all good news

 
Greensky Bluegrass
@Rams Head Live | view more info »
Sep
19

Greensky Bluegrass



Friday Sep 19|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Greensky Bluegrass

official band site »

If you're familiar with bluegrass music, then you're tuned in to some of what Greensky Bluegrass does. They're also known to throw a great party, rock n roll, and (if the critics are to be believed) they have great songs. They are unquestionably a team of friends that traverse the country making music they enjoy. What makes Greensky different than Bluegrass? Poignant rural ballads about real people? Dobro tone that Jerry (Douglas or Garcia) would love? Distortion Pedals? Grit and attitude from a whiskey soaked card game? Indeed, but that's just the tip of the iceberg.

This quintet from Michigan has been staying up late at all the coolest festivals and stopping to play your favorite clubs and theaters across America for 11 years now. Nearly 175 shows per year has prepared them for the rigorous task of continuity. Greensky Bluegrass isn't slowing down. "They're coming to your town to help you party down." Yeah. Really. Like you never thought possible.

At the start of the millenium,some of these guys met, then they met more guys. They thought Greensky was a clever name for a bluegrass band. Fast forward to 2011 when they recorded their fourth studio record, called Handguns. Among them, words like, "proud," "killer," and "damn right!" have been spoken in regards to the music of Handguns.

While they all may be accurate, we hope you'll find far more than you expected, hell - even more than we expected contained in this piece work that may well come to define one of 21st Century America's hardest working musical ensembles.


 
The Floozies
Late Night Radio | Branx | @Baltimore Soundstage | view more info »
Sep
20

The Floozies

Late Night Radio
Branx

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


The Floozies

official band site »

The Floozies are producer/guitarist Matt Hill and drummer Mark Hill. These two brothers are bringing their fresh approach to electronic music and live performance to venues and festivals all over the country. The duo's combination of cutting edge electronic production and party rocking funk energizes crowds and turns venues into epic dance parties.


Late Night Radio

official band site »

Hustling to make his mark in Denver, Colorado’s electronic music melting pot, Late Night Radio is earning the respect of fans and peers alike through prolific production, innovative experimentation, and a dogged dedication to the craft. Alex Medellin has put in his time in the industry, coming up in Texas and California, but his ascension in the Colorado scene speaks to his ability to not only create a stunning array of original tracks, but bring them to life on stage, practicing what he preaches—guided by the mantra “emotion over energy.”

Branx

official band site »

BRANX (Formerly DCarls) IS Juicy Funk & Colossal Beats.

 
Hard Working Americans
featuring Todd Snider & Dave Schools | Todd Sheaffer of Railroad Earth | @Howard Theatre | view more info »
Sep
21

Hard Working Americans

featuring Todd Snider & Dave Schools
Todd Sheaffer of Railroad Earth

Sunday Sep 21|doors 6:00 pm|all ages
Howard Theatre|get directions »
620 T Street NW
Washington DC|p: (202) 803-2899


Hard Working Americans


featuring Todd Snider & Dave Schools

official band site »

Hard Working Americans are celebrating great songs and throwing a hell of a party.

The band is proud to introduce their self-titled debut album, scheduled for release January 21st on Melvin Records and Thirty Tigers. These five veteran players are putting in the hours and keeping at the grind for music lovers everywhere.

Clocking in for the night shift:

Todd Snider - Vocals
Dave Schools - Bass Guitar (Widespread Panic)
Neal Casal - Guitars and Vocals (Cardinals and Chris Robinson Brotherhood)
Chad Staehly - Keys (Great American Taxi)
Duane Trucks - Drums (Col. Bruce Hampton’s School of Music)

Led by Snider’s intrepid vocals and backed by a band of ace players, the Hard Working Americans created fresh song arrangements to tell stories of the everyman and woman- the frustrated and downtrodden, the gritty and gorgeous, the blue-collar and no-collar- hard working folks that give this country a backbone.

Recorded at Bob Weir’s TRI Studios in San Rafael, CA, the album was produced by Dave Schools and Todd Snider and mixed by John Keane. Special guest artists include John Popper and John Keane.

