Dark Star Orchestra & The Bridge
@Pier Six Pavilion | view more info »
Jul
29

Dark Star Orchestra & The Bridge



Friday Jul 29|doors 5:00 pm|all ages
Pier Six Pavilion|get directions »
731 Eastern Ave
Baltimore, MD|p: (410) 783-4189


Dark Star Orchestra

official band site »

Performing to critical acclaim worldwide for nearly 17 years and over 2200 shows, Dark Star Orchestra continues the Grateful Dead concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations creating a sound that truly encapsulate the energy and the experience.


The Bridge

official band site »

The fearless leaders of The Bridge have traveled an enormous distance to get where they are; all the way from living off-the-grid on a remote Hawaiian farm—in Kenny Liner’s case—and chafing in the buttoned-down corporate world—in Cris Jacobs’—to making a formidable album that’s fed by hometown roots and laced with wanderlust. It’s called National Bohemian, a nod to both the Baltimore-based sextet’s beloved local brew and their creatively rewarding but often unglamorous hard-touring lifestyle. It’s also the work of a dexterous band of players to be reckoned with.

From the eleven new, original tracks, this much is clear: Jacobs (vocals and guitar), Liner (mandolin and beatboxing), Dave Markowitz (bass and vocals), Patrick Rainey (saxophone), Mike Gambone (drums) and Mark Brown (keyboards)—otherwise known as The Bridge—have come into their own, covering unbounded musical territory with no shortage of verve and striking a rare balance between high-quality songs and sharp instrumental interplay. They have the tools to see their expansive musical vision through, starting with the unorthodox nature of their lineup: string band elements powered by a plugged-in R&B- and roots rock-ready rhythm section, heated by keyboard and horn and, here and there, seasoned with syncopated beatboxing.


 
Galactic
People's Blues of Richmond | @Flying Dog Brewery | view more info »
Jul
30

Galactic

People's Blues of Richmond


Saturday Jul 30|doors 5:30 pm|21+
Flying Dog Brewery|get directions »
4607 Wedgewood Blvd
Frederick, MD|p: (301) 694-7899


Galactic

official band site »

It’s been more than 20 years since Ben Ellman, Robert Mercurio, Stanton Moore, Jeff Raines and Rich Vogel began exploring the seemingly limitless musical possibilities born out of their work together as Galactic. Since then, the seminal New Orleans band has consistently pushed artistic boundaries on the road and in the studio, approaching their music with open ears and drawing inspiration as much from the sounds bubbling up from their city’s streets as they do from each other.

A key part of that creative spark comes from the teamwork of Mercurio and Ellman, whose ever-evolving production and arranging skills helped usher the band into a new phase of studio work beginning with the loop-centric “Ruckus” in 2007. A series of albums focused around specific concepts like Carnival followed, as did collaborations with guests hailing from worlds outside the one Galactic calls its own.

On “Into the Deep,” the band members look within themselves instead, drawing inspiration from people and ideas that have long been close to their hearts – and, in turn, close to the development of their unique sound. Shot through with soul, funk, blues and rock, the result is an organic riff on elements of Galactic’s past, filtered through the lens of where they’re headed in 2015. “I see this album as a kind of culmination of all of our collaborations or experiences, from [trombonist] Corey Henry to the people we met on the road, touring,” says Mercurio, referencing Ellman’s first full-time gig in New Orleans, which kicked off when Henry hired him into the Little Rascals Brass Band in 1989. “The previous albums took us in the opposite direction,” Mercurio says. “We collaborated with rappers that we had never dealt with and even on the New Orleans tracks, we didn’t have working experience with most of those artists before the recordings.”

In contrast, “Into the Deep” contributors like JJ Grey, David Shaw and Maggie Koerner spent significant time touring with Galactic. A few years ago, Mavis Staples sat in with the band, all of whom are longtime fans of the legendary singer’s R&B-meets-gospel soul style. They caught up with Macy Gray when she performed a memorable concert at Tipitina’s where Ellman says he could see from the outset “how much she cares about the music.” And each of the players had also developed a deep appreciation for the Honorable South’s Charm Taylor, whose contribution, “Right On” was written specifically to suit her vibe.

“Quint Davis [the producer of] Jazz Fest always has a couple people he books at the festival that aren’t big names but that Quint knows are going to be super cool,” says Ellman. “That’s how we met Brushy One-String. We originally wanted to bring him in to do anything, just to see what would happen. But when we heard his song ‘Chicken in the Corn,’ we really wanted to do our version of it.”

In the end, he joined them on the road for over a month, collaborating with the band onstage at each show.

For the instrumental tracks, Galactic mined the interests and tastes they’ve cultivated together for years in New Orleans. “Buck 77” was written via improvisation, a long-standing cornerstone of their live shows. The funky bass line and tumbling guitar part on “Long Live the Borgne,” meanwhile, represents an updated, more composed take on some of the concepts that made early albums like “Coolin’ Off” so strong.

As for the opener “Soogar Doosie,” Ellman points out Galactic tends to record at least one track on each album that speaks to the band’s collective love of brass band music.

“We write [those songs] with the idea of how awesome it would be to hear the Rebirth going down doing the street in a second line playing one of our songs. We try to think of a real second line song that would get people slapping stop signs and dancing on cars,” he says.

The album, Ellman says “is all about people. It’s these connections we’ve made over 20 years. They’re people in our orbit that have come into our little world and affected us in some way.”

It’s also about how the individual musicians within Galactic have grown over time. When it comes to trying new approaches as players, producers, songwriters and arrangers, Ellman muses, “it’s an evolution.”


People's Blues of Richmond

official band site »

People’s Blues of Richmond brings a carnival-like mayhem to their dark, blues-infused psychedelia. The power trio’s new album Quit or Die is their third studio release and was recorded in Richmond, Va at The Ward Recording Studio with Ricky Olson. Within the past 24 months they have signed with Madison House Booking, toured full time, put out a full length album released June 10th, 2016 and recorded a 7-inch LP produced & engineered by the highly sought-after Mark Neill, the man behind The Black Key’s platinum-selling, Grammy-winning Brothers record.

