Pimps Of Joytime *postponed*
Knovo | @The Hamilton | view more info »
More Info
Apr
10

Pimps Of Joytime *postponed*

Knovo


Friday Apr 10|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000
On Sale Soon


Pimps Of Joytime *postponed*

official band site »

Pimps of Joytime puts the needle in the groove with its fresh collection of 10 funk anthems ready to put a smile on faces across the globe. An intersection of Brooklyn’s indie music scene, New Orleans funk and San Francisco soul, the Pimps’ new studio release Third Wall Chronicles (Sugar Road Records: March 24, 2017) unites us around a common bond of Peace, Love and Music. The apex of positivity and a solace from the daily grind shines bright as the Pimps of Joytime throw the dance party of the year on Third Wall Chronicles and everyone is invited!

Brian Jay, Pimps of Joytime band leader, is no stranger to working with A-List talent in the studio as he’s produced albums for a “who’s who” of New Orleans heavyweights, including such stars as Cyril Neville (The Neville Brothers), James Andrews, Bernard “Pretty” Purdie (The World’s Most Recorded Drummer), and Corey Henry (Galactic). He’s shared the stage with Art Neville, George Porter and Zigaboo Modeliste (The Meters), Eddie Bo, and he’s currently working on an album with GRAMMY Award-nominated blues artist Cedric Burnside (grandson of legendary blues musician R.L. Burnside). Brian Jay co-produces Third Wall Chronicles with Los Lobos’ Steve Berlin. Co-writers on the album also include Anthony Cole (JJ Grey & Mofro), Nappy G (Turntables on the Hudson), DJ Black Pearl, and Chancey Yearwood.

Third Wall Chronicles is the Pimps Of Joytime’s fourth full-length studio album and features standout performances by fellow Pimps band members Mayteana Morales (vocals/percussion), Kimberly Dawson (vocals), David Bailis (bass/sampler) and John Staten (drums). Pimps of Joytime will headline venerable West Coast venues in February and March 2017 before heading to the East Coast for their national album release event at The Bowery Ballroom on March 25, 2017.


Knovo

official band site »

Knovo is a DC-based band that delivers a dreamy blend of indie, jazz, and psych rock, which aims for both the mind and soul. Formed in 2018, Knovo is the brainchild of husband-and-wife duo TJ Turqman (bass) and Gena Photiadis (keys/vocals), and features the unique vocal stylings of Tula Pisano, who deftly weaves intricate melodies that are equal parts evocative and beautiful. Rounding out the lineup are the tasteful and dynamic contributions of guitarist Nikhel Sus and drummer Matt Tredwell. The group’s collective influences yield a sound that is melodic, yet distressed. Retro, yet new. And above all, full of light and energy.


 
Goose *postponed*
@The 8x10 | view more info »
More Info
Apr
19

Goose *postponed*



Sunday Apr 19|doors 7:30 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000
On Sale Soon


Goose *postponed*

official band site »

The atmosphere Goose radiates could be likened to a keg party in the woods on a summer night with all of your closest friends. While behind this bonfire-lit gathering, further into the forest, there is a deeper mystery awaiting those looking for it.

The quartet, based in Norwalk, CT, is comprised of Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, keyboards/guitar), Trevor Weeks (bass), and Ben Atkind (drums). Goose’s music is the culmination of a rich history between friends of differing ages and experiences from the same small town in Connecticut, drawn together through a deep love of music and storytelling.

The band returned to the studio in 2019 for the first time since the 2016 debut LP, Moon Cabin, releasing three new singles, “All I Need”, “Time to Flee”, and “Butter Rum”. Mastered by Grammy Award winner, Emily Lazar, the singles exhibit a developed live band showcasing their studio voice. Following breakout performances at Resonance Music & Arts Festival, Domefest, Summer Camp Music Festival and The Peach Music Festival; the Goose is loose.



 
ONA *postponed*
@The 8x10 | view more info »
More Info
Apr
28

ONA *postponed*



Tuesday Apr 28|doors 7:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000
On Sale Soon


ONA *postponed*

official band site »

Ona is an indie-rock band comprised of longtime friends Brad Goodall (keys), Bradley Jenkins (vocals/guitar), Zach Johnston (bass), Max Nolte (drums), and Zack Owens (guitar).

The band formed in late 2013 and are based in Huntington, WV. Ona's debut record 'American Fiction' reached critical success appearing on NPR best of lists, SIRIUS Radio airplay, and a spot on nationally syndicated radio program Mountain Stage.



 
Ghost Of Paul Revere *postponed*
@Pearl Street Warehouse | view more info »
More Info
May
2

Ghost Of Paul Revere *postponed*



Saturday May 2|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620
On Sale Soon


Ghost Of Paul Revere *postponed*

official band site »

"We grew up listening to Radiohead and the Beatles and Led Zeppelin and Pink Floyd," says Griffin Sherry, guitarist/singer in The Ghost Of Paul Revere. "Everyone assumed we were a bluegrass band because we were playing these traditional instruments, but we weren’t writing traditional music. We were just writing songs with the instruments we had."

The result is a sound that the Portland, Maine-based band describes as "holler folk," not because it involves a lot of hollering, per se, but because it invokes the rich communal tradition of field hollers, with their call-and-response melodies, sing-along hooks, and densely layered harmonies. That sense of musical camaraderie is essential to everything The Ghost of Paul Revere does, and nowhere is it more evident than their sophomore album, ''Monarch.'

The album builds on the success of the band's 2014 debut full-length, 'Believe,' and their 2015 EP, 'Field Notes Vol. 1,' which was recorded primarily in a single day at Converse's Rubber Tracks studio in Boston. The session was part of a prize package presented by the iconic Newport Folk Festival, which had invited the band to perform at the storied Rhode Island musical gathering earlier that year as part of a lineup featuring everyone from James Taylor and Jason Isbell to The Lone Bellow and Bela Fleck.

"The Monday before Newport we got a message saying to pack our bags and come on down," remembers Sherry. "We hadn't played much outside of Maine or started opening for any big acts yet at that point, and it was a hugely inspiring moment."

Word began to spread about the rowdy pickers from the north. The Boston Globe raved that they "create the type of music for which festivals are made," while No Depression said they "prove that superior roots music can come from anywhere," and Dispatch Magazine wrote that they possess not only "the chops, but the heart to reach their audience and leave an undeniable impression." Hitting listeners straight in the feelings has been the band's M.O. since its inception in 2011, and they've used their powerful stage show to convert the masses at every stop along their long and winding journey, which has included shared stages with artists like The Avett Brothers, The Travelin' McCourys, Brown Bird, The Revivalists, the Infamous Stringdusters, and more. The band sold out Port City Music Hall, Stone Mountain Arts Center, and the Strand Theater multiple times, won Best In Maine at the New England Music Awards, and capped off 2015 with an electrifying headline performance on New Year's Eve at Portland's State Theatre in front of 1,600 enraptured fans.

When it came time to record, 'Monarch,' though, the band knew they wanted to push the sonic envelope beyond the live-in-the-studio setup that had guided their previous efforts.

"Every other record has just been the three of us in a room with microphones until we got a take we liked," explains Sherry. "We approached this one differently. It was the first time we did a lot of arranging and writing in the studio. We decided we'd worry about learning how to present the songs live after we'd recorded everything instead of the other way around."

"It enabled us to get a lot more adventurous with our ideas," adds bassist/singer Sean McCarthy. "We wanted to do something new and explore where we could take the sound while still staying true to who we are."

The album opens with "Little Bird," a playful, infectious foot -stomper that blends blues and soul and roots and perfectly reflects the communal, inviting nature of the band's music.

Banjo player Max Davis takes over the songwriting and lead vocal duties for "Avalanche," an emotional anthem featuring one of the album's most lush arrangements along with driving drums from special guest Tony McNaboe (Ray LaMontagne, Rustic Overtones), while "King's Road" finds the band expanding their sonic palette to include strings and electric guitar, and "Honey Please" channels 60's R&B and Motown through old-school folk instrumentation. At the core of everything The Ghost of Paul Revere does, though, are their powerful, stop-you-dead-in -your-tracks harmonies. On songs like "Wild Child," "Welcome Home," and "Need Somebody," the band conjures up whole worlds of shimmering sonic beauty in the blending of their voices.

"The album follows this arc where it starts very bright-eyed and optimistic and then hits a turning point where it gets really dark," says Sherry, "like a relationship that starts beautifully and then grows sour. As we started to build the record and expand the sound, it had a place sonically and emotionally.”