Todd Sheaffer of Railroad Earth

official band site »

 
Nicki Bluhm and The Gramblers & Mother Hips
@Baltimore Soundstage | view more info »
Sep
23

Nicki Bluhm and The Gramblers & Mother Hips



Tuesday Sep 23|doors 7:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


Nicki Bluhm and The Gramblers

official band site »

Nicki Bluhm and the Gramblers made a needle’s-eye leap onto the national music circuit in 2012, bringing with them a refreshing sound, spirited stage show and wellspring of good vibes, along with a turntable and milk crates stocked with their favorite vintage vinyl for backstage sustenance.

Now, the San Francisco-based band and its striking front woman with a girl-next-door demeanor step out with Nicki Bluhm and the Gramblers, a luminous, heartfelt patchwork of California folk-rock, brisk Americana and show-stopping soul, punctuated with fresh four-part harmonies, crisp rock guitar and Nicki’s soaring, nuanced vocals that some critics say remind them of Linda Ronstadt. The first record under the banner of the full band, Nicki Bluhm and the Gramblers is very much a family album, featuring 11 new songs penned by the band members, arranged and produced by Nicki’s husband and the band’s musical director, Tim Bluhm, and recorded at the Bluhm’s Mission Bells studio in San Francisco.


Mother Hips

official band site »

The Mother Hips have flown under the radar as true indie music pioneers for almost two decades. With the release of their new album Pacific Dust (available October 27th on Camera Records), California's unsung psych-pop heroes tell their story. Hailed by critics for their "rootsy mix of 70s rock and power pop" (pitchfork.com) and for their unflinching ability to "sing it sweet and play it dirty" (New Yorker), on Pacific Dust The Hips' signature sound rings more genuine and relevant than ever before.

The Hips - led by co-founders Tim Bluhm (vocals/guitar) and Greg Loiacono (guitar/vocals) - have been playing music for nearly 18 years, and in the process, have had the luxury of exploring and refining their craft. For the band's seventh full-length studio album, The Mother Hips have never been more primed to share their well traveled tales - the long days and nights on the road, the gritty politics, the smart inward reflections and man, the music! - all delivered with a most appealing balance of Americana storytelling and their California-burnished rock.


 
Stick Figure
Pacific Dub | Hirie | @U Street Music Hall | view more info »
Sep
25

Stick Figure

Pacific Dub
Hirie

Thursday Sep 25|doors 6:00 pm|all ages
U Street Music Hall|get directions »
1115 U Street NW
Washington DC|p: (202) 588-1880


Stick Figure

official band site »

Stick Figure possesses a unique style of music that combines a creative blend of upbeat roots reggae with the reverberating echoes of dub. Stick Figure's music is written, recorded, and produced by Scott Woodruff, a young man from Duxbury, MA. The live band consists of members Scott Woodruff (Vocals, Guitar) KBong (Keyboards and Vocals) Tommy Suliman (Bass) Kevin Offitzer (Drums).


Pacific Dub

official band site »

Meet Pacific Dub: Comprised of vocalist and rhythm guitarist- Colton Place, lead guitarist- Bryce Klemer, bassist- Ryan Naglich, drummer- David Delaney, and audio engineer- Casey Eubanks; Pacific Dub is one of the youngest and newest bands to solidify themselves as professionals within the Reggae-Rock scene.

Hirie

official band site »

Led by Trish on vocals, the female-fronted band stormed onto the reggae music scene in 2013 with the release of their first single, “Sensi Boy.” HIRIE’s debut self-titled album was released on September 3rd, 2013, and reached number 4 on the iTunes Reggae Chart in its first day. Nominated for San Diego’s best World Music Award, the band has enjoyed further success as the music video for the popular, “Sensi Boy,” has reached over 150,000 views on YouTube. That same single, along with a few other tracks, have received constant airplay on all major Hawaiian Islands, as well as local and college stations around the United States, Guam, New Zealand, Tahiti and more.