“The reason we pursued Mark—we already had a pretty firm grasp on our frenetic live sound but making a song sound beautiful in the studio is a whole other animal,” says singer-guitarist Tim Beavers II. “Mark’s sound doesn’t come from a million digital studio tricks on his computer, but from a diligent set up, an intimate understanding of sound, and a belief in himself, his gear and in the bands he’s recording. Working with him, we learned how to push ourselves harder than ever before.”

With the anticipated new album on the way, word is starting to spread about the manic intensity of PBR’s live performances as they burn up the road, sharing bills with an impressive collection of artists from Tom Petty, ZZ Top, and The Allman Brothers to J Roddy Walston & the Business and festival favorites Modest Mouse & Gogol Bordello.

People’s Blues of Richmond co-founders and lifelong friends Beavers and Matt Volkes (bass, backing vox) began playing music together in college as a way to grieve the loss of a mutual friend. Those bleak, drug-fueled days pushed the two into an artistic bender of rock and blues that led to their 2011 debut LP, Hard-On Blues. They followed with the self-released Good Time Suicide in 2013, the album recorded on the exact same handmade ’68 Flickinger board used to record T. Rex’s Futuristic Dragon. Immediately following this album, People’s Blues of Richmond’s lineup finally solidified with the addition of friend and powerhouse drummer Neko Williams (son of Drummie Zeb of legendary reggae band The Wailers).

After years together, on the road and off, the three are more than just bandmates, they’re brothers. It’s a camaraderie that show in their music and beyond. “No matter what, we look out for each other,” Volkes says. “If I have a sandwich, Tim and Neko get a bite, too. We’re all in this together.” “The whole concept behind People’s Blues of Richmond,” Beavers says, “is that we all struggle, we all experience pain. Life is full of highs and lows, and we all work hard to survive. So we do the only thing we know how—we get out on the road, and we keep moving forward. We become a part of something bigger than ourselves.”

 
The Claypool Lennon Delirium
Marco Benevento | @9:30 club | view more info »
Sep
1

The Claypool Lennon Delirium

Marco Benevento


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


The Claypool Lennon Delirium

official band site »

Two worlds have collided, and what glorious and odd worlds they are. After a successful summer tour pairing Primus with Ghost of a Saber Tooth Tiger, Les Claypool and Sean Lennon have decided to combine their abstract talents into a project called The Claypool Lennon Delirium. Their efforts thus far have spawned the upcoming, full-length release called “Monolith of Phobos.”

“Sean is a musical mutant after my own heart,” said Claypool. “He definitely reflects his genetics—not just the sensibilities of his dad but also the abstract perspective and unique approach of his mother. It makes for a glorious freak stew.” After some impromptu, backstage jams and an epic live sit-in on Primus’s psychedelic opus, “Southbound Pachyderm,” Claypool approached Lennon about doing a recording project. “I was trying to wrangle up an Oysterhead reunion since Primus was taking a rest for 2016 but the planets just wouldn’t align for that,” said Claypool. “I don’t like sitting around, so when Sean said he didn’t have plans for this next year, we started kicking around the notion of making an old-school, psychedelic/prog record. Next thing I know, he’s staying in my guesthouse, drinking my vino and banging on my drums.” Lennon responded, “I told Les that I was Neil Diamond’s nephew. I think that is what really sold him on the idea of working with me.”

Over the course of six weeks or so, the two wrote and recorded a total of ten songs with both of them sharing various vocal and instrumental responsibilities, going beyond their core instruments of bass and guitar. Claypool explained, “Usually I play the drums and percussion on my records but Sean has such a different feel than I do, it just made more sense for him to man the kit on most of the tunes on this project. I took the helm at my old vintage API console and let him bang away. He was happy as a piggy rolling in shit every time he grabbed the sticks…his drumming is like a cross between Ringo and Nick Mason. But I think folks will be most surprised by what a monster guitar player he is, especially when you prod him a bit.”

“Monolith of Phobos” is just how the title implies—an old-school approach to a psychedelic space rock record. Lennon added, “It’s been an honor and a challenge playing with someone of Les’ caliber, but luckily the Gods of Pinot Noir shone favorably down and granted us a bundle of devilish tunes about monkeys, outer space and sexual deviancy.”

The Claypool Lennon Delirium “Monolith of Phobos” record is slated for a spring release and the band will be touring through the summer.


Marco Benevento

official band site »

Marco Benevento is used to doing a lot of things for himself: Since he launched his solo career six years ago, Benevento has co-founded the label that releases his music, The Royal Potato Family, and built the studio, Fred Short, where he works every day that he’s not on the road. And in the past, of course, he’s written, arranged and played his largely instrumental anthems, leading a band from behind his customized piano and a tiny armada of drum-machines and sequencers, keyboards and pedals.

But until Benevento set out to complete his fifth album under his own name, he’d never sung his own songs, a strange omission for music that’s so often been lyrical. That changes—decisively, assuredly, triumphantly—on Swift, the boldest and most bracing album of Benevento’s career.

“I never really liked the sound of my singing voice. I have a low voice. I can’t really sing too high. It’s nasally,” Benevento confesses. “But I had to get over it. And now, singing is awesome.”

Sure, 2012’s TigerFace opened with two vocal gems, the greasy “Limbs of a Pine” and the gorgeous “This is How It Goes.” But Rubblebucket’s Annakalmia Traver had handled those melodies, and Benevento assumed for months that she’d handle these, too. At one point, though, he decided that he liked the way his voice was sitting in the songs he was building; that it felt not only interesting, but surprisingly intuitive. His wife, Katie, would join him in the studio and sit with him at the piano, helping him to shape strings of nonsense syllables into words he liked. And in November 2013, he invited Ween’s Aaron Freeman, a nearby neighbor and longtime friend, to visit the studio and offer criticism of what he was singing and how he was singing it. Freeman had specific quibbles and improvements, but he largely approved of the work Benevento had done, providing the boost that powered Swift toward completion.

“It was nice to be tested and prepared by a singer I really like. It was validating,” Benevento explains. “I’m surprised it took me this long to sing, but growing older, getting into music by The Band and James Booker and the Grateful Dead, the singing door has opened. It’s a new instrument.”