By the end of the record, the song cycle reveals that traveling through the darkness is in fact a necessary step for positive growth. 'Monarch' closer "Chrysalides" evokes the imagery of metamorphosis, a transformation that represents rebirth and new beginnings.

"It's about what happens in that moment of metamorphosis and change," says Davis. "I was interested in combining different words into a new term that could capture that feeling, so 'Chrysalides' is a play on chrysalis. This was one of the first times that I allowed myself to bite into and really take advantage of that space in the writing."

If there's one takeaway from 'Monarch,' it's that change is inevitable. Lovers, families, friends, instruments, sounds; they all transform with time. The key to thriving and surviving in a challenging world is to embrace those transformations, to accept them not as endings but as fresh starts. What comes next? Only time can tell. One thing's for sure, though: by opening their hearts and souls with such artistic grace and humility, The Ghost of Paul Revere have created a rich, rewarding, passionate community, one that they can count on to join them for every step of the remarkable journey that lies ahead.



 
The Motet & TAUK **NEW DATE**
@9:30 club | view more info »
May
14

The Motet & TAUK **NEW DATE**



Thursday May 14|doors 7:30 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Motet

official band site »


Tickets for the original date of 3/13/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


Throughout history, unity starts on the dancefloor. From ancient tribal cultures to neon night clubs, beats bring bodies together. Once grinding and grooving in unison, the movement generates friction, sparks, and light. That might just be the purest form of energy on the planet. The Motet harness such energy on their ninth full-length, Death or Devotion. In fact, the Denver septet—Dave Watts [drums], Joey Porter [keys], Garrett Sayers [bass], Ryan Jalbert [guitar], Lyle Divinsky [vocals], Drew Sayers [sax], and Parris Fleming [trumpet]—encode a message in their energetic mélange of boisterous badass funk, swaggering soul, and thought-provoking pop.

In the process, they challenge convention and arrive with a dynamic, diverse, and definitive statement.

“The essence is always going to be the groove, but we wanted to expand the idea of what a funk album could be,” says Lyle. “Of course, you want a driving backbeat. However, with the division that’s going on in this country and the world, I think it’s every artist’s responsibility to create a conversation. That conversation doesn’t have to be political either. It can be about love or an introspective journey. I think the commentary should be on what it’s like to be alive today. By drawing on funk, we create a fun, palatable musical vehicle for the message to go down. Our goal is for you to recognize we’re all dancing on the same dance floor—even though our steps may look a little different.”

Death or Devotion earmarks an important point in the band’s own journey. Since emerging in 1998, the boys have cooked up eight full-length albums and entranced countless crowds. 2016’s Totem saw them welcome Lyle behind the mic and Drew on sax. Shortly after, they kicked off what has become an annual tradition by selling out the legendary Red Rocks Amphitheater for the first time. “It was my six-month anniversary and first show for a hometown crowd,” recalls Lyle. “I’ve got 10,000 people looking at me like, ‘Who the hell is that?’,” he laughs.

That night would be chronicled on the fan favorite Live at Red Rocks. In the meantime, the group maintained a prolific pace of 100 shows per year in support of Totem. Along the way, The Motet started recording Death or Devotion during intermittent sessions at Scanhope Sound in 2017.

For the first time, Lyle, Drew, and Parris (who joined in 2018) worked on a Motet record together from start-to-finish.

“On Totem, the train was already moving, and I was just a train hopper,” says Lyle. “Drew, Parris, and I came onboard within the same year. Now, we’re all bringing our pieces to the puzzle. For me, I brought that R&B style. Funk is the common ground, but the music is a result of different inspirations: namely Drew’s hip-hop and reggae knowledge, Ryan’s psychedelic jamming, Dave with the worldbeat, Joey with his encyclopedic understanding of punk, and Garrett being the best bass player to exist. We found a really cool balance between the funkiness and songs that challenge your emotional headspace more than typical pop.”

The first single “That Dream” showcases the myriad of musical flavors from all seven members. Clean palm-muted guitars bristle against a swaggering beat as the horns enliven each verse, while a vocal call-and-response relays a head-spinning tale.

“I took a nap, and I had the craziest dream I’ve ever had,” he recalls. “In the dream, I’m heartbroken from a nonexistent relationship, so I go out to a bar. I get seduced by this beautiful woman who serves me a glass of wine with poison. I wake up handcuffed and she’s stealing from me and torturing me. It was so dark, but I woke up and thought, ‘That would be a crazy subject to write a party song about!’”

Elsewhere, “Highly Compatible” hinges on an unshakable riff and raucous refrain upheld by sizzling sax. “It’s like that beautiful moment of falling in love where you recognize something as supremely real-life magic,” Lyle goes. “Harry Potter couldn’t conjure a better spell. It’s the magnetic nature of the chemistry. We captured that chemical recognition.”

From the infectious hooks of “Contagious” to the instrumental fireworks on “Speed of Light,” The Motet ultimately propose an important question at the heart of Death Or Devotion.

“What are you going to bring to yourself and the world?”, Lyle leaves off. “Are you going to bring death, or are you going to bring devotion? The choice is yours. When you listen to this record, I’d love for you to walk away feeling a little bit more connected, whether it be to yourself, to your friends, or to your community. Being able to drop all of the vision for a minute, be present, smile, and dance reminds us we’re all going through this together.”


TAUK **NEW DATE**

official band site »

New York-bred TAUK has been laying down an all-instrumental blend of progressive rock, hip-hop and jazz on stages across the U.S. for the last several years, and recently released several iterations of “Real TAUK”, to document some of the great moments from each tour. Though fans have clamored for each “Real TAUK” release (now up to Volume 3) they’ve also reveled in the deep sonic explorations from the band’s studio forays.

Their most recent studio album Shapeshifter II: Outbreak, offered an unsettling but ultimately exhilarating look at artificial intelligence and its potential to upend our world. With its dynamic sense of tension and cinematic mastery of mood, it proved to be an album that’s both powerfully hypnotic and intensely thought-provoking.

“We’re all very much interested in A.I., and this idea of machines getting out of the hands of the people trying to control them,” notes TAUK guitarist Matt Jalbert, whose bandmates include bassist Charlie Dolan, keyboardist Alric “A.C.” Carter, and drummer Isaac Teel. “This album felt like a good setting to tell that kind of story, but in a way where we could have fun with it and let the listener escape into a whole other world.”

Equally inspired by classic sci-fi like Blade Runner and more recent films like Ex Machina, Shapeshifter II: Outbreak embeds that narrative into TAUK’s most sonically adventurous, emotionally expansive work to date. A continuation of their early-2018 EP Shapeshifter I: Construct, the new album picks up its predecessor’s narrative thread with “Prelude”: a fantastically unsettling intro track whose frenetic keyboard work and chilling vocal samples set the tone for what’s to come. “The idea is that in the EP you’re seeing the construction of this being, and in the album you’re seeing it break out and become something that you can’t ignore anymore,” Carter explains.

Free-flowing yet elaborately composed, Shapeshifter II: Outbreak came to life in collaboration with TAUK’s longtime cohort Robert Carranza—a Grammy Award-winning producer/mixer/engineer also known for his work The Mars Volta, Ozomatli, Marilyn Manson, and Taj Mahal. In a departure from their previous releases (including 2016’s Sir Nebula), the band shunned the typical studio environment and holed up for weeks in a long-abandoned, century-old home that Teel describes as “the Jumanji house meets Addams Family meets Amityville Horror.” Located in their homeland of Long Island, the house turned out to be the ideal spot for their makeshift studio, allowing for a creativity-enhancing seclusion.

Inspired by their work on Shapeshifter II: Outbreak TAUK has taken to broadening their live sonic palette to include a vast spectrum of synth sounds and programmed effects (such as those exquisitely eerie vocal samples heard in “Prelude”)Esteemed musicians who contributed to the album such as The Naughty Horns and Ghost-Note’s Nate Werth (a percussionist who’s also played with David Crosby, Q-Tip, and Snarky Puppy) have also joined the band onstage.