 
Tauk
Peoples Blues of Richmond | @Gypsy Sally's | view more info »
Sep
27

Tauk

Peoples Blues of Richmond


Saturday Sep 27|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Tauk

official band site »

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

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

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

“We called it ‘Collisions’ because it calls to mind how, when things come together, it is often explosive and leads to something completely different,” bassist Charlie Dolan explains. Alric "A.C." Carter, keyboard-organ, adds: “It also evokes how we are very different as people, but within the band, we find a way to work together and compliment each other’s musical ideas as an egoless unit.”

On Collisions the band worked with longtime collaborator Grammy-­winning producer Robert Carranza (Mars Volta, Jack Johnson). Carranza helped the band find the optimum mix of song structure, breathing jam sections, and warm & clear fidelity. Also enhancing the experience of Collisions is the album’s stunning puzzle-­ like cover art done by Jeff Jordan, graphic artist who previously worked with Mars Volta, among others. The album’s deconstructed and post-­modern abstractness perfectly reflect the sonic character of the music. Alric "AC" Carter explains: “In the artwork it’s clear to see there are many parts that build the entire picture. It’s like a song where some parts play supporting roles and other sections instantly grab your attention. However, the most important aspect is the bigger picture."

TAUK has built a dedicated and loyal fanbase through tireless touring. Festival highlights include Bonnaroo, The Hangout Music Festival, Summer Camp, LOCKN’, Hudson Project, FloydFest, Bear Creek, Art Outside and The Allman Brothers' Peach Fest. TAUK’s broadly appealing musicality has allowed the band to be direct support to such diverse artists as The Funky Meters, Robert Randolph & the Family Band, Papadosio, Lettuce, Karl Denson's Tiny Universe, moe., Dopapod, Tim Reynolds & TR3, Toubab Krewe, The Revivalists and many more.

It’s been an astounding journey for the musicians, in terms of four very different personalities conceptually colliding until they merge through inventing a collective musical lexicon.


Peoples Blues of Richmond

official band site »

People's Blues of Richmond brings a carnival-like mayhem to their dark, blues-infused psychedelia. Their new album, Good Time Suicide, is a study in excess, brimming with ballads of drugs, vice and murder that sonically recall early Led Zeppelin, only weirder and with a modern sheen. Word is starting to spread about the manic intensity of the band’s live performances as they burn up the road in support of Good Time Suicide, sharing bills with a diverse collection of bands—from Ghostland Observatory and Black Joe Lewis to Galactic and Flogging Molly.

 
Anders Osborne & Mother Hips
@Howard Theatre | view more info »
Oct
10

Anders Osborne & Mother Hips



Friday Oct 10|doors 6:00 pm|all ages
Howard Theatre|get directions »
620 T Street NW
Washington DC|p: (202) 803-2899


Anders Osborne

official band site »

"Fiery anthems and tumultuous confessional songs punctuated with raw, inspired guitar." - USA TODAY

"Rich and glorious…Osborne possesses a voice that rises out of the darkness to the light of a soulful, tremulous wail. He is a consummate showman and shaman, bending successive moments to suit his majestic purposes. Osborne seeks an epic quality to much of his music, crafting layer upon layer of hugely scaled soundscapes.…never lazily derivative…every slashing guitar figure, every cry of a lyric, seems to come from an authentic place." - New Orleans Times-Picayune

Between the potency of his richly detailed songwriting, his intensely emotional, soulful vocals and his piercing, expert guitar work, New Orleans’ Anders Osborne is a true musical treasure. He is among the most original and visionary musicians writing and performing today. Guitar Player calls him “the poet laureate of Louisiana’s fertile roots music scene.” New Orleans' Gambit Weekly recently honored Osborne as the Entertainer Of The Year. OffBeat named him the Crescent City’s Best Guitarist for the third year in a row, and the Best Songwriter for the second straight year. Osborne also won Song Of The Year for his composition, Louisiana Gold.