Benevento’s urge to commandeer the microphone and fill the record with his thoughts isn’t a mere power grab from a bandleader. To the contrary, bassist Dave Dreiwitz (Ween) and drummer Andy Borger (Tom Waits, Ani DiFranco, Norah Jones) flex more than ever before on Swift. Dreiwitz dances atop the start of “If I Get to See You At All,” his rich fuzz-tone affording the melody the feeling of a sinister carousel. And on “The Saint,” he and Borger emerge as powerhouse, the viscous bass line rumbling over drums that slow and spring, stutter and stomp. A minute into the track, Benevento has to wait for just the perfect moment in which to slide his silvery piano. Swift is an unselfish album, then, guided more by a sense of giving songs maximum impact than proving the incontrovertible worth of the players who made it.

That directness is due in large part to Richard Swift, the esteemed indie rock producer who invited the trio to his Oregon studio to record the album that, in turn, Benevento named for him. Benevento’s sister-in-law lived nearby, so he’d gotten to know Swift through years of touring. He’d also fallen in love with his work thanks to Swift-helmed albums such as Foxygen’s We Are the 21st Century Ambassadors of Peace and Magic and his own song “Lady Luck.” Benvento says that several mixtapes Swift compiled and put online—humid spheres of vinyl static and rubbery bass, woozy soul and swerving rock—saved his life on several long, late-night tour drives. He trusted Swift’s ears, and he wanted to put this record in his hands—to go to Oregon, record for three days, let the producer produce, and do as little tinkering to the results as possible.

“I was sick of going back to my studio and turning a session into something else. I wanted my process to be different. I wanted someone else to say, ‘Leave it like that,’” Benevento says. “I was surprised how easy it was going to be. I made two or three edits, and it was done.”

That comfort and energy radiate throughout Swift, an album that’s every bit as delightful and kinetic as its title suggests. Opener “At the Show” is a handclap invocation, the big-bottomed drums and Benvento’s fleet keyboard line motioning toward the dance floor. “Eye to Eye” moves with an indomitable, street-smart swagger, while closer “Free Us All” prompts eyes-closed, mouths-open bliss. Even “No One is to Blame,” the album’s ostensible down-tempo drift, can’t suppress the excitement of the new setting, the new singer or the new approach. Its climax offers arching catharsis, Benevento’s multi-tracked harmonies curving like a rainbow.

“To finally make a record that feels and sounds like a record; something that is musically consistent and almost thematic, whereas my other releases have been so stylistically diverse,” says Benevento, “is, for me, an accomplishment.” He did it himself, you could say—and then some. The Royal Potato Family released Swift on LP, CD and Digital on Tuesday, Sept. 16.

 
Assembly Of Dust
Adam Ezra Group | @Gypsy Sally's | view more info »
Sep
10

Assembly Of Dust

Adam Ezra Group


Saturday Sep 10|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Assembly Of Dust

official band site »

“As a child I can remember locking myself in my room with a big old set of headphones and listening to The Band's Music From Big Pink album over and over again,” said Reid Genauer, the lead singer and founder of the New York based quintet Assembly of Dust. “Besides loving the hell out of the music, I was intrigued with the production value in the recordings. As I listened I felt almost like I was there in the room with The Band at a moment of perfection. That intimate listening experience drew me in and is what inspired me to be a musician.”

Drawing on that influence and countless others, over the last ten years Assembly of Dust has crafted a unique sound that recalls the likes of The Band, Traffic and Neil Young. They have taken that early 70's Americana swagger, put their own funky spin on it, and earned comparisons to the next generation of Americana heroes including Ryan Adams, Mumford and Sons and Wilco. Hooky melodies, poetic lyrics, and a profound depth of musicianship promptedUSA Today to say Assembly of Dust has what it takes to "dazzle the Alt-Country universe."

The allure of spacious production value has clung with Genauer his whole life and when he listened to Ray Lamontagne's 2010 album God Willin' & The Creek Don't Rise, he heard something that struck a chord deep within him. After just a few seconds sniffing around the liner notes he found the name he was looking for and within a couple of months Assembly of Dust was in the studio with engineer Ryan Freeland.

With three Grammy's on the shelf and credits that include musical luminaries like Bonnie Raitt, Joe Henry, and Art Garfunkel, Freeland's aesthetic was exactly what Genauer was going for on Assembly of Dust's fourth studio album Sun Shot. "I’ve always had a penchant for acoustic music” said the songwriter. “While Sun Shot isn’t an acoustic record by any stretch of the imagination it has the touch and nuances that allows the listener to be nearer to the music. It’s certainly a mellower record, it’s a vibey record, and it’s the most singer-songwriter record we’ve done."

While the recording processes used on Sun Shot harkens back to an analogue past, the rest of the project was decidedly technology driven. In the summer of 2012, as they struggled with the realities of financing an artistic venture of this scale, the band launched a crowd sourced funding campaign through Kickstarter. Looking back on it Genauer talks about the project as more of a spiritual journey than simply a fund raising exercise.

"When we went into it we were thinking of a black and white exchange of goods and services, but what we discovered was a weighty emotional interchange" he admitted. "The Kickstarter contributors demand something beyond a record and we found it to be a really intimate experience to craft special rewards for people who genuinely care about us and our music. It helped us truly appreciate the passion our fans feel for us and the depth of our community.”

Sun Shot is one part Singer-Songwriter, one part Alt- Country and one part Rock and Roll, but the thread tying it all together is Genauer's heartfelt and beautifully written lyrics. In 2009 The New York Times praised Genauer's songwriting skills as some of the most eloquent "to emerge in the long wake of the Grateful Dead” and the songs on Sun Shot may be the best work of his career.

The raw building blocks of Genauer's songs stand strong on their own and they are polished to brilliance in the hands of the band he’s surrounded himself with: Adam Terrell (Lead Guitar), John Leccesse (Bass), and two newer members Jason Crosby (Piano and Violin) and Dave Diamond (Drums). Together Assembly of Dust has created an album laced with the influences Genauer recognized as a child. It’s a recording with many rooms. Some are flashy and aloof, others bony and pale, but collectively they are Sun Shot.


Adam Ezra Group

official band site »

Adam Ezra Group's songwriting is making waves around the country.