Each Real TAUK release showcases the potent chemistry they discovered in childhood, when longtime friends Dolan, Jalbert, and Carter formed their first band in seventh grade. After playing together in various projects, the trio brought Teel into the fold in 2012, cementing the final lineup. Since then, TAUK have shared stages with acts like Umphrey’s McGee, Widespread Panic, and Lettuce, appeared at festivals like Electric Forest and Bonnaroo, and earned acclaim from major outlets like the Washington Post (who praised TAUK for “creating a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities”). As Teel points out, the band’s incessant touring over the years has significantly strengthened their musical connection. “The four of us as individuals are all very animated souls in our own right,” he says. “We each have our ideas and our perspectives, and when it all comes together, it creates this collective statement that takes on a life of its own.”



 
Liz Cooper & The Stampede
Twain | @The 8x10 | view more info »
May
15

Liz Cooper & The Stampede

Twain


Friday May 15|doors 7:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Liz Cooper & The Stampede

official band site »

There is a collective energy in Nashville, one that Liz Cooper has poured herself into for the past six years. Liz remarks that the energy in Nashville today is akin to that of Greenwich Village in 1960s New York or the Laurel Canyon days in the 1960s and 1970s and is a product of a collaborative approach to music and art. This community has allowed Liz to be a part of many magically haphazard nights, where the movers and shakers of the Nashville music world, such as Okey Dokey, Becca Mancari, Rayland Baxter, Desert Noises, Morning Teleportation, Erin Rae, Brittany Howard, Cage the Elephant, Michael Nau and many more converge to make music and art and lose track of time. Her latest album is a product of that pulsating energy in Nashville that has had some of the greatest influence in her work.

Window Flowers is the culmination of a year where Liz made a purposeful effort to do something creative every day. Whether it was directly related to music or not, this creative process challenged and inspired her to continually put herself in new situations and pushed her to become a better songwriter and guitar player. The tentative newcomer that is present in her early recordings was all but gone in the making of the album. Her absorption into the collaborative community is evidenced by guest appearances on Window Flowers including Will Brown (Michael Nau) on the keys, Michael and Ben Ford (Airpark) bgv’s/ guitar and songwriting, Gianni Gibson (Future Thieves) percussion, Leah Blevins on BGV’s, Emily Kohavi (Kacey Musgraves, Eminem etc.) on violin and Steve Dawson on pedal steel. Liz Cooper & The Stampede and their guests spent five days tracking Window Flowers at Welcome to 1979 in Nashville, Tennessee. TJ Elias, who co-produced the album with the band, sparked the relationship by approaching Liz one night backstage at The Ryman Auditorium after hearing her songs through a mutual friend and musician, Cody Huggins.

Window Flowers is a collection of music that deals with the weight of mundanity, and politely tells it to fuck off. When listening to “Sleepyhead” you hear remembrances of her early Nashville recordings, mixed with the powerful assertion that this is Liz Cooper, a force that will continue to shape and mold her own course of creating music. Whether you see Liz Cooper & The Stampede in a dive bar or a theater venue, you feel like you are being transported to another time and place. People often remark that her music takes them back to the 60s and 70s, when rock-n-roll felt alive, and bigger than oneself. The album will be released on Sleepyhead Records via Thirty Tigers (Sturgill Simpson, Jason Isbell) August 10, 2018.

Coming off their busiest year to-date, including playing Austin City Limits Festival for the first time in 2017, Liz Cooper & The Stampede have spent the first few months of 2018 touring with Lord Huron, Deer Tick, Rayland Baxter, Ron Gallo and Blitzen Trapper. The band will continue touring this year with Houndmouth, Tyler Childers and will play Firefly Festival and LouFest.

As Liz shakes her tambourine, hair falling in her face, donning a floral jumpsuit, it is hard to believe she identifies as a shy person. “I wanted to grow as a human and a musician so I had to quickly get over being painfully shy. I moved to Nashville as a scared and unconfident 19 year-old so I had to continually challenge myself and put myself out there. Now, as a 25 year-old I feel like I’ve grown so much confidence. Of course I will always be awkward, but I’m learning to love that. What a journey it’s been and will continue to be; definitely a hot puzzle. As I grow, my music will grow. Music is helping me figure out who I am and what the hell my life is all about and at the end of the day it just makes me happy. Isn’t that what everyone is trying to figure out how to be?”


Twain

official band site »

Have you ever…
...faced an impossible question, to be answered at once by a kaleidoscope of wind, diffusing your bewilderment into thousands of spinning bulbs?
...awoken to hear the person sleeping beside you speaking a language they do not speak in their waking life?

...felt your legs possessed, to throw you across the room in shapes?

...lost your heart, only to find it on the bank of a cold spring, in the hands of a filling station attendant, or in the dust swimming through the light of your bedroom window? Have you ever listened to Twain? “A lonely day, I went outside to smoke awhile, and think about a picture in a book: He was laying in the grass in his suit, as the angler posed in pursuit of the fish”

For the past decade or so, Mt. Davidson has cultivated his songs and sounds, attempting to create a bridge, a meeting place, between the terrestrial and the mystic. He is a ponderous and delicate sort of creature, short and vaguely leonine, who has spent most of his young life abiding in the midlands of transcendence.

“Oh to be there, the smell of her hair, the deer swimming through the watery woods, life won’t last long for those who hate it, for those who love it, it lingers on like a dream”

Following its quiet self-release in 2014, his fifth and most recent LP, Life Labors in the Choir, has steadily gained devoted listeners throughout the globe and continues to blossom today. The album describes a marked evolution in an alluring yet strange and hesitant discography. Progressing from the bashfully childlike sounds of 2005’s Madeline, (now lost), through self-constructed garage multi-track tangles of Sleeping Tree (2007) and Almanack (2008), we hear the progress of a young man struggling to free himself from the shackles of depression and neurosis. In 2010’s Love is All Around, a distinct breakthrough can be felt in the form of a question that challenges the foundation of the doubt and fear running through the early music. This sudden evolution is in no small part owing to the addition of two musicians - Peter Pezzimenti (drums and vibes) and Ken Woodward (basses) - and a sound engineer - Adrian Olsen. The music really began to breathe.

“Free’d from doubt, my cigarette went out, the sun came out and warmed up the house, oh to be fainting into that painting, as I wrap up the tune and bring it to you”

This fall, Twain will release a new record of songs - Rare Feeling - on Keeled Scales Records (Austin, TX). These recordings have been gently fermenting for an extended period of time, and are now ready for consumption. The foundation of the record was captured in a tool shed by the great magi-bard, S. McMicken (Dr. Dog), using ancient and secret methods of time distortion. The resultant reels were then brought to Richmond VA, where master engineer and sound-seeker Adrian Olsen guided the songs into completion. As with the previous LP, the band has labored to present a purely AAA analog disc, and is eager for you to experience the special magnetic warmth that results from the process. (We once again are indebted to the mysterious and mighty Paul Gold of Salt Mastering for his kind attention).

If you would like to hear some music, please head over to twain.band.

(Lyrics from “Freed from Doubt”, from Rare Feeling)


 
Anders Osborne
John "Papa" Gros | @The Hamilton | view more info »
May
30

Anders Osborne

John "Papa" Gros


Saturday May 30|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


Anders Osborne

official band site »

At one point on his 2019 album, Buddha and The Blues, Anders Osborne sings, “Oh, it’s a miracle we still care. Oh, it’s so wonderful we’re still here. We’re still here!”

He’s not going anywhere either…

Osborne’s six-string virtuosity, inventive musicality, and poetic songcraft underpin an ever-expanding three-decade catalog celebrated by fans and critics alike. As a sought-after studio talent, his writing resounds through Keb Mo’s GRAMMY® Award-winning Slow Down, Tim McGraw’s number one “Watch The Wind Blow By,” and covers by Brad Paisley, Jonny Lang, Edwin McCain, Aaron Neville, and more. His output live and in the studio spans working with everyone from Eric Church, Toots and the Maytals, and John Scofield to The Meters, North Mississippi Allstars, and Galactic. His extensive touring history encompasses gigs, collaborations, and performances alongside everyone from Derek Trucks, Warren Haynes, and Stanton Moore to The Grateful Dead’s Phil Lesh and Jackie Greene. Not to mention, he lights up the screen on an episode of the HBO hit Treme. Plus, he has garnered acclaim from USA Today, Guitar Player, Relix, Offbeat, and more.

He also gives back whenever possible via the “Send Me A Friend” foundation and through writing music for New Orleans Children’s Museum. A pair of 2016 albums—Spacedust & Ocean Views and Flowerbox—maintained his prolific output at a record pace. Now, 2019’s Buddha and the Blues references the full scope of the creative and personal duality at the heart of everything this maverick does.