Since the release of his 2010 Alligator Records debut, American Patchwork, his 2012 follow-up, Black Eye Galaxy, and his critically acclaimed 2013 EP, Three Free Amigos, Osborne has earned hordes of new fans. He has toured virtually non-stop, either with his road-tested trio, as a solo artist, or as a guest with his countless musical admirers, including Toots and The Maytals, Stanton Moore, Derek Trucks, Warren Haynes, Keb Mo, The Grateful Dead’s Phil Lesh and Karl Denson’s Tiny Universe. He’s appeared on Galactic’s Ya-Ka-May album, and in 2011 produced and played on critically acclaimed albums by Tab Benoit, Johnny Sansone and Mike Zito.

Now Osborne delivers the next chapter of his spiritual odyssey, Peace. With the new CD, Osborne continues the journey started by American Patchwork and Black Eye Galaxy, emerging from a whirlwind of emotional chaos and moving toward a sense of inner peace. Recorded at Dockside Studios in Louisiana and produced by Osborne and Warren Riker, Peace looks at the title subject from all angles. Drawing strength and inspiration from his family and friends, Osborne created the most observational record of his career. According to Osborne, “Peace is light from darkness. The songs are written from the outside looking in. They are not making any judgments. I’m just stating facts. I’m writing from a brighter perspective. There’s less dusk and dark, and much more sunlight. The results are greater than I expected. The driving tones and sounds are free and natural. This is one of the coolest records I’ve ever made.”

Since his recording debut in 1989, Osborne has written virtually all of his own material and contributed memorable songs to a wide variety of artists. Two tunes co-written by Osborne appear on Keb Mo’s Grammy-winning 1999 release Slow Down. Country superstar Tim McGraw scored a #1 hit with Anders’ song Watch The Wind Blow By. Osborne’s compositions have been covered by artists as diverse as Brad Paisley, Tab Benoit, Jonny Lang and Kim Carnes. His songs have appeared in multiple feature films. He can also be seen performing in an episode of HBO’s New Orleans-based drama, Treme.


Mother Hips

official band site »

The Mother Hips have flown under the radar as true indie music pioneers for almost two decades. With the release of their new album Pacific Dust (available October 27th on Camera Records), California's unsung psych-pop heroes tell their story. Hailed by critics for their "rootsy mix of 70s rock and power pop" (pitchfork.com) and for their unflinching ability to "sing it sweet and play it dirty" (New Yorker), on Pacific Dust The Hips' signature sound rings more genuine and relevant than ever before.

The Hips - led by co-founders Tim Bluhm (vocals/guitar) and Greg Loiacono (guitar/vocals) - have been playing music for nearly 18 years, and in the process, have had the luxury of exploring and refining their craft. For the band's seventh full-length studio album, The Mother Hips have never been more primed to share their well traveled tales - the long days and nights on the road, the gritty politics, the smart inward reflections and man, the music! - all delivered with a most appealing balance of Americana storytelling and their California-burnished rock.


 
The Budos Band
@Baltimore Soundstage | view more info »
Oct
11

The Budos Band



Saturday Oct 11|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


The Budos Band

official band site »

When it came time to title their new album, one decision was easy: “This isn’t The Budos Band IV,” proclaims drummer Brian Profilio. “This isn’t just more of the same.” The Budos Band embarked on an experimental journey since the release of The Budos Band III in 2010, seeking inspiration from sources far and wide.

While wizards use books of spells and alchemy to mix their masterful potions, the Budos employ heavy doses of continent-spanning psychedelic rock to beckon the occult and conjure the supernatural. Hence the title of the band’s fourth album: Burnt Offering.

"We made a conscious decision to embark on a new sound," explains baritone saxophone player Jared Tankel. The heavy, trippy side the group unveiled on The Budos Band III reaches full flower on new tunes like "Aphasia," "Trouble in the Sticks" and particularly the title track “Burnt Offering.” “We were messing around with an old Binson Echorec at practice one night and this loop emerged,” recalls bassist Dan Foder. The droning fuzz guitar is a call to the gods from below and encapsulates the band’s sonic progression perfectly. "This record is fuzzy, buzzy and raw, and more obviously psychedelic," adds Profilio.

