album Confessions in 1991, Dweezil began to branch out musically, blending his heavy rock approach with touches of his father’s distinct compositional insignia. Guest appearances on this album pointed the way toward the future for Dweezil, including contributions from Nuno Bettencourt , Gary Cherone and Pat Badger of Extreme and legendary guitarists Warren DeMartini, Steve Lukather and Zakk Wylde as well as Frank Zappa sidemen Mike Keneally and Scott Thunes. Both Moon and Ahmet Zappa also added vocals to the album.

There were a handful of live shows played to support the Confessions album. That tour saw the band develop a unique set of skills and usher in the birth of a remarkable non stop medley that grew to contain 200 songs performed in 20 minutes.

After completing the Confessions tour Dweezil formed a new band and project with Ahmet called Z. The band was primed to make a new album. Just as the band started to solidify the drummer Josh Freese exited.

Armed with a mountain of material and no permanent drummer the band entered the family owned rehearsal space called Joe’s Garage and rehearsed with several different drummers who ended up playing on tracks for the new album. Those drummers included Terry Bozzio, Mark Craney, Toss Panos, and Tal Bergman. Rather than move to a studio they set up for recording rehearsals. The band recorded over 3 dozen tracks at Joe’s Garage. The “Shampoohorn” album was completed in 1992 but awaited it’s release over a year later. It was eventually released with 2 different track listings.

The band featured Mike Keneally and Scott Thunes and initiated it’s new permanent drummer, Berklee School Of Music-trained drummer par excellence Joe Travers before departing for a world tour. Thunes departed later in 1994 and was replaced by Bryan Beller who had attended classes at Berklee alongside Joe Travers. The band toured the US and Europe, and in 1996 released a follow-up album, Music For Pets, which had been pieced together over the previous three years. By the time of the album’s release, both Beller and Keneally had left the band and Z gradually ceased to exist. Dweezil stayed in the public eye however with several projects including composing the theme music for the Emmy Award winning Fox television show “The Ben Stiller Show” and on camera TV appearances including taking the role of Ajax in the Klasky Csupo animated series Duckman and a TV series for the USA network called Happy Hourwhich he starred in alongside Ahmet.

2000 saw Dweezil issue his first solo album since 1991’s Confessions with the release of Automatic. By this time, Dweezil’s musicianship had come full-circle as he showed off his guitar virtuosity with eclectic all guitar orchestrations of “You’re A Mean One Mr. Grinch” and “Hawaii 5-0.”

In 2003 More television work came about as Dweezil formed a band for the Warner Brothers unconventional improvisational comedy “On The Spot” and performed live in each episode.http://www.dweezilzappaworld.com/videos/36

He also composed the theme music for the WB series “The Jamie Kennedy Experiment” and composed dozens of tracks for the music library Extreme Music. Many of these track are heard on various television shows around the world.

The next several years saw Dweezil preparing to take on an extremely difficult challenge—bringing his father’s legendary music back to the concert stage. In 2006, some indication of what could be expected surfaced with Dweezil’s next solo album Go With What You Know. The album featured Dweezil’s most creative, advanced guitar work to date and he was aided by the propulsive brilliance of Joe Travers as well as keyboardist Aaron Arntz and bassist Pete Griffin, who would soon become mainstays in the live band Dweezil was putting together.

Finally, in the spring of 2006, Dweezil’s new live band ‘Zappa Plays Zappa’ hit the road for their first, tour. Playing a long, ambitious set of Frank Zappa favorites and obscure gems to big audiences of crazed Zappa fans, Dweezil proved that he could reach his goal to form a core band of previously unknown expert musicians capable of respectfully executing his father’s music. He was uniquely qualified to bring these compositions back to life with complete authenticity from the page to the stage. Helping to deliver the goods was his absolutely stellar band of first-rate musicians including Joe Travers, Pete Griffin, Aaron Arntz, brass/woodwinds/keyboards/obvious fan favorite Scheila Gonzales, percussionist Billy Hulting and guitarist Jamie Kime.

Without a “cosmik crystal ball” it was impossible to see to how far into the future this project would last. Bearing that in mind Dweezil decided to add some extra frosting to the cake and invite some former FZ band members to join him on the inaugural tour. The earliest ZPZ tour included band alumni Steve Vai on guitar, Napoleon Murphy Brock on tenor sax and lead vocals and Terry Bozzio on drums.

This lineup was captured in the group’s first Zappa Plays Zappa release on CD and DVD in 2008. This project netted Dweezil his first Grammy Award win for Best Instrumental Performance for its version of the Frank Zappa classic “Peaches En Regalia”.

In 2007, the tour continued and new elements were introduced. Ray White joined the tour on vocals. This lineup of the band recorded their next live release Return Of The Son Of… which was issued under Dweezil’s name in 2010. Once again Dweezil found himself up for Grammy contention when the version of Frank’s guitar solo “The Deathless Horsie” was nominated for Best Instrumental Performance.