“I came up with the title early on, so I knew what the vibe of the record should be,” he explains. “Buddha and the Blues means the duality of our existence.”

As Osborne crafted the music, he pondered an existential struggle we all face. On the one hand, humans do good, but it’s under the expectation of personal gratification. On the other hand, they desire success and wealth, but they attempt to maintain an appearance of humility. This constant push-and-pull led him to write about “not getting lost in a sunken path or idolizing an intangible future, but instead to be present in this moment and to be fully alive.” These thoughts filtered into the words, especially.

He goes on, “The lyrics are supposed to be true, conversational, and uplifting with clean, classic, and thumpin’ sounds. That’s what I set out to accomplish.”

In order to do so, he joined forces with “a world-class ensemble” of Waddy Wachtel [guitar], Bob Glaub [bass], Benmont Tench [keys], Windy Wagner-Cromwell [background vocals], and Chad Cromwell [guitar]. Chad also assumed the role of producer. Like “a big brother” to Osborne, the producer and artist leveraged years of friendship, trust, and creative kinship to “make a record [they] wanted to do for many years.”

“I didn’t have to push,” admits Chad. “It was his idea to let me ‘drive the bus,’ so to speak. That allowed him to focus on songs and his performances. The freer he is to write, play, and sing; the better the record. He really trusted me. To trust someone to help you make a record is an act of faith. It’s a big responsibility to make sure that happens. That’s a mighty thing Anders did, and I appreciate his trust. All signs pointed to this team, this time, and this music.”

The setting proved to be as instrumental as the players did. From the beginning, Osborne envisioned making the album in California, but not the big screen vision of Hollywood. It made perfect sense to zero in on a location just far enough from the city. Ojai felt perfect to siphon the soul of SoCal into wistful sun-soaked soundscapes. You can practically hear Ojai in the aural fabric of the album.

“The Southern California vibe was essential to the record,” Osborne continues. “Early on, Chad and I agreed it had to be tracked out there. I’ve been wanting to do this for a while, and we needed to go out there. You can hear the influence. It’s played with a gentle breeze and tight precision. Cutting it in Ojai was crucial to achieving the right atmosphere. I usually write with a location in mind, so it helps me stay focused and guides me to craft a body of tunes rather than individual songs.”

That “body of tunes” kicks off with the dusty dynamics of “Alone.” In the pocket of a steady beat, the twang of clean guitar offsets his gruff delivery as the track unfurls towards a discordant guitar lead highlighted by organ.

“‘Alone’ was a meditative prose I wrote in my backyard,” he says. “It had a circular vibe to it, When I added the music, I wanted it to match the poem: a small word with an epic impression.” Elsewhere, “Escape” captures the tension prior to his California trip with its off-kilter groove and roots-y shuffle. A wail of slide guitar cuts through sunny strumming as an idyllic narrative unfolds on “Traveling with Friends.”

He adds, “I wrote ‘Traveling with Friends’ on St. Thomas, Virgin Islands while on vacation with my family. We had an amazing spot on top of a mountain overlooking a big part of the island, and I felt inspired and really grateful. I had a moment of relief from all of my searching and dissonance. I saw us all for what we are—beautiful, fragile, and in this tumultuous space trip all together.”

He crafted the perfect soundtrack to the trip with Buddha and The Blues, illuminating his own duality like never before. The message ultimately becomes clear in the music.

“Learn to choose,” he leaves off. “Be happy or continue suffering.”


John "Papa" Gros

official band site »

“Sharing New Orleans with the world is my calling,” says pianist and organist John “Papa” Gros. “That's what I have been doing and that's what I’ll do with the rest of my life.”

For over three decades, Gros has brought his city’s celebratory culture to listeners around the globe. Gros mixes all the sounds of New Orleans - funk, trad jazz, brass band, blues - and makes it his own signature gumbo. His new solo album Central City, shows Gros capturing New Orleans’ distinct feel-good charm with help from some of its’ most renowned players.

Gros began playing gigs when he was just fifteen years old but didn’t truly kick off his career until after graduating from Loyola in 1989 with a degree in French Horn performance. During the seminal years that followed, the young man cut his teeth as a solo performer on Bourbon Street while also developing a reputation as a formidable sideman. He backed up some of the biggest names in the Crescent City, such as Meters bassist George Porter Jr. and guitarist Snooks Eaglin. Studying under mentors decades his senior, Gros absorbed a lifetime of lessons in only a few years and quickly became part of the direct lineage of New Orleans music.

Between 2000 and 2013, Gros began his transition into the spotlight by leading Papa Grows Funk, a highly revered group that mixed hard-hitting funk grooves with often unpredictable jazz spontaneity. The band released six critically-acclaimed studio albums, including Needle in the Groove, which was co-produced by New Orleans legend and Rock & Roll Hall of Fame inductee, Allen Toussaint. The group’s weekly gigs at the world-famous Maple Leaf became a staple for both locals and tourists alike, eventually leading to Gros touring in far off countries like Japan and Brazil.

Hurricane Katrina’s devastation in 2005 caused Gros to reanalyze his role in the world.

“Before Katrina, I was simply a New Orleans musician, but after Katrina, I told my story of what New Orleans meant to me and why it is culturally significant to the world. It was at that point I became a New Orleans cultural ambassador, who happens to be a loudmouth, piano-playing, singer-songwriter.”

After Papa Grows Funk dissolved, Gros briefly returned to sideman work, playing organ for a series of all-star tributes to Dr. John and the Neville Brothers. The 2014 Dr. John tribute, The Music Mojo of Dr. John, was later released as a critically-acclaimed live album that featured Gros playing with Bruce Springsteen, Mavis Staples, Jason Isbell, and John Fogerty. More importantly for Gros, those tribute concerts allowed him to play alongside his two biggest influences: the Doctor and Art Neville, both of whom passed in 2019.

In 2016, Gros returned to the spotlight yet again with his second solo album River’s On Fire, the much anticipated follow up to his 2004 debut Day’s End. Co-produced by Gros and Tracy Freeman (Harry Connick Jr, Rebirth Brass Band, Bonerama), the album’s fiery funk rock showed how Gros had matured as both a songwriter and bandleader. It firmly established Gros’ identity as a solo force.

Now, Gros is preparing to release Central City, his third solo album. The album is a collection of classic New Orleans songs, both new and old, filtered through his decades of dedication to his craft. The album features Gros’ feel good originals alongside his takes on beloved songs by Allen Toussaint, Lloyd Price, and John Prine. Joining Gros on the album are a who’s who in the keepers of the New Orleans tradition, including singer Ivan Neville (Dumpstaphunk), drummer Herlin Riley (Wynton Marsalis), banjoist Don Vappie, guitarist Brian Stoltz (Neville Brothers), trumpeter Mark Braud (Harry Connick Jr.), trombonist Mark Mullins (Bonerama), clarinetist Tim Laughlin, and his former boss George Porter Jr. (Meters). Together, they perfectly exploit the similarities between New Orleans jazz and early rock 'n' roll on songs such as "Yeah Yeah Yeah" and "Personality."

“I’m walking in the same path [as Dr. John, Allen Toussaint, and Art Neville,]” explains Gros. “I’ve been following them my whole life. Now, they’re no longer in front of me. They’ve gotten off the path but the path is still very clear.”


 
Etana
@Pearl Street Warehouse | view more info »
Jun
4

Etana



Thursday Jun 4|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


Etana

official band site »

Etana’s story begins in August Town, a treacherous but culturally rich garrison community in eastern Kingston that has produced such musical talents as Sizzla and Israel Vibration. Growing up, Etana’s home was filled with music, but it was country and western that she recalls leaving the biggest impression. “Every Sunday was country music day,” says Etana. Etana discovered her talent at the age of 6 while singing at home in the backyard for her aunt. Her charming voice beaconed and huge audience of neighbors who gathered to hear “little Shauna” sing. Etana’s backyard singing led to microphones of local sound systems playing in the neighborhood and thats where he love of music began.

Etana’s family relocated to South Florida when she was nine where she started middle school and sang on the school choir, she was chosen to sing the “Star Spangled banner” at school functions but never thought much of having a career in music at that time. Etana began her music career, almost by accident, while studying nursing at a local community college.