Like a cratedigger's classic from a parallel universe, "Tomahawk" melds heavy, distorted guitar riffs with bright blasts of brass and bubbling drums. An eerie, ceremonial vibe awakens the slumbering giant "Into The Fog" and prods it to life.

Driven by melodies, rhythms, and changes that animate muscle and bone to move, yet compel the ear to lean in closer, these full-bodied instrumentals push Budos' music deeper into new territory.

All lingering traces of touchstones of yore—be they Fela Kuti, Dyke and the Blazers, or Black Sabbath—have been wholly absorbed and filtered through the Budos Band's ever-evolving aesthetic. "We sound nothing like our first record anymore," confirms Profilio. Anyone content to just slap the old "Staten Island Afro-soul" tag on Burnt Offering and move on clearly didn't listen to the music first.

The group composed more than two dozen songs in the course of making Burnt Offering, yet only recorded fifteen, further distilling its essence to ten classic cuts for the full-length release. If a new tune failed to capture the rambunctious energy of their live show, if it revised familiar territory or obvious influences, it got cut. Budos was determined to break new ground. "If any band says that's easy to do, they're fooling themselves—and not writing good enough songs," insists Brenneck.

In order to reach the apex of the mountain, the band had to come together like never before. Always a brotherhood, the time spent writing and recording Burnt Offerings saw changes that many bands would have run from, but for the Budos presented opportunities to hone their craft. "Making this record reaffirmed that we work together really well," says Profilio.

Burnt Offering breaks from Budos' earlier records in another significant regard: this is their first album without an outside producer. "We had arrived at a different place sonically and needed see it through completely ourselves," says Tankel. They still praise Daptone mastermind Gabriel Roth, who worked alongside Brenneck co-producing their first three records, but parting ways at this juncture made sense.

"We know exactly where we're at," says Profilio. "We didn't want to have to explain ourselves if we were in pursuit of a specific sound or vibe."

"We made the demo that got us picked up by Daptone in my parents’ basement when I was eighteen years old," Brenneck recalls. "This album is a continuation of that, fifteen years later … with a lot more records under our belts."

After all that time, Budos has become more than a band—it's a brotherhood. "This is a real family band," says Brenneck. "Guys who've been making music for a long time, and friendships that run completely parallel to the music." They still rehearse religiously almost every week, even if some of those rehearsals encompass just as much drinking, socializing, and listening to music as actual practice.

That camaraderie doesn't evaporate when they put their instruments down. On tour, they hit a brewery or pub for lunch en masse before sound check whenever possible, and like to stir up trouble. There are dust-ups and reconciliations. All that kinship comes to a head when they hit the stage. “We’ve seen some things out there that most bands don’t get a glimpse of these days,” suggests Tankel. “All of that craziness just brings us closer together. We couldn’t shake each other if we tried.”

And capturing the intensity of Budos' electrifying shows on wax, making the grooves vibrate with excitement, was one of the biggest challenges of Burnt Offering. "We record live to tape, with minimal effects," Brenneck says. Nowhere to hide, then. The band insisted that each song push the envelope. No room for filler.

The Budos have traveled far and wide—playing across four continents—since the band’s inception. A lifetime of world tours and weekly rehearsals went into the making of Burnt Offering, and the journey is far from over. As long as there are new audiences to thrill and sonic frontiers to explore, they'll forge ahead. "We haven't fulfilled our mission," concludes Profilio. "We're still very hungry."


 
MarchFourth Marching Band
@The 8x10 | view more info »
Oct
11

MarchFourth Marching Band



Saturday Oct 11|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


MarchFourth Marching Band

official band site »

With a rallying cry of "JOY NOW!" MarchFourth (M4 for short) throws itself and the audience into a swirling volcano of high-energy music and spectacle. What began as a Fat Tuesday party on March 4, 2003 in Portland, Oregon has become one of the nation's best live touring acts. After 2013’s Jam Cruise 11, they were dubbed “poster child for ‘Party of the Year’” by JamBase.com. NPR Music says MarchFourth makes Portland look like “the grooviest place in America.” They bring an energy and style that takes the live concert experience to a new level of fun, turning unsuspecting concert-goers into fans for life and transforming ordinary events into joyous occasions. Thanks to word-of-mouth they are graduating from "best kept secret" to “what everyone’s talking about”. Whether at a family matinee in a small town in Colorado or a sweaty nightclub in New York City or a festival mainstage in Louisiana, MarchFourth wins over audiences of all ages at every occasion, and has consistently been named a “festival favorite.”