The co-write, “Let Your Hair Down” with producers Shep Goodman and Aaron Accetta, (American Authors), just received "Song of the Year" at the New England Music Awards. A songwriting partnership with the legendary John Oates is taking Ezra back and forth between Nashville and tour. The theme song, "Grow Your Own Way," was central to Midwest insurance giant, Country Financial's 2014/15 marketing campaign. In addition, Adam Ezra's debut efforts in movie scoring have lead to an appearance at the 2016 Tribeca Film Festival and the release of Adam Ezra Group's new album, aptly titled, Songs for a Movie.

This 16 song marathon studio production is the culmination of three years of writing, planning, arranging, and recording for the independent film release, "Folk Hero & Funny Guy." Much of the writing and recording occurred while on tour; in hotel rooms, hallways, green rooms, and while literally driving the American highways often referenced within the album.

 
The Mantras
Projected Man | @Jammin' Java | view more info »
Sep
10

The Mantras

Projected Man


Saturday Sep 10|doors 9:30 pm|all ages
Jammin' Java|get directions »
227 Maple Ave E
Vienna, VA|p: (703) 255-1566


The Mantras

official band site »

The Mantras, a five piece jam machine born of Greensboro, NC have been conquering crowds and melting minds all over the country progressively for over a decade. The band’s music can be described with all types of varying rock and roll terminology, but is absolutely best defined by each listener’s ear and, equally important, their experience.

Since the inception of The Mantras in the mid 2000's, the band has been touring the country and building a catalog of 4 studio albums and over 100 original songs. Performing an entirely different set of music each night is an integral part of the band’s direction and mission as well as the ability to truly improvise in between orchestrated pieces. With eclectic influences of sounds from around the globe, The Mantras create a musical escapade during each performance, giving every ounce of emotion to their craft of expression and communication through music.

The Mantras are a family of rock; their closely-knit bonds can truly be felt by the crowd while the band performs. This is a critical feature of their community. One can easily tell that the musical pockets created by radical guitar riffs, gut checked bass lines, screeching synthesizers, a complete projection light show and two symbiotic drummers are no accident. The musical conversation on stage is simply beautiful to watch. The feeling is not exclusive just to the members on stage, however. The Mantras’ loyal fan base can testify to the reciprocation of love between performer and attendee and in a scene where it is sometimes difficult to stabilize a fan base and a consistent identity, The Mantras do just that. It has all of the ebbs and flows, peaks and valleys and patterns of constriction and release that can hook someone for life. Each show is a story. Each story is unique.

In addition to the collaborative element between band and fans, The Mantras have shared the stage with some of the foremost titans of jam. Their most recent studio release, entitled Jam Bands Ruined My Life was recorded at Umphrey’s McGee, axe man Jake Cinninger’s home studio, where Jake is featured on two tracks. Shortly after recording, The Mantras opened for and shared the stage with Umphrey’s McGee members while performing the thumping single entitled, “Kinetic Bump.” In addition, The Mantras have collaborated with members of The String Cheese Incident, Tea Leaf Green, and Perpetual Groove among many others. The year 2013 saw The Mantras play over 180 shows, culminating in their annual Mantrabash music and arts festival, held in the beautiful backcountry of Ferguson, NC.

Mantrabash stands as a testament to the loyalty of the fan base and the engagement of The Mantras within their local, regional, and national music communities. Attended by thousands, Mantrabash has become the landing spot for live music fans from all over the country to enjoy the hard work and dedication of The Mantras in addition to the other stellar musicians who appear over the 3 days.


Projected Man

official band site »

Projected Man started as a few music teachers hanging out and trading licks at jam sessions in the Washington, D.C. and Northern Virginia area. Not only was it fun but it was effortless. After a short while we decided to work up some material and began gigging. At first it was mainly covers, but it wasn't long before we began writing original music.

 
The Revivalists
The Temperance Movement | @9:30 club | view more info »
Sep
23

The Revivalists

The Temperance Movement


Friday Sep 23|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Revivalists

official band site »

The formation of The Revivalists was all about chance, but everything since then has been a combination of hard work, awesome music, and friendship. The septet has been playing nonstop since 2007, crafting a genre-hopping sound that rounds out traditional rock instrumentation with horns and pedal steel guitar and mixes the divergent backgrounds of its individual members with the humid, funky undercurrents of the band’s New Orleans home. The result is like English spoken with an exotic accent: familiar, yet difficult to pin down.

Religion aside, a revival is all about the tangible electricity that can only be created when enough like minds are crammed under a single roof for a singular purpose. It’s a spiritual spectacle, a carnival of the divine, a whole greater than the sum of its parts. The same could be said for The Revivalists’ searing live performances. The band has a knack for bringing music to life on a stage, and they have tuned their talents to Swiss-watch precision over years of relentless touring. Their bombastic showmanship is the outgrowth of a desire to connect with audiences on a personal level, and that intimate connection is what elevates their shows above simple entertainment.

True to their name, The Revivalists lean more heavily on the older styles and warmer sounds of the golden age of rock ‘n roll, but the band isn’t afraid to dabble in electronics and sleight-of-studio when it’s right for the song. The group tends not to bother with questions like “does this sound like us?” or “does this fit with our other stuff?”, instead allowing songs to define themselves and take shape organically, each on its own terms. Is this a dark, heavy rock manifesto driven by a steel guitar line that borders on electronica, or is it an airy, acoustic story about star-crossed lovers, rich in vocal harmony and sparsely arranged until the coda? This one’s funky, that one’s sweet, this one’s heavy… To The Revivalists, it doesn’t matter. They just write songs that they want to play.


The Temperance Movement

official band site »

 
Psycho Killers (Talking Heads Tribute)
Rockville Strings | @Gypsy Sally's | view more info »
Sep
24

Psycho Killers (Talking Heads Tribute)

Rockville Strings


Saturday Sep 24|doors 8:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Psycho Killers (Talking Heads Tribute)

official band site »

Over the past 8 years, Psycho Killers have made a name for themselves by delivering high energy explorations into the expansive catalog of one of the most celebrated bands of the 1970s and 1980s, Talking Heads. Inducted into the Rock & Roll Hall of Fame in 2002, Talking Heads are best known for some of the most iconic songs in history including Psycho Killer, Burning Down The House and Once In A Lifetime. With their break-up in 1991 and no signs of a reunion, Psycho Killers hopes to bring their music back to a live setting for fans of all generations to experience.