However, music would find her there as well, when she was recommended by a friend to fill in as a backup singer for reggae star Richie Spice.“Being on the road with Richie Spice, I was very comfortable being myself, wearing what I wanted to wear,” Etana recalls of her time touring with the “Earth A Run Red” singer. “Nobody had a problem with my afro.” The gig turned into an unexpected opportunity when Etana was asked to warm up the crowd at a show where Spice was feeling ill. “It was nothing rehearsed, just covers,” states Etana. “But people started to ask: ‘Who was the girl?’ Management for Richie Spice kept asking me to do a song, and ‘Wrong Address’ was the first song that I wrote.”

VP Records, recognized Etana’s talents. In 2008, the label released her debut LP, The Strong One. The album, which combined Etana’s reggae sound with aspects of R&B and world music, was embraced by fans as well as the music industry, landing the singer a nomination in the “best reggae” category at the MOBO Awards in England.

After several years touring around the world, Etana returned in 2011 with her second album Free Expressions. The set included the hit “People Talk,” which detailed Etana’s own experiences facing skepticism as a woman in the music industry, as well as favorites like “Free,” an emotional tear-jerker written from Etana’s personal experience of the violent, horrific nature of her community, having to endure days of no sleep unable to go home because of a turf war and fears of being killed in the cross fire. “August Town” a track written in hopes of reuniting her community.

In 2013, Etana partnered with producer Shane Brown for her third LP, Better Tomorrow, recorded at Kingston’s legendary Tuff Gong Studios. The album brought Etana back to reggae’s foundation via vintage sounds and one-drop rhythms, earning praise from the Associated Press for its “mature and confident sound,” “top-notch lyrical content” and “unique vocals.” The same year, Etana held her own at the IRAWMA (International Reggae and World Music Awards) in Coral Springs, Florida.

Etana continues her forward movement in 2014 becoming the first female to achieve a Reggae Billboard #1 in seventeen years with I Rise, album produced by Jamaican luminary Clive Hunt. After Etana’s break away from Vp Records, as an independent artist, she continued on her trail firsts to becoming the first female artist out of Jamaica to receive the number one spot of the Reggae Billboard for the second time with her album “Reggae Forever” which was produced by her own label, Freemind Music, and released on march 8th, 2018. The Reggae Forever LP, was also nominated by the Grammy committee, as one of the best Reggae albums of 2018. This nomination made Etana the first female artist from Jamaica in over twenty-one years to be nominated. The other nominees were Shaggy & Sting, Ziggy Marley, Black Uhuru and Protege. In November of 2019, Etana released an eight track EP “Dimension” that debut at #4 on iTunes and #7 on The Reggae Billboard album charts. Etana is currently created album #6 while keeping busy on her upcoming 2020 World Tour.



 
Star Kitchen
@Union Stage | view more info »
Jun
4

Star Kitchen



Thursday Jun 4|doors 9:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


Star Kitchen

official band site »

Star Kitchen burst onto the scene in the last year with breakout sets at Electric Forest, Jam Cruise, High Sierra Music Festival and the Peach Music Festival. They honed their sound through constant rehearsals and headlining shows at small clubs throughout the northeast. Utilizing classics and deep cuts from the last 50 years as a base, the musicians in Star Kitchen cook up improvised remixes pulling from their diverse but overlapping expertise in underground hip-hop, space funk, blues rock, psychedelic R&B and live electronic music. The band will be bringing their recipe to the south and midwest US early this fall. Over 25 other musicians have already been featured as celebrity chefs in the Star Kitchen, and this fall will feature familiar faces and new ones as the band teams up with the New Mastersounds, the Motet, Umphrey’s McGee, Galactic, Jennifer Hartswick & Nick Cassarino. Star Kitchen is Marc Brownstein, Marlon Lewis, Rob Marscher and Danny Mayer.



 
Cris Jacobs Band **NEW DATE**
Caleb Stine | @Union Craft Brewing | view more info »
Jun
26

Cris Jacobs Band **NEW DATE**

Caleb Stine


Friday Jun 26|doors 7:00 pm|21+
Union Craft Brewing|get directions »
1700 West 41st Street
Baltimore, MD


Cris Jacobs Band **NEW DATE**

official band site »


Tickets for original dates (4/3/20 or 5/9/20) will be honored on the new date. If a customer cannot attend on the new date they can request a refund by contacting All Good Presents


When Cris Jacobs began dreaming about a follow-up to his critically acclaimed 2016 album Dust to Gold, he realized early on he'd have to do things differently this time around. His life had changed drastically since writing those songs: he'd toured extensively and attracted a legion of new, devoted fans; he'd come off the road into a world, with its divisive rhetoric and troubling headlines, he no longer recognized; and, most importantly, he'd gotten married and had his first child. Things had changed, and Jacobs had, too.

Color Where You Are is the work of an artist at an exciting new stage in his life and career, ready to use his talents to share a little beauty with the loved ones and fans who have already given so much to him. The title nods to Jacobs' experience writing the album, which, as he puts it, he had to do "between tours, coming home, changing diapers, fixing things around the house.... You name it." He no longer had the luxury of waiting for inspiration to strike, so he colored where he was.

"It was a new discipline for me and a new level of focus that I think brought out the best work," he explains. "I feel like I grew up a little bit. There are people in my life who I truly care about and things in the world I feel deeply about. That really pushed me in a stronger direction and forced me to feel things on an honest level."

Opening track "Painted Roads," with its soulful groove and clever arrangement, is the perfect encapsulation of just how far Jacobs has come since releasing Dust to Gold. Jacobs is self-assured and confident in his soulful, infectious vocal, while his lyrical craftsmanship shows Jacobs to be a thoughtful songwriter who continuously strives to grow and evolve.

"It's about choosing to live in the present, and see the everyday details of the world, rather than postponing living or paying attention in hopes of some distant prize or destination," Jacobs says of "Painted Roads." "We get so caught up in 'success' and ambition, and are so goal-oriented, that we sometimes lose sight of the beauty in the everyday. 'Color where you are' is the notion of creating beauty now, no matter the circumstance."

"Painted Roads" was one of the first songs Jacobs and the band (who co-produced the album together) recorded for Color Where You Are, with his band mates taking Jacobs' original Tom Petty-inspired arrangement and giving it an off-kilter, syncopated groove. For the first time, Jacobs wrote the bulk of the album's songs in the studio, camping out at Richmond's Montrose Studios to flesh out "germs and ideas that had been floating around" with band members Todd Herrington (bass), Dusty Ray Simmons (drums/percussion) and Jonathan Sloane (guitar).

"I booked the studio time and put a gun to my head and that sometimes works," Jacobs says. "In this case it did. It feels like a specific time period and specific vibe and emotional space that came through in all of these songs. It was a really organic process."

While life as a family man changed Jacobs' perspective (and schedule), current events also had a profound impact on Jacobs' songwriting, with commentary on social and political issues finding its way into tracks like "Afterglow" and "Under the Big Top." Color Where You Are is a hopeful affair, though, with Jacobs employing thoughtful criticism and messages of empowerment instead of wallowing or ruminating.

"The political climate is causing a different sort of energy and angst in me that’s never been there before," he explains. "It’s not a political album by any means, but those forces out there certainly dictated a lot of the writing on this record."

On "Afterglow," Jacobs searches for optimism and healing in trying times. His emotional vocal is buoyed by a passionate, swelling performance from the band, making the track one of Color Where You Are's most poignant moments. "It's about the hope that after the storm we are currently trying to survive in, we will see true light like never before," Jacobs says. "That the constant threats to our foundations will cause us to examine and strengthen them, and come out the other side with stronger hearts and clearer vision. 'There will come horses, there will come voices' -- that we will be forced to show our true hand like never before because of our dire need to defend it."

Elsewhere, on "Under the Big Top," Jacobs channels swampy, gritty rock influences to shine a light on narrow-mindedness and lazy thinking. Crunchy riffs and a fat bass groove make the track, despite its heady message, one of the album's many songs you can't help but move to.

"'Under the Big Top' is commentary on society’s evolution into gullible, easily distracted, lazy-mindedness," Jacobs says. “'Pretty lights junkie like a moth to candle,' always distracted by the brightest, loudest, biggest, rather than remembering how to seek for ourselves and find truth and love. We instead over-consume and are given every opportunity to do so. What we end up with is a circus of sorts, with tricksters and hucksters and loud mouths with no real value taking up all of our attention and ruling us, because we are too easily manipulated."

Grooves abound on Color Where You Are, as on standout track "Rooster Coop," which finds Jacobs and the band sniffing around the henhouse over greasy slide guitar, a deep, deep pocket and a truly funky bass line. "All I knew was that I wanted to write a song that merged country and funk," Jacobs says of "Roostr Coop." "We started out with the main groove of the tune and the first line that popped into my head was, 'There’s something funky in the barnyard.' So naturally, I wrote a song about a scandalous love tryst amongst farm animals."