 
The New Potato Caboose
@Gypsy Sally's | view more info »
Oct
11

The New Potato Caboose



Saturday Oct 11|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


The New Potato Caboose

official band site »

"It all started in 1983 at Catholic University. Doug Pritchett, Don Laux, and John 'Red' Redling crossed paths. One saw another walking across campus with a guitar case, and each having long hair, kind of made an instant connection. So, in the dorm rooms and stairwells of Catholic U, these three started jamming and singing and they were all kinda blown away at how good it sounded and how easily they all fell in together. Thus, Wood 'n' Steel was born. An acoustic trio with three part harmonies playing everything from CSNY, the Beatles, the Dead, and Bob Dylan. Parties around campus turned into gigs at the Kerry to Derry pub.

Over the course of 1985-1986 drummer Chris Armenio, guitarist Rich Della Fera, and bassist Dana Smith became involved and the New Potato Caboose was born.

Back in the Day ... Did you know that bands like Widespread Panic, Blues traveler Dave Matthews, and Phish used to open up for NPC? The Caboose blazed a lot of trails up and down the east coast paving the way for a lot of jam bands who are really crankin' now. Cities including New York, Chicago, LA, San Francisco, Boulder, Nashville, Atlanta , and Tuscaloosa were rocked and rocked hard by monthly recurring Caboose gigs that opened the eyes of college kids and club owners alike to the fact the rock & roll was still very alive and well and comin' to a town near you.

The hard work of Manager/Lyricist Mark Mondok, Booking Agent/Publicist/Promotion Director- Greg Robinson, and Promotion Assistant,Chris 'Lightnin' Rod' Lee, Road Manager Jimmy Paratore, and the excellent road crew of Jeff Wagner and Jeff Aquillia (sound), John Bartol (stage), and Chris Weber (lights) all worked behind the scenes in helping to make this band what it was. Of course the music was where it was at. Anywhere from 2 to 6 hours of driving, four and five hours of setup, and two hours of tear down was average for a standard three hour Caboose show.

The break up of the band began shortly after the release of Promising Traveler, the band's first CD, in 1988. Guitarist Rich Della Fera left the band in 1989. Sam Pointer then joined the band and a handful of new songs came out of the Caboose. It generally went over pretty well. A little less than a year from Rich's departure, bassist Mike Mahoney left the band. Shortly after that, drummer John Trupp and percussionist John McConnell ended up leaving the band as well.

It was back to the core: Don, Doug, and Red with Mark Mondok still writing and managing. The band hired some studio players from New York to handle the bass, drums, and lead guitar. At this point the New Potato Caboose changed their name to just 'Caboose' and cut their second album "Winds of Change". This CD contains some great songs, most of which are still part of the NPC/Radio Mosaic live shows. "Winds of Change" was recorded in Florida and financed mostly by the Caboose with a minimal budget from RCA. It was around this same time that Mark Mondok had to exit for personal reasons after managing and writing for the band since 1984.

Wood 'n' Steel also recorded their first CD not long after the release of "Winds of Change". The self titled "Wood 'n' Steel" CD included guest musicians Mike Mahoney on bass and percussionist Tony McGhee on a few of the tunes.

Post Caboose ... Somewhere in 1996 the Caboose stopped playing altogether. Not to be discouraged, Don and Doug began playing regularly at a small club in Fairfax, VA called Fat Tuesdays as an acoustic duo. At some point bassist Mike Mahoney began to sit in once in a while and conjuring up some of those old Caboose vibes. Percussionist Will Rogers also started to play with Don and Doug on the off occasion. Well, eventually, the four (Don, Doug, Mike, and Will) ended up playing regular acoustic, 4-piece gigs at Fats.