Rockville Strings

official band site »

 
Beats Antique
Too Many Zooz | Thiftworks | @Rams Head Live | view more info »
Oct
14

Beats Antique

Too Many Zooz
Thiftworks

Friday Oct 14|doors 8:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Beats Antique

official band site »

Celebrating its tenth anniversary with its tenth studio release, the Bay Area’s wildly innovative performance dynamo Beats Antique emerges from the studio with a brand new album and stage show to mark the milestone. With legendary sets at some of the most iconic venues and festivals around the world and collaborations with superstars from Les Claypool to Bassnectar, the next chapter in the trio’s story takes them back to a mysterious world.

When multi-instrumentalists David Satori and Tommy Cappel and choreographer Zoe Jakes dove into development of the new Beats Antique era, the concept of Shadowbox emerged. Driven by the infinite wonders of the deceptively simple design, the narrative of shadows and light, of darkness and contrast, of reality and surreality propelled the music and vision into new territory.

Capturing the heart of the Beats Antique sound means skirting that divide between the electric and the acoustic. Balkan melodies strung over crashing cymbals and marching band horn lines run smack into contemporary electronic grooves. It might be the drums and brass or the sweeping psychedelic strings that will take you for a ride down the rails of a steampunk circus. It’s chaos and cacophony on a very tight leash.

All three members shared production duties to harness the sound they first stumbled upon a decade ago: far east meets wild west. Bringing in sarod master Alam Khan (son of Ali Akbar Khan) Jakes was able to take her study of Indian classical dance from the stage to the studio. Russian singer Tatiana Kalmykova resurrected an ancient folk language to evoke a haunting fairy tale that feels at home in the shadows. Beats Antique also recruited rising stars of brass house TOO MANY ZOOZ for the horn-fueled funk and punk central to their sound.

As always, Tommy Cappel focused his efforts on the beats and bass production, while David Satori assembled an armory of stringed, plucked, and bowed instruments from far-flung lands to adorn the low-end foundation. All samples were created live in the studio—a hallmark of the lush warmth of a Beats Antique record.

The Shadowbox stage show will be teased at Red Rocks and Electric Forest before its full unveiling this fall. Taking the theme of shadow play and expanding the concept forward and backward in time, the core members dove deep, influenced by ancient practices of Indonesian shadow puppetry, falling into the world of wayang kulit, the eons long tradition of storytelling where epic tales unfold into the wee hours of the morning.

Enormous lanterns adorn the stage, casting light upon a maze of curtains where playful new characters dance and fight and rejoice and mourn. Beats Antique is breaking the boundaries of conventional wisdom. Why can’t an electronic music performance encompass a range of emotion?

This isn’t a nuclear-powered laser light show from the ever-intensifying optical arms race of the EDM industry. This is one of the earliest methods of storytelling brought from the past into the present. “The digital is there to enhance the analog,” notes Jakes. “We’re here to tell a story,” Satori adds.

Bringing an album from the shadows of the studio to the brightly lit stage is what Beats Antique does best. These are storytellers for a digital age—equipped with the newest technology and ancient traditions. This is where the Beats meet the Antique.


Too Many Zooz

official band site »

We love making music and sharing it with everyone

Thiftworks

official band site »

 
Cabinet
Horseshoes & Hand Grendades | @The 8x10 | view more info »
Oct
14

Cabinet

Horseshoes & Hand Grendades


Friday Oct 14|doors 7:30 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Cabinet

official band site »

Cabinet is a band with roots firmly planted in the Appalachian tradition. They wear their influences like badges, honoring the canon of roots, bluegrass, country, and folk, weaving these sounds into a patchwork Americana quilt. But this music isn’t romanticizing or rehashing the past. Cabinet makes it mark on today. The steady aim of their harmonies soar straight onto target each time, the soaring vocals giving voice to the story of each song. Their music takes the long way home, treating its listeners like passengers on a ride through scenic back roads. Their live shows are inclusive, celebratory, and community-building. Everyone will want to get on the wagon with Cabinet. Members Pappy Biondo (banjo, vocals), J.P. Biondo (mandolin, vocals), Mickey Coviello (acoustic guitar, vocals), Dylan Skursky (electric bass, double bass), Todd Kopec (fiddle, vocals), and Jami Novak (drums, percussion), all live and love music, and their polished sound belies their young age.

The band‘s latest offering, THIS IS CABINET - SET II, a seven song effort – six originals and a cover of The Byrds’ “Mr. Spaceman” – was recorded in March of 2013 at Stage One in Fairfield, Connecticut, and Club Metronome in Burlington, Vermont. The set is diverse yet cohesive, ranging from the melancholy of “Caroline,” which unfolds into a purposeful jam, to the modern Americana rock of “Heavy Rain,” which closes the album. Along the way, we have the ambling “Doors,” the upbeat and fun “Poor Man’s Blues” -- which would not sound out of place at an Old And In The Way show -- the snaky, reggae-tinged “The Dove” and the instrumental “Susquehanna Breakdown,” another Cabinet contribution to the tried-and-true bluegrass tradition. The group’s take on “Mr. Spaceman” is relatively faithful, but with some Cabinet flair, and offers a glimpse into the band’s myriad influences.

By now, Cabinet’s ability to get a festival crowd dancing and rip tasty instrumental breakdowns is a given. With “Set II,” the band displays its continuing development not only as players, but as songwriters who know how to get to the point – and have some fun going down that road.

Cabinet formed in 2006, bringing together players from various musical and personal backgrounds. Some of the members were barely old enough to drink legally, but their thirst for older music was unquenchable. Whether its rustic "American Beauty"-era Grateful Dead or old-timey bluegrass, Cabinet has digested it all. But that is not to say that Cabinet recreates older styles. No, this is music that might have its roots in the past, but it is current and vibrant, with a sense of celebrating the now.