Spanning rock, folk, soul and funk and drawing from inspiration that runs the gamut from the henhouse to the White House, Color Where You Are is a kaleidoscopic portrait of Cris Jacobs as a songwriter, musician and bandleader. It's the work of a devoted father and an empathetic member of the human race. More than that, it's a reminder that there's beauty to be found everywhere, if you just take a moment to color where you are.

"What am I trying to do with my music?" Jacobs muses. "The simple answer is this: I’m trying to connect with people. To express real-life human emotions and make people feel things. To connect my love of music with my love of writing and conjure up all of the joy and emotions that those things bring to me. To hopefully have people walk away feeling lighter or happier or more inspired to go do something after listening... I want to create a body of work that my family will be proud of one day, and to show that I had compassion to the human condition and wasn’t just a self-indulgent show off."


Caleb Stine

official band site »

The BALTIMORE SUN has called Caleb Stine the “lynchpin of the Baltimore folk scene.” Flying just below mainstream radar, Stine keeps the music honest– hardworking, genuine, and unafraid to tell it like it is.

To date, Stine has released over ten albums, scored music for films, acted Off-Broadway, and played guitar with Vieux Farka Toure. Catch a live show and you’ll leave happier.


 
Neal Francis
@Union Craft Brewing | view more info »
Jul
10

Neal Francis



Friday Jul 10|doors 7:00 pm|21+
Union Craft Brewing|get directions »
1700 West 41st Street
Baltimore, MD


Neal Francis

official band site »

“I just wanted to be honest about everything, from my musical influences to my story,” muses Neal Francis. After years of dishonest living -- consumed by drugs, alcohol, and addiction -- such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n’ roll. His music evokes a bygone era of R&B’s heyday while simultaneously forging a new path on the musical landscape. Ohio-based Karma Chief Records (a subsidiary of rising soul label Colemine Records) released two songs, “These Are The Days” and “Changes, Pt. 1,” in early 2019 and will follow with the full LP Changes on September 20, 2019.

There is a deep connection between Francis’s childhood -- his obsession with boogie woogie piano, his father’s gift of a dusty Dr. John LP -- and the songs he’s created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock ‘n’ roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: “It’s the life I’ve lived so far.”

And what a life it’s been. Born Neal Francis O’Hara, the piano prodigy found himself touring Europe by the age of 18 with Muddy Waters’ son and backing up other prominent blues artists coast-to-coast. In 2012, Francis joined popular instrumental funk band The Heard. With Francis at the creative helm, The Heard transformed into a national act, touring with boogaloo progenitors The New Mastersounds and chart toppers The Revivalists and appearing at Jazz Fest and Bear Creek. As The Heard’s star rose, however, Francis sunk deeper into addiction. Once a promising sideman, by 2015 he had been fired from his band, evicted from his apartment, and was perilously close to self-destruction. “When you get close to death like that you can feel it,” Francis recalls. An alcohol-induced seizure that year led to a broken femur, dislocated arm, and, finally, the realization that he needed to get clean.

The journey from a hospital bed to launching his solo career was neither predictable nor straightforward. There were musical fits and starts, relapses, and broken relationships. Yet the overwhelming passion driving Francis in this second act has been an abundance of creative energy. “Drinking held my music in a half-cocked slingshot. I was always so consumed by drugs and alcohol that I didn’t have the time, money, or creative energy to do it. Sobriety let it loose.” Determined to realize the songs swirling in his head, Francis assembled a crack team of musicians, calling on bassist Mike Starr (The Heard) and drummer PJ Howard (The Revivalists, The Heard). He linked up with producer and analog-obsessive Sergio Rios (Orgone, Cee Lo Green, Alicia Keys) and self-funded a trip to Killion Sound in Los Angeles to record the initial batch of material. “I learned to trust my instincts in that room,” says Francis. Buoyed by classic horn arrangements and Rios’ fierce guitar work, the resulting tracks illuminate a lifetime spent studying the masters of rock and soul music.

From the RMI electra-piano riff that kicks off “She’s A Winner” to the screaming organ swells of “This Time,” Francis and company let it all hang out. This is fun music, dance music. Yet verse after verse and chorus after chorus, Francis wrestles with his past in a straightforward manner: “It’s 5 o’clock in the morning, but I’m not home/ I’m surrounded by people, but I’m really alone.” Like Toussaint and Russell before him he’s married the upbeat rhythms of New Orleans R&B with the lyrical approach of a confessional singer/songwriter. The refrain on “This Time” serves as a foxhole prayer for a better future: “Let me get it this time/I won’t let you down/Let me get it this time/I won’t fool around.”

Francis finished recording basic tracks for Changes in Los Angeles in February of 2018 and spent the following months doing overdubs in Chicago with engineer Mike Novak (who also recorded demos for the project). Soon after he was eager to begin his touring career. After signing with Paradigm Talent Agency, Neal played shows across North America supporting Australian band The Cat Empire. He has received praise on several notable radio outlets including KEXP, KCRW’s The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band recently performed during the New Orleans Jazz & Heritage Festival, sharing the stage with The Meters and other legends. This summer he performed at Summer Camp and Chicago’s Chi-Soul Festival, and hit the road with Lee Fields & The Expressions, Dumpstaphunk and others. Francis pledges to tour relentlessly to promote his own music. “I’m doing this to fulfill a drive within myself, but also to pay tribute to the gifts I’ve been given. And it comes from a place of immense gratitude."



 
Melvin Seals & JGB **NEW DATE**
@The Hamilton | view more info »
Jul
23

Melvin Seals & JGB **NEW DATE**



Thursday Jul 23|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


Melvin Seals & JGB **NEW DATE**

official band site »


Tickets for the original date of 3/18/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


Melvin Seals has been a powerful presence in the music industry for over 30 years with a long-established reputation as a performer, recording artist and producer. Melvin is most revered for his powerful, high-spirited, Hammond B-3 organ, and keyboards in the Jerry Garcia Band. Melvin spun his B-3 magic with the Jerry Garcia Band for 18 years and in doing so helped pioneer and define what has now become "Jam Band Music". From blues to funk to rock to jazz, Melvin Seals serves up a tasty mix with a little R&B and gospel thrown in to spice things up.

Melvin and JGB bring an intuitive, expressive style, soul, spontaneity and remarkable chops to the table. John Kadlecik on lead guitar and vocal duties, John-Paul McLean's savory bass, Jeremy Hoenig on the drums and, of course, a heapin' helpin' of the wizard's magic on Hammond B-3 Organ and keyboards. Along with Lady Chi & Darlene Coleman on back-up vocals, the result is a most satisfying blend of natural organic grooves that challenges genre boundaries. Their chemistry is the focus from which they create a spontaneous and high art where the sky is the limit musically. They offer an exciting, often psychedelic musical journey that changes nightly and keeps the audience dancing and smiling (and some staring in amazement) for hours.

Adding his rock-gospel-soul-rhythm and blues touch with his funky style of playing, no wonder Jerry nicknamed him "Master of the Universe". Melvin continues to treat music lovers to his unique brand of melodic flavor with JGB. Come see and hear for yourself!

MELVIN SEALS & JGB:
Melvin Seals - Hammond B3 Organ, Keyboards & Vocals
John Kadlecik - Electric Guitar & Lead Vocals
John-Paul McLean - Bass
Jeremy Hoenig - Drums
Lady Chi & Darlene Coleman - Backup Vocals



 
The Floozies & SunSquabi **NEW DATE**
Defunk | @Rams Head Live | view more info »
Aug
8

The Floozies & SunSquabi **NEW DATE**

Defunk


Saturday Aug 8|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


The Floozies

official band site »


Tickets for the original date of 3/14/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


Just outside the jazz mecca of Kansas City springs liberal oasis Lawrence, Kansas—separated only by the waves of wheat from the epicenter of the electronic music revolution in Colorado. From Lawrence, it would logically follow that an act could rise to prominence fueled by the swing of Basie, the birth of Charlie Parker’s bebop, and the wild frontier of electronica. Born in funk and bred in the digital age, live electronic duo The Floozies have burst onto the scene at a time when the industry needed them the most.