It remained billed as Don and Doug for quite a while after that. When Mike learned that Will also played regular drum kit and had one at home, he began to push the guys to do an electric show. Don was really the one who needed to go electric - Mike already was. Eventually Don and Doug were talked into it and they did an opening acoustic set followed by two electric sets. It was so freakin' good that the band never played acoustically after that night (except the for the very rare acoustic opener set here and there). So, what do we call it? Naming a band is hard; the good ones all seem to be taken and most of the suggestions weren't doing it for us. AND everyone in the band has to agree on it. Radio- something was agreed to and the permutations were far reaching.

Eventually RADIO MOSAIC was chosen. When announced to the regulars at Fats, there was a definite deflation of anxiety - hmmmm - they didn't like it, did they? Ahhh, they'll get used to it."


 
Kung Fu
@The 8x10 | view more info »
Oct
16

Kung Fu



Thursday Oct 16|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Kung Fu

official band site »

Proud to be firmly installed in the new-funk movement, KUNG FU is quickly popularizing their unique sonic contribution, blurring the line between intense electro-fusion, and blistering dance arrangements. Making fusion music "cool" again, the band draws on influences such as early Headhunters and Weather Report, and merges those ideas with a contemporary EDM informed sensibility. Imagine 70's funk-fusion meets a modern dance party!


 
BoomBox
Ramona | @9:30 club | view more info »
Oct
17

BoomBox

Ramona


Friday Oct 17|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


BoomBox

official band site »

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

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


Ramona

official band site »

Born in Antwerp, Belgium I was introduced to the sounds of New Beat in the early 90’s. One night my parents took me to Boccacio, a club just outside of Ghent (since I was only 15) and from that night on, I was hooked! The years following, I was fortunate enough to go clubbing at some of Belgium’s and Holland’s finest…La Rocca, Café d’Anvers , Roxy and It, just to name a few.

On to the US of A in 94 and somehow I always seemed to find the good music that kept me dancing. (or maybe it found me) From the Full Moon parties in LA to the NY club scene to my annual stop at Burning Man, my insatiable appetite for the beats has recently inspired me to embrace my passion and start putting the music together myself and play for people that love to dance too.

 
Marco Benevento
Superhuman Happiness | @Gypsy Sally's | view more info »
Oct
17

Marco Benevento

Superhuman Happiness


Friday Oct 17|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Marco Benevento

official band site »

For more than a decade pianist Marco Benevento has been amassing an extensive resume of composition and collaboration. His albums set forth a vision that connects the dots between MGMT and Tortoise on one side, Brian Eno and Brad Mehldau on the other. In the live setting, his performances reverberate with pulsating dance rock energy, which has led to numerous high profile appearances, ranging from Carnegie Hall to Celebrate Brooklyn, Newport Jazz to Bonnaroo. Benevento has been invited to open for The Books, Ben Folds and Rubblebucket, while headlining shows from coast to coast.

The 36-year old artist took a major step forward with the release of his 2012 album, TigerFace. The ten-track collection is painted in a myriad of sonic colors, shimmering with acoustic piano, synths and analog keyboards, while the songs are seemingly conceptualized from every wisp of melody that's ever tickled his ear. In 2014, Benevento returned to the studio to record his latest work with producer Richard Swift whose resume includes The Shins, Foxygen and Tennis. Together, they focused their attention on a collection of news songs Benevento had written that expand upon his lush instrumental piano rock to include vocals. The album, entitled Swift, will be released September 16 on Royal Potato Family.

As anybody who's seen Marco Benevento perform can attest, with eyes closed, smile wide across his face and fingers free-flowing across the keys, the pianist is a satellite to the muse. With a devout and growing fan-base, Benevento is an artist whose story is only beginning to unfold.


Superhuman Happiness

official band site »

Superhuman Happiness was founded in 2008 to seek joy and love through shared rhythm and melody, composed and improvised. Their mission is to pursue a happiness greater than that experienced by an individual mind.