2009 saw ZPZ undergo its first major personnel changes. Both Aaron Arntz and Ray White left the band and were replaced by keyboardist Chris Norton and Ben Thomas on lead vocals and trumpet. The band continued their run of successful worldwide tours, playing to devoted fans and showcasing a constantly-changing selection of Frank Zappa compositional gems. In October 2009 the band started to become known as Dweezil Zappa Plays Zappa, and in 2010 they embarked on a US tour during which the band played one of Frank’s best-loved albums, Apostrophe (‘), in its entirety.

Constantly learning and evolving his guitar art, Dweezil Zappa is both the modern face of Zappa music and the person who can bring it fully-formed into the future. In 2011 he released a double CD album on U.K. label Fantom Records: ‘Dweezil Zappa – Live In The Moment’ which is a compilation of improvised guitar solos taken from various ZPZ shows since 2007. His own music had been sidelined for a while but is currently experiencing a resurgence. 2012 will see new releases of Dweezil’s own music (both classical and rock genres) and the continuation of his music boot camp Dweezilla, as well as another new release from Fantom Records simply titled “F.O.H.” – a live double CD featuring Zappa Plays Zappa performances of Frank Zappa songs.

In 2012 Dweezil redefined Zappa Plays Zappa mission as a band and sculpted it into the current 6 piece configuration he takes on tour. (Dweezil Zappa Lead Guitar Vocals, Scheila Gonzales Saxophone, Flute, Keyboards and Vocals, Kurt Morgan Bass and Vocals, Chris Norton Keyboards and Vocals, Joe Travers Drums and Vocals, Ben Thomas Lead Vocals, Trumpet and Trombone.) When his father toured with smaller ensembles he referred to them as his “Rocking Teenage Combo.” Smaller in size doesn’t mean smaller in sound. Not for Frank or Dweezil. Now able to tour in even more cities and venues because they can fit on stage easier, Dweezil’s rocking teenage combo has been navigating through new geographic and musical territory. This fine assortment of hand picked musicians all have their own unique qualifications but it’s their dedication to preserving and performing the detailed music of Frank Zappa that unites them and thrills audiences across the globe.

Dweezil’s proudest accomplishments are as father to his two daughters Zola Frank Zappa (born 2006) and Ceylon Indira Zappa (born 2008). He lives in Los Angeles.


 
Dweezil Zappa Guitar Master Class
@Rams Head Live | view more info »
May
10

Dweezil Zappa Guitar Master Class



Sunday May 10|doors 3:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Dweezil Zappa Guitar Master Class

official band site »

For The price of a fuzz pedal, learn techniques from the son of Frank Zappa.

Dweezil Zappa's music camp, Dweezilla, has a motto: "Learn And Destroy." It refers to destroying the boundaries that confine music creativity. At camp, students are in total immersion for 4 days of music instruction. While on tour with Zappa Plays Zappa, Dweezil will be previewing some of the guitar concepts he teaches at camp in a special event prior to each concert.

"I transformed my guitar technique before starting Zappa Plays Zappa out of necessity to play my dad's most sophisticated and challenging melodies. I've found a lot of exciting new approaches to the guitar. I started Dweezilla music camp as a way to share this information with guitarists. I'm excited to present an opportunity to share thoughts on my approach to guitar with students of all levels before each show on tour."


 
All Good & Mad Tea Party Jam Presents Official Pre-Tea Party featuring
The Werks
Soohan | Litz | @Baltimore Soundstage | view more info »
May
15

All Good & Mad Tea Party Jam Presents Official Pre-Tea Party featuring
The Werks

Soohan
Litz

Friday May 15|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


All Good & Mad Tea Party Jam Presents Official Pre-Tea Party featuring
The Werks

official band site »

The Werks have quickly emerged as a national powerhouse. As a result of their eclectic individual influences, The Werks produce a dance party that can be appreciated by a majority of musical tastes. Known for fusing psychedelic shredding guitar, wailing organ of jam and classic rock with funk slap bass, synthesizers, and modern dance beats, The Werks create their own style of music. Their unique style of performing is affected and manipulated by the energy of the audience, guaranteeing that each show will be different and memorable.


Soohan

official band site »

SOOHAN. His name might ring a bell. He has been an innovative force in the Baltimore music scene for years, and is also the co-founder of the infamous Baltimore MANIFEST parties. Having shared the stage with the likes of Big Gigantic, Eskmo, Papadosio, Afroman, Alvin Risk, and Michal Menert, he is no stranger to the turntables. Tired of hearing the same trend-following bass music? Look no further. SOOHAN gives us a refreshing take on sample-based music with his debut album "Made In Baltimore", which is most accurately described as a "buffet of international bass music." All of the tracks on the album pay homage to the mighty 808 kick, but it's his unique and extensive sample selection that makes this work truly memorable. He takes us on a multi-faceted journey, both across the globe and into the past, pulling simultaneously from the traditional music of various cultures, as well as from the depths of our nostalgia.

Litz

official band site »

LITZ brings together a wide array of musical influences ranging from funk, jam, reggae, soul, to electronica to amalgamate a new sound for the ears of the world. Their sound strides to sonically transport its listeners to another planet free of the stress, struggles, and tribulations of modern day life through the use of funky horn riffs, wah-wah keys, pounding bass, driving/progressive rhythms and melt your face guitar.