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Etana *postponed*
@Pearl Street Warehouse | view more info »
More Info
Jun
4

Etana *postponed*



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


Etana *postponed*

official band site »


SHOW POSTPONED! RESCHEDULE DATE TBA
Ticket holders please hold on to your tickets until the new date is announced. Those who cannot make the new date will be able to request a refund.



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 *cancelled*
@Union Stage | view more info »
More Info
Jun
4

Star Kitchen *cancelled*



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


Star Kitchen *cancelled*

official band site »


SHOW CANCELLED
Tickets will be automatically refunded from point of purchase.



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 *postponed*
Caleb Stine | @Union Craft Brewing | view more info »
More Info
Jun
26

Cris Jacobs Band *postponed*

Caleb Stine


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


Cris Jacobs Band *postponed*

official band site »


SHOW POSTPONED! RESCHEDULE DATE TBA
Tickets for original dates (4/3/20, 5/9/20 or 6/26/20) 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 *postponed*
@Union Craft Brewing | view more info »
More Info
Jul
10

Neal Francis *postponed*



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


Neal Francis *postponed*

official band site »


SHOW POSTPONED! RESCHEDULE DATE TBA
Tickets for original dates (7/10/20) 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



“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 *postponed*
@The Hamilton | view more info »
More Info
Jul
23

Melvin Seals & JGB *postponed*



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


Melvin Seals & JGB *postponed*

official band site »


SHOW POSTPONED! RESCHEDULE DATE TBA
Tickets for the original dates (3/18/20 or 7/23/20) 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



 
Pimps Of Joytime **NEW DATE**
Knovo | @The Hamilton | view more info »
Aug
1

Pimps Of Joytime **NEW DATE**

Knovo


Saturday Aug 1|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


Pimps Of Joytime **NEW DATE**

official band site »


NEW DATE!
Tickets for the original date of 4/10/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.



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.


 
Railroad Earth **NEW DATE**
Kyle Tuttle Band | @9:30 club | view more info »
Aug
1

Railroad Earth **NEW DATE**

Kyle Tuttle Band


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


Railroad Earth **NEW DATE**

official band site »


NEW DATE!
Single Night Tickets for the original dates of 3/20/20 and 3/21/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.


Two Night Passes for the original dates will be automatically refunded. If a customer with a Two Night Pass would like to attend the new date, they must purchase a single night ticket.



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

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

“Rock & roll!”

Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…” Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is.

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

Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.”

Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”

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

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

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


Kyle Tuttle Band

official band site »

International Banjo Champion Kyle Tuttle is shredding his way through the jamgrass scene. Since moving to Nashville in 2012 Kyle has shared the stage with many epic performers, most notably as a member of the Jeff Austin Band for 3 years. Kyle has also worked closely with Jamgrass legends Larry Keel, Travelin’ McCourys, Leftover Salmon, Greensky Bluegrass, Billy Strings, and Railroad Earth. In addition to being seen around the jamgrass circuit, Kyle is a studio musician in Nashville, and recently produced the Chain Station album ‘Backroads’.


 
The Floozies & SunSquabi *cancelled*
Defunk | @Rams Head Live | view more info »
More Info
Aug
8

The Floozies & SunSquabi *cancelled*

Defunk


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


The Floozies

official band site »


SHOW CANCELLED
Tickets will be automatically refunded from point of purchase.



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 *cancelled*

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.


 
Ghost Of Paul Revere **NEW DATE**
@Pearl Street Warehouse | view more info »
Sep
25

Ghost Of Paul Revere **NEW DATE**



Friday Sep 25|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


Ghost Of Paul Revere **NEW DATE**

official band site »


NEW DATE!
Tickets for the original date of 5/2/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.



"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.



 
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 »


NEW DATE!
Tickets for the original date of 5/16/20 will be honored. If a customer cannot attend on the new date they can request a refund by contacting the venue box office.



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 »


NEW DATE!
Tickets for the original date of 5/2/20 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 »


NEW DATE!
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 »


NEW DATE!
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 »


NEW DATE!
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.