Horseshoes & Hand Grendades

official band site »

In 2010, the five Wisconsinites that make up Horseshoes & Hand Grenades found themselves in a living room in the college town of Stevens Point, WI, holding acoustic instruments and enjoying a hodgepodge of fermented beverages. Music and revelry ensued that evening and, while many of the party guests eventually bid their goodbye well into the morning hours, Horseshoes & Hand Grenades wasn’t ready to let the get-together fade. Five years later, the music still hasn’t stopped and the party is still going strong, from the mountain west to the river towns of the Midwest that the quintet calls home.

While strongly rooted in bluegrass, old-time, and folk music, the band produces a sound that draws on the vaults of music collectively and individually enjoyed throughout the course of their lives thus far. The music doesn’t lend itself well to categories or boundaries. One could probably be formed, but the boys seem to generally prefer fishing a river, or enjoying the company of friends and barley beers.

Yet with their music well-defined or not, Horseshoes & Hand Grenades has begun to form a place in the Midwest music scene, gaining recognition on both a regional and national scale. The band took 3rd place at the Telluride Bluegrass Festival’s Band Competition in 2012 and has since shared the stage with Trampled By Turtles, The Travelin’ McCourys, Railroad Earth, Merle Haggard, The Infamous Stringdusters, Yonder Mountain String Band, Marty Stuart, and many more. The group’s third full-length Middle Western was released in March of 2015. Being mostly inspired by rivers, valleys, good friends, and good drink, this five-piece is as sturdy as any Midwest riverbed and will make your toes tap from sundown to sunrise.

 
Cabinet
Horseshoes & Hand Grendades | @The 8x10 | view more info »
Oct
15

Cabinet

Horseshoes & Hand Grendades


Saturday Oct 15|doors 7:30 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Cabinet

official band site »

Cabinet is a band with roots firmly planted in the Appalachian tradition. They wear their influences like badges, honoring the canon of roots, bluegrass, country, and folk, weaving these sounds into a patchwork Americana quilt. But this music isn’t romanticizing or rehashing the past. Cabinet makes it mark on today. The steady aim of their harmonies soar straight onto target each time, the soaring vocals giving voice to the story of each song. Their music takes the long way home, treating its listeners like passengers on a ride through scenic back roads. Their live shows are inclusive, celebratory, and community-building. Everyone will want to get on the wagon with Cabinet. Members Pappy Biondo (banjo, vocals), J.P. Biondo (mandolin, vocals), Mickey Coviello (acoustic guitar, vocals), Dylan Skursky (electric bass, double bass), Todd Kopec (fiddle, vocals), and Jami Novak (drums, percussion), all live and love music, and their polished sound belies their young age.

The band‘s latest offering, THIS IS CABINET - SET II, a seven song effort – six originals and a cover of The Byrds’ “Mr. Spaceman” – was recorded in March of 2013 at Stage One in Fairfield, Connecticut, and Club Metronome in Burlington, Vermont. The set is diverse yet cohesive, ranging from the melancholy of “Caroline,” which unfolds into a purposeful jam, to the modern Americana rock of “Heavy Rain,” which closes the album. Along the way, we have the ambling “Doors,” the upbeat and fun “Poor Man’s Blues” -- which would not sound out of place at an Old And In The Way show -- the snaky, reggae-tinged “The Dove” and the instrumental “Susquehanna Breakdown,” another Cabinet contribution to the tried-and-true bluegrass tradition. The group’s take on “Mr. Spaceman” is relatively faithful, but with some Cabinet flair, and offers a glimpse into the band’s myriad influences.

By now, Cabinet’s ability to get a festival crowd dancing and rip tasty instrumental breakdowns is a given. With “Set II,” the band displays its continuing development not only as players, but as songwriters who know how to get to the point – and have some fun going down that road.

Cabinet formed in 2006, bringing together players from various musical and personal backgrounds. Some of the members were barely old enough to drink legally, but their thirst for older music was unquenchable. Whether its rustic "American Beauty"-era Grateful Dead or old-timey bluegrass, Cabinet has digested it all. But that is not to say that Cabinet recreates older styles. No, this is music that might have its roots in the past, but it is current and vibrant, with a sense of celebrating the now.


Horseshoes & Hand Grendades

official band site »

In 2010, the five Wisconsinites that make up Horseshoes & Hand Grenades found themselves in a living room in the college town of Stevens Point, WI, holding acoustic instruments and enjoying a hodgepodge of fermented beverages. Music and revelry ensued that evening and, while many of the party guests eventually bid their goodbye well into the morning hours, Horseshoes & Hand Grenades wasn’t ready to let the get-together fade. Five years later, the music still hasn’t stopped and the party is still going strong, from the mountain west to the river towns of the Midwest that the quintet calls home.

While strongly rooted in bluegrass, old-time, and folk music, the band produces a sound that draws on the vaults of music collectively and individually enjoyed throughout the course of their lives thus far. The music doesn’t lend itself well to categories or boundaries. One could probably be formed, but the boys seem to generally prefer fishing a river, or enjoying the company of friends and barley beers.

Yet with their music well-defined or not, Horseshoes & Hand Grenades has begun to form a place in the Midwest music scene, gaining recognition on both a regional and national scale. The band took 3rd place at the Telluride Bluegrass Festival’s Band Competition in 2012 and has since shared the stage with Trampled By Turtles, The Travelin’ McCourys, Railroad Earth, Merle Haggard, The Infamous Stringdusters, Yonder Mountain String Band, Marty Stuart, and many more. The group’s third full-length Middle Western was released in March of 2015. Being mostly inspired by rivers, valleys, good friends, and good drink, this five-piece is as sturdy as any Midwest riverbed and will make your toes tap from sundown to sunrise.

 
Yonder Mountain String Band
Billy Strings | @9:30 club | view more info »
Oct
15

Yonder Mountain String Band

Billy Strings


Saturday Oct 15|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Yonder Mountain String Band

official band site »

For nearly 18 years, Yonder Mountain String Band has redefined bluegrass music, expanding the traditional acoustic genre beyond its previously established boundaries by steadily pushing the envelope into the realms of rock n’ roll and improvisation. YMSB has always played music of their own design, in the process attracting a devout coterie of fans that often resembles a tight knit family on an epic musical journey as Yonder traverses the country with an ever-rigorous tour schedule. Yonder is a quintessential ensemble honing its craft night after night on the road, and the fans are there to experience it in real time. The result is music that doesn’t stand still, it’s always progressing and breaking unprecedented ground.