Brothers Matt and Mark Hill share the stage just as easily as they share a musical brain. Without a setlist, and without a word between them, Matt’s guitar is in lockstep with the thud of Mark’s kick. Endless looping and production builds the raw scenery upon which palm muted chugs, searing solos, and wobbling bass paint their dazzling array of colors.

Well versed in everything from Chris Cornell to Kavinsky, the sonic vision shared by the brothers eschews contemporary electronic influences in favor of broader, deeper tastes including Zapp & Roger, Lettuce, and Amon Tobin. That wide-angle view of a century of popular music allows the Hills to remix Toto and The Dead—in the music you can hear reverence for the giants of the past, all the while producing wildly futuristic tunes for the masses to dig now.

When the pendulum swung as far as it could away from live instrumentation to laptops, The Floozies rose up to the challenge, swinging as hard as they could in the other direction with neck-snapping, knee-breaking funk so dirty that the gatekeepers stood up, wiped themselves off, and took notice. A bold live show full of sonic exploration and unbreakably deep pocket grooves has landed the brothers on stage with luminaries of the jam world Umphrey’s McGee as readily as electronic elites STS9 and Big Gigantic. Sold out shows across the Country, huge festival appearances at Bonnaroo, Electric Forest, High Sierra, Summercamp, Wakarusa, Camp Bisco, Summerset, Bumbershoot, and headlining Red Rocks shows have continued to cement the duo’s ascent.

The Floozies are bringing the funk back, and they’re right on time.


SunSquabi **NEW DATE**

official band site »

There’s a place, deep in the cosmos, where jam bands and electronic dance music intersect with rhythm-driven funk. You’ll feel like you’re floating here but not lost completely to the atmospheric elements. Instead, you’re tethered to an avant-garde spaceship with Colorado-based SunSquabi on the frequency. This cosmic wonderland is a melting pot of a variety of musical genres and it represents the future of music.

A three-piece suit - SunSquabi has been catching the eyes and ears of music fans around the world with their ever-evolving sound in the studio and on the live stage. SunSquabi has gained national attention for their unique way of producing music. The band’s live show can be described as an ‘Electronic Hydro Funk Experience’ that is different every single time out. SunSquabi continues to break down and analyze the expectations of what a “Live-Electronic” band should be. The band unveiled their newest album ‘Instinct’ in January of 2019. The 10 track LP finds the band at their highest peak as they have been dedicated to the metamorphosis of capturing elements in their live performances in the studio as improvisational jams have been fleshed out into full-blown songs and staples in their repertoire.

Combining the talents of Kevin Donohue (guitars/keys/production) Josh Fairman (bassist/synth) and Chris Anderson (drums). This project is a disciplined and structured group. It takes a seasoned musician to stay in the pocket for the sake of building well-developed lines and climaxes. To do that seamlessly requires patience and skill. “It’s kinda like breathing, honestly. We can communicate directly with each other both verbally and non-verbally, onstage and off.” That connection will take the music collectively where we all want to go.” – Kevin Donohue


Defunk

official band site »

Hailing from Calgary, Canada, Defunk has taken bass music to a whole new level. Most popularly known for his attention of bringing elements of funk, jazz and blues into heavy bass music, he constantly strives to develop sounds within dance music. Armed with a keyboard and drumkit, he brings live instruments into his performance, ensuring every show is a beautiful blend of well orchestrated track selection and improvisation.


 
Satsang **NEW DATE**
Will Evans | @Pearl Street Warehouse | view more info »
Sep
27

Satsang **NEW DATE**

Will Evans


Sunday Sep 27|doors 7:00 pm|all ages
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


Satsang **NEW DATE**

official band site »

A Sanskrit word meaning “in the company of truth.”

It’s a beautiful moment when music from the heart and poetry from the soul truly connects with its intended audience. For Satsang lead singer and songwriter Drew McManus, that moment occurred on a 2018 tour through the Midwest, Northeast and Pacific Coast in which two-thirds of the band’s dates sold out. That’s when the truth hits home for McManus that his soulful, reggae-infused blend of folk-rock and melodic hip hop and its message of strength, growth and resilience is his testimony to the world – and the world is finally listening.

Satsang, in its few short years, has headlined or shared the stage with the likes of Michael Franti & Spearhead, Nahko and Medicine for the People, Trevor Hall, Wookiefoot and many more. The quartet is currently enjoying the success of its 2019 release, Kulture, a collection of songs representing the culmination of all the band’s influences.

“In Kulture, you can hear influences from Motown to 90’s hip hop to Tom Petty, but none of it was really intentional,” McManus says. “It was just me finally finding my sound. It’s authentic. It’s the first thing we’ve made that feels 100 percent like us.”

McManus spent most of his life trying to distance himself from his troubled upbringing in Des Moines and Chicago and its cycle of violence, abuse and addiction. McManus, though, would find his peace amid family in the Beartooth Mountains of Montana, an oasis that allows him a warm hearth to recharge from the rigors of the road and practice his other passions – painting, Brazilian Jiu Jitsu, and social activism.

“Home is my heart,” McManus says. “When I’m not on tour, I’m a stay-at-home dad with four kids – one of them a baby. My music is the self-reflection of that and the touring is the mirror.”

During a month-long backpacking trip in the Himalaya Mountains in 2015, McManus realizes that as part of his recovery from addiction, he must share his life journey in poetry and song to help other lost souls. Songs of surrender, vulnerability and perseverance pour out of him, forming the foundation of Satsang’s 2016 debut, The Story of You, highlighted by "I Am", a fan-favorite hymn of self-love that has surpassed two million listens on Spotify.

“I almost wrote those songs accidentally, not immediately understanding their connection with each other,” McManus says. “Writing I Am was when it all clicked for me – that regardless of my childhood, I was meant to do this.”

Satsang’s follow up, 2017’s Pyramid(s), quickly hit #1 on the Billboard reggae charts and #2 on the iTunes charts, while In Between Another Blink, a six-song EP released in late 2017, also cracked the iTune Top 20 chart. Much of the music on both were written as Satsang toured non-stop in 2016, sometimes before sparse audiences. The songs became a testament to the struggle of sticking to a purpose and believing in the result.

“Pyramid(s) is about building a foundation and not rushing through the difficult parts of growth, accepting that you must learn from all the lessons between the start and finish of the race,” McManus says. “It helped that a lot of my friends who were doing well-playing music during this time kept saying, ‘You got this, man, you got this.’ ”

And then, all those shows sold out …


Will Evans

official band site »

Will Evans has spent the last decade as the primary songwriter and frontman for the New England based Roots Rock outfit Barefoot Truth. After four albums and 50+ million plays on Pandora & Spotify, he embarked on his solo journey – and has since released three additional full-length albums and toured extensively.

His most recent album “Rise” was nominated for three categories by the New England Music Awards: Album of the Year, Roots Act of the Year, and Video of the Year (“Family Tree”). The album features deeply personal topics of humanity, compassion, and a reflection of the current political times.

A lifelong surfer and environmentalist, his songs speak to the importance of connecting with and protecting the earth. At a time when many are looking for words of inspiration and reassurance, “Rise” delivers a collection of socially conscious songs filled with messages of love, possibility, and inclusion.

In 2018 and 2019, Will joined his good friend Trevor Hall as a member of his touring band and as a frequent supporting act. Together they performed to passionate crowds across North America and Europe. Trevor Hall is featured on “Hoka Hey,” the album’s opening song.

In his live performances, Will displays a technical mastery of live-looping skills to showcase his background in percussion mixed with layers of acoustic guitar and soulful vocals.

Will has shared the stage with many top artists including Crosby & Nash, Grace Potter, Bruce Hornsby, Rusted Root, Michael Franti & Spearhead, Trevor Hall, Nahko, Xavier Rudd, Donavon Frankenreiter, Ryan Montbleau, Railroad Earth and members of Dispatch.


 
Cris Jacobs Band **NEW DATE**
@The Hamilton | view more info »
Oct
24

Cris Jacobs Band **NEW DATE**



Saturday Oct 24|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


Cris Jacobs Band **NEW DATE**

official band site »


Tickets for the original date of 5/10/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


When Cris Jacobs began dreaming about a follow-up to his critically acclaimed 2016 album Dust to Gold, he realized early on he'd have to do things differently this time around. His life had changed drastically since writing those songs: he'd toured extensively and attracted a legion of new, devoted fans; he'd come off the road into a world, with its divisive rhetoric and troubling headlines, he no longer recognized; and, most importantly, he'd gotten married and had his first child. Things had changed, and Jacobs had, too.