 
Assembly Of Dust
@Gypsy Sally's | view more info »
Oct
18

Assembly Of Dust



Saturday Oct 18|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."


 
STS9
@9:30 club | view more info »
Oct
21

STS9



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


STS9

official band site »

Since forming in Atlanta 15 years ago, instrumental electronic rock band STS9 has experienced a meteoric rise to the forefront of the international music scene.

STS9 is Hunter Brown (guitar/sequences), Jeffree Lerner (percussion), David Phipps (keyboards/synths) and Zach Velmer (drums) and Alana Rocklin (bass).

STS9 truly does it all: from headlining stages at the countries biggest festivals, to selling out shows around the country as an acoustic set-up in opera houses or as an electronic act in amphitheatres, to even performing with the likes of Jay-Z in arenas, to running their own record label, 1320 RECORDS, to using their voice as a platform for change and raising significant amounts of money towards activism efforts (including $150,000 to The Make it Right Foundation, paving the way to rebuild a house in the Lower 9th Ward of New Orleans). Pushing boundaries is all in a day’s work for STS9.

In 2014, fans will be treated to STS9’s largest touring production rig ever. Using the latest cutting edge sound and lighting, the band is leaving no stone unturned when it comes to delivering one of the most visually stunning shows on the road today.

The release of the bands latest studio EP, WHEN THE DUST SETTLES (the eleventh album in their full discography), keeps with XLR8R Magazine’s exclamation that STS9 is "one of the country's most intriguing, innovative outfits around.” The EP was released in 2011 and debuted at #1 on the iTunes Electronic Charts and in Billboard’s Top 25.

STS9’s self-owned record label, 1320 RECORDS was founded on the principles of collaboration, cooperation, and community. The goal is clear: bring the music to the people in the most conscious, unique innovative and savvy ways possible. By doing so, the distance lessens between artists and fans, putting the power back in the hands of those that make music and those that live for it.


 
Primus & The Chocolate Factory
with The Fungi Ensemble | @Hippodrome Theatre | view more info »
Oct
29

Primus & The Chocolate Factory

with The Fungi Ensemble


Wednesday Oct 29|doors 8:00 pm|all ages
Hippodrome Theatre|get directions »
12 N Eutaw Street
Baltimore, MD|p: (410) 837-7400


Primus & The Chocolate Factory


with The Fungi Ensemble

official band site »

Primus and the Chocolate Factory:
”There’s no earthly way of knowing, which direction we are going…”
by Benjy Eisen

In the summer of 1971, Primus’ Les Claypool was a couple months shy of his eighth birthday when David L. Wolper’s Willy Wonka and the Chocolate Factory debuted in movie theaters; based on the Roald Dahl book, Charlie and the Chocolate Factory. Like many people of a certain age and temperament, the movie became a perennial favorite that Claypool would come back to repeatedly, throughout different stages of his life, taking something different away from it each time.

So it seemed equal parts genius and obvious when he decided to throw a Willy Wonka-themed Primus show on New Year’s Eve last year. During the second set, Primus performed the soundtrack in its entirety. “Of the 23 or so New Years shows, I don’t think we’ve ever had a better combination of elements,” Claypool reflects, seven months later. “It felt good. It felt like we needed to be doing this.”

It felt so good, in fact, that he decided to take Primus into the studio to prepare the soundtrack for an album release. Claypool admits that he’s always, “in some way, wanted to be Willy Wonka,” and, also, that he’s always wanted to work a cover of “The Candyman” -- a memorable number from the film’s soundtrack -- into Primus sets. “Hell, I’ve been doing the line from the boat ride on stage since the ‘80’s,” then Les sings, ”There’s no earthly way of knowing, which direction we are going…”

“Larry Lalonde and I were discussing the next project for the band and one thought I had was to take on some kind of sacred cow and twist it into something of our own. Being that the whole Wonka thing was a massive part of my childhood,” Claypool explains, “It just seemed like the perfect thing for us to sink our teeth into, in part because those tunes are all so strong.”

The project would’ve worked with almost any of Claypool’s diverse musical ventures, but