With their latest album, Black Sheep (scheduled for national release on their own Frog Pad Records at Telluride Bluegrass Festival on June 16, 2015), Yonder Mountain String Band — Adam Aijala (guitar, vocals), Dave Johnston (banjo, vocals), Ben Kaufmann (bass, vocals), Allie Kral (violin, vocals), and Jacob Jolliff (mandolin, vocals) — begins a new era. The first YMSB release produced by the band itself, Black Sheep is, by any measure, a triumph, perhaps the most mesmeric of their career. The result, says Kaufmann, is that, “This record sounds more like Yonder than any record we’ve ever done. I’m hoping that when people are finished listening to it, they’ll just hit play and listen to it again.”

Black Sheep marks the first time in Yonder’s history that they’re actually utilizing, throughout an entire record, the conventional five-piece instrumental arsenal of bluegrass introduced in the 1940s: guitar, mandolin, banjo, fiddle and bass. With the exception of the album’s sole cover tune, “Ever Fallen In Love,” originally by the late ’70s British punk-rock band the Buzzcocks, each of the album’s new tracks were written by the YMSB members during the past couple of years. Three of the new songs — “Annalee,” “Landfall” and the title track — have already been road-tested on tour; others will be added to the band’s live repertoire following the album’s release. The majority of Black Sheep was recorded at Coupe Studios in Boulder, Colorado, with Adam handling much of the engineering at his home studio and while on the road; the first time a band member has taken on that task.

Even on first listen, it becomes instantaneously apparent that Black Sheep is the work of a new Yonder Mountain String Band, one with a strong commitment to re-exhibiting itself and broadening its parameters following the departure of a founding member. While it’s immediately recognizable as YMSB music, there’s undeniably a raw aesthetic to the studio tracks — a sense of daring is embedded in both the instrumental interaction between these five singular players and in the lyrical content of each song.

Yonder has its roots in the year 1998, when the original quartet came together in Colorado. Through steadfast gigging in all manner of venues from small clubs to massive outdoor festivals, Yonder Mountain String Band quickly built a robust fanbase while continually experimenting to define its sound. Some of the most fervent audiences were at jam band shows and festivals, where fans took readily to YMSB’s potent mix of the traditional bluegrass of Bill Monroe, the Stanley Brothers and Doc Watson and the improvisational sensibilities of the Grateful Dead and Phish. Also deeply ingrained in the band, albeit more subtly, was a fierce love for punk, which provided the members with seminal influences while they were growing up. “We didn’t even hear bluegrass until our 20s,” says Aijala. “Falling in love with the sound of bluegrass instruments, while also having all of these outside influences that had nothing to do with bluegrass — well, what comes out isn’t what we envisioned.”

With the band’s 17th anniversary coming this summer, and an extensive tour schedule running throughout the year, a revitalized Yonder Mountain takes delight in the fact that they are still reaching new fans while simultaneously retaining the characteristics that brought their greater community together in the first place. The loss of one member and the subsequent invitation for some of today’s top pickers to help shape their evolving sound brings intriguing opportunities to the table; ones that set YMSB on its new path. Black Sheep is a bold statement, meant to passionately get fans up on their feet and ecstatically dancing, but it’s also about embracing the moment. Essential changes are a healthy step in keeping the music alive and well.

“We’ve been growing over the years and I feel like we really don’t have any limitations,” says Aijala. “It doesn’t feel like work when you get to hang out with people that you care about and play music.”

Adds Kaufmann, “It’s not just bluegrass — it’s progressive. Everything Yonder has ever tried to do, we’re doing in this record. It’s gonna take some time for fans to get acquainted with the new Yonder. When you make a big change like we did, it’s a huge thing. But the band is a force, and the album is such a perfect example of our new direction.”

Says Johnston in conclusion, “Yonder Mountain String Band is as durable as bluegrass itself. It changes and morphs and has an open-endedness that makes anything possible.”


Billy Strings

official band site »

"Imagine taking a hardcore heavy metal band like Pantera and cramming all that energy into the body of a 23-year-old bluegrass guitarist. That’s Billy Strings. He tears up the stage during his set, grimacing, growling, head-banging and tearing the holy sh*t out of a set of super-charged Americana. Kid can pick! DAMN can he pick! It’s acoustic music with a punk edge and a lot of youthful enthusiasm and, oh man, that PICKING! Strings covers a wide variety of classic tunes and songs in his show, from a slow-burning cover of 'Wild Bill Jones' to a raw cover of 'Cocaine Blues' or picking delights like 'Red Haired Boy' and 'Soldier’s Joy.' But the standout track is the opening song, 'Dust in a Baggie,' a cleverly written mountain song about meth that manages to take a very current and destructive issue and translate it into the bluegrass vernacular. It’s a tour-de-force, written by Strings himself, and is the moment you realize just how far this kid’s gonna go." — D.L. "THE BLUEGRASS SITUATION"

 
John Brown's Body
@Gypsy Sally's | view more info »
Oct
20

John Brown's Body



Thursday Oct 20|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


John Brown's Body

official band site »

Together for two decades and hailed as “Future roots, reggae, and dub with an intricately balanced weaving of vocals, percussion, keyboard, bass, guitar, and stunning 3-piece horn section that ties it all together” (WRUV), John Brown’s Body (JBB) is building “a legacy that has inspired and carved a path for the now thriving contemporary American reggae scene” (Rudeboy Reggae). Formed in Ithaca, New York, in the mid 1990s, at a time when there wasn’t yet a far-reaching U.S. reggae scene, JBB was one of a small handful of U.S. reggae bands that began touring nationally. Since then, JBB has played an important role in helping define distinctly “American reggae.” JBB’s music is steeped in traditional vibes, but unapologetically incorporates elements from other genres. While most American reggae bands tackled typical reggae themes (such as religion and marijuana), JBB acted more like an indie band, writing songs that used the vocabulary of reggae to express their own experiences. Their unique approach resonated with the masses. The group’s 2008 full-length record, Amplify, hit #1 on the Billboard Reggae Chart, 2012’s JBB In Dub EP reached #1 on iTunes’ Reggae Chart, and in 2013 Kings And Queens topped both Billboard and iTunes Reggae Charts at #1. Today, JBB’s signature style has become the norm for U.S. reggae bands - and many in the genre admittedly point to John Brown’s Body as a key influence. Their eleventh studio release, Fireflies, comes out September 9th on Easy Star Records


 
The Grateful Ball
The Travelin' McCorys | Jeff Austin Band | @The Hamilton | view more info »
Oct
26

The Grateful Ball

The Travelin' McCorys
Jeff Austin Band

Wednesday Oct 26|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


The Grateful Ball

Playing One Set Each then One Set Of Grateful Dead Tunes


The Travelin' McCorys

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.