Color Where You Are is the work of an artist at an exciting new stage in his life and career, ready to use his talents to share a little beauty with the loved ones and fans who have already given so much to him. The title nods to Jacobs' experience writing the album, which, as he puts it, he had to do "between tours, coming home, changing diapers, fixing things around the house.... You name it." He no longer had the luxury of waiting for inspiration to strike, so he colored where he was.

"It was a new discipline for me and a new level of focus that I think brought out the best work," he explains. "I feel like I grew up a little bit. There are people in my life who I truly care about and things in the world I feel deeply about. That really pushed me in a stronger direction and forced me to feel things on an honest level."

Opening track "Painted Roads," with its soulful groove and clever arrangement, is the perfect encapsulation of just how far Jacobs has come since releasing Dust to Gold. Jacobs is self-assured and confident in his soulful, infectious vocal, while his lyrical craftsmanship shows Jacobs to be a thoughtful songwriter who continuously strives to grow and evolve.

"It's about choosing to live in the present, and see the everyday details of the world, rather than postponing living or paying attention in hopes of some distant prize or destination," Jacobs says of "Painted Roads." "We get so caught up in 'success' and ambition, and are so goal-oriented, that we sometimes lose sight of the beauty in the everyday. 'Color where you are' is the notion of creating beauty now, no matter the circumstance."

"Painted Roads" was one of the first songs Jacobs and the band (who co-produced the album together) recorded for Color Where You Are, with his band mates taking Jacobs' original Tom Petty-inspired arrangement and giving it an off-kilter, syncopated groove. For the first time, Jacobs wrote the bulk of the album's songs in the studio, camping out at Richmond's Montrose Studios to flesh out "germs and ideas that had been floating around" with band members Todd Herrington (bass), Dusty Ray Simmons (drums/percussion) and Jonathan Sloane (guitar).

"I booked the studio time and put a gun to my head and that sometimes works," Jacobs says. "In this case it did. It feels like a specific time period and specific vibe and emotional space that came through in all of these songs. It was a really organic process."

While life as a family man changed Jacobs' perspective (and schedule), current events also had a profound impact on Jacobs' songwriting, with commentary on social and political issues finding its way into tracks like "Afterglow" and "Under the Big Top." Color Where You Are is a hopeful affair, though, with Jacobs employing thoughtful criticism and messages of empowerment instead of wallowing or ruminating.

"The political climate is causing a different sort of energy and angst in me that’s never been there before," he explains. "It’s not a political album by any means, but those forces out there certainly dictated a lot of the writing on this record."

On "Afterglow," Jacobs searches for optimism and healing in trying times. His emotional vocal is buoyed by a passionate, swelling performance from the band, making the track one of Color Where You Are's most poignant moments. "It's about the hope that after the storm we are currently trying to survive in, we will see true light like never before," Jacobs says. "That the constant threats to our foundations will cause us to examine and strengthen them, and come out the other side with stronger hearts and clearer vision. 'There will come horses, there will come voices' -- that we will be forced to show our true hand like never before because of our dire need to defend it."

Elsewhere, on "Under the Big Top," Jacobs channels swampy, gritty rock influences to shine a light on narrow-mindedness and lazy thinking. Crunchy riffs and a fat bass groove make the track, despite its heady message, one of the album's many songs you can't help but move to.

"'Under the Big Top' is commentary on society’s evolution into gullible, easily distracted, lazy-mindedness," Jacobs says. “'Pretty lights junkie like a moth to candle,' always distracted by the brightest, loudest, biggest, rather than remembering how to seek for ourselves and find truth and love. We instead over-consume and are given every opportunity to do so. What we end up with is a circus of sorts, with tricksters and hucksters and loud mouths with no real value taking up all of our attention and ruling us, because we are too easily manipulated."

Grooves abound on Color Where You Are, as on standout track "Rooster Coop," which finds Jacobs and the band sniffing around the henhouse over greasy slide guitar, a deep, deep pocket and a truly funky bass line. "All I knew was that I wanted to write a song that merged country and funk," Jacobs says of "Roostr Coop." "We started out with the main groove of the tune and the first line that popped into my head was, 'There’s something funky in the barnyard.' So naturally, I wrote a song about a scandalous love tryst amongst farm animals."

Spanning rock, folk, soul and funk and drawing from inspiration that runs the gamut from the henhouse to the White House, Color Where You Are is a kaleidoscopic portrait of Cris Jacobs as a songwriter, musician and bandleader. It's the work of a devoted father and an empathetic member of the human race. More than that, it's a reminder that there's beauty to be found everywhere, if you just take a moment to color where you are.

"What am I trying to do with my music?" Jacobs muses. "The simple answer is this: I’m trying to connect with people. To express real-life human emotions and make people feel things. To connect my love of music with my love of writing and conjure up all of the joy and emotions that those things bring to me. To hopefully have people walk away feeling lighter or happier or more inspired to go do something after listening... I want to create a body of work that my family will be proud of one day, and to show that I had compassion to the human condition and wasn’t just a self-indulgent show off."



 
Papadosio **NEW DATE**
@Union Stage | view more info »
Nov
20

Papadosio **NEW DATE**



Friday Nov 20|doors 8:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


Papadosio **NEW DATE**

official band site »


Tickets for the original date of 4/3/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


Falling somewhere between rock, jazz, and electronic mayhem we find Papadosio striving to create music that is strangely familiar, and calls all walks of humanity to bask in a unique experience celebrating the one constant in an ever-changing world: music.

Papadosio has packed out Red Rocks Amphitheater for headlining shows the past two years running and now they bring their music to smaller stages on a tour of more intimate performances. Characterized as a dynamic progressive rock band, Papadosio creates the sound of new-age technology merging with mesmerizing instrumentation. Between the unfamiliar melodic sound and the element of production, their live show will leave you wanting more.



 
Papadosio **NEW DATE**
@Union Stage | view more info »
Nov
21

Papadosio **NEW DATE**



Saturday Nov 21|doors 8:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


Papadosio **NEW DATE**

official band site »


Tickets for the original date of 4/4/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


Falling somewhere between rock, jazz, and electronic mayhem we find Papadosio striving to create music that is strangely familiar, and calls all walks of humanity to bask in a unique experience celebrating the one constant in an ever-changing world: music.

Papadosio has packed out Red Rocks Amphitheater for headlining shows the past two years running and now they bring their music to smaller stages on a tour of more intimate performances. Characterized as a dynamic progressive rock band, Papadosio creates the sound of new-age technology merging with mesmerizing instrumentation. Between the unfamiliar melodic sound and the element of production, their live show will leave you wanting more.



 
ALO **NEW DATE**
@Union Stage | view more info »
Dec
10

ALO **NEW DATE**



Thursday Dec 10|doors 7:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


ALO **NEW DATE**

official band site »


Tickets for the original date of 4/1/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


California’s ALO will be releasing their second EP of a series, Creatures, Vol. 2: Weave, on January 10th, 2020. The first EP, Creatures, Vol. 1: Spark, was released earlier this Summer on Brushfire Records. As a sneak preview, the first track from Weave, “Baby Blind Spot”, is available on all digital services.

Weave features four new tracks by founding members Zach Gill (keys, vocals), Dan "Lebo" Lebowitz (guitars, vocals) and Steve Adams (bass, vocals), as well as the band's newest member, Ezra Lipp on drums.

As with the first EP, the new release was engineered and mixed by long-time ALO collaborators Dave Simon-Baker and Mike Cresswell, with additional recording done by the band at home studios. The ongoing series tracks the development of the new lineup with Lipp, while still maintaining that familiar ALO sound. Old school listeners have been raving about the band’s live sets at recent festivals (High Sierra Music Festival, Camp Deep End), and Weave has bottled that energy well. The band can’t wait for fans to hear the new songs. Gill explains, “There are a whole lot of blind spots in our collective sphere of human awareness. Sometimes we crash right into them. Sometimes it’s tragic, sometimes it’s comedic… hopefully it’s at least educational.“

ALO is also excited to announce their 14th annual Tour D’Amour. The first leg will include headlining shows in California, as well as 2 co-headlining nights with Twiddle in the Pacific Northwest. These dates have been added to a tour schedule that includes a previously announced co-headlining show with Leftover Salmon at the Warfield in San Francisco on March 7th, as well as 2 sets at Winter Wondergrass in Steamboat Springs, CO. Ben Morrison of The Brothers Comatose will support on the newly announced headline dates.