Jeff Austin Band

official band site »

The work continues...

These words have never rung more true for Jeff Austin.

After almost twenty years of live creation and endless joy seeking Jeff has returned to the scene with a new found sense of passion. Sharing the stage each night with a band of like-minded adventurers he attacks each performance with a fire and desire to move and shake everyone in sight.

Each show stands as a statement.

A statement of music...

A statement of connection...

A statement of just how joyful each moment can be.

From note to note…song to song…these musical warriors set out to turn each ear in a way never heard before.

The path is set.

The energy is undeniable.

Because with each new step The Jeff Austin Band takes...

The work continues.

 
Papadosio
Consider The Source | @9:30 club | view more info »
Oct
28

Papadosio

Consider The Source


Friday Oct 28|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Papadosio

official band site »

Falling somewhere between rock, jazz and electronic mayhem we find space rock. This is a genre that is not readily defined, and is a state of mind as much as it could be considered a genre. This range of frequencies is where Papadosio tends to spend their time, sometimes dining in deep space, and other times snacking right on your front porch. Papadosio strives 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.

Join Papadosio in an effort to create, augment, and rejoice in the universal language of music. Most importantly, have a good time.


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.

 
Papadosio
SOOHAN | @9:30 club | view more info »
Oct
29

Papadosio

SOOHAN


Saturday Oct 29|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Papadosio

official band site »

Falling somewhere between rock, jazz and electronic mayhem we find space rock. This is a genre that is not readily defined, and is a state of mind as much as it could be considered a genre. This range of frequencies is where Papadosio tends to spend their time, sometimes dining in deep space, and other times snacking right on your front porch. Papadosio strives 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.

Join Papadosio in an effort to create, augment, and rejoice in the universal language of music. Most importantly, have a good time.


SOOHAN

official band site »

SOOHAN has returned with his third full length album “SOOHAN- Global Gate 808.” His first two albums became an immediate internet sensation, garnering over 550K this year alone. The widespread popularity of both albums earned SOOHAN his first national tour and sets at 11 different music festivals in 2015, including sets at Camp Bisco, Infrasound Equinox, Great North a main stage set at Camp Question Mark’s Emissions West Coast Bass Festival. For 2016, he has already been confirmed for Sonic Bloom and Lucidity Festival.

 
Trevor Hall
@U Street Music Hall | view more info »
Nov
19

Trevor Hall



Saturday Nov 19|doors 6:30 pm|all ages
U Street Music Hall|get directions »
1115 U Street NW
Washington DC|p: (202) 588-1880


Trevor Hall

official band site »

As an eleven year old, playing harmonica beside his father in South Carolina, music quickly became Trevor’s most intimate companion, guide and creative outlet. In his elementary years, he began to write his own songs and perform them locally. At sixteen he recorded his first record, and the following year he left South Carolina to study classical guitar at Idyllwild Arts Academy, an international boarding school east of Los Angeles. There, Trevor was introduced to yoga and certain spiritual practices found in India, which greatly influenced his music and his life journey. During his senior year, Trevor signed a record deal with Geffen Records and his career as a musician formally began.

Trevor quickly broke through the music scene, with such early accomplishments in his career as having a song recorded on the Shrek the Third soundtrack, as well as joining a series of sold-out tours with artists such as Steel Pulse, The Wailers, Jimmy Cliff, Matisyahu, Michael Franti, SOJA, Brett Dennen and Colbie Callait. Trevor’s quick rise on the scene, however, was ripe with challenges that conflicted with his spiritual life and devotional practice. In order to parallel his life’s path with the messages in his music, Trevor moved into a traditional Hindu ashram in Southern California in 2008. When not on tour, he lived as a monk and devoted his days to spiritual practice and service. His involvement with the temple affected his music and his music quickly became his practice.

Trevor Hall’s music – an eclectic mix of acoustic rock, reggae and Sanskrit chanting – echo with the names and teachings of divinities, while maintaining an incredibly and refreshingly universal message. While on the road, Trevor sees the stage as his moving temple, a place where he can share in the experience of his spiritual journey with his audience. Trevor’s annual trips to India also continue to serve as a source of creativity and motivation for his music. The precious lessons and experiences that he has harvested from his journeys East have moved Trevor to return a service to those whom have colored his music and his life so beautifully. Trevor uses donations collected at his live shows to help support an ashram in Allahabad, India, the home of his Guru, where underprivileged and orphaned boys and girls are given the chance at a better life and a traditional Vedic education.

In 2013 at the age of 26, after touring consistently for ten years, Trevor decided to take a break from the stage and go on an extended pilgrimage to India. There he spent many weeks studying under a classical Baul musician born and trained in the villages of Bengal. Trevor returned from his trip and retreated deep into the green mountains of Vermont and Maine where he spilled all that he had learnt onto the page and into song.

Hall has released a successful series of musical albums. In 2009, Hall released his Vanguard Records debut, a self-titled album, which featured the single “Unity,” written and performed with his longtime friend, Matisyahu. His follow up album, Everything, Everytime, Everywhere, debuted on the iTunes Rock Chart at #3, iTunes Top Albums at #12 and #8 on Amazon Movers & Shakers. The featured single, “Brand New Day” was used as the music bed for the CBS This Morning Show. Hall’s 2014 release, Chapter of the Forest, debuted at #3 on the iTunes Singer/songwriter Chart and #17 on the iTunes Top Albums Chart.

His latest album, KALA, written in Hawaii and recorded in LA, was released August 21st, 2015. It debuted at #2 on the iTunes singer/songwriter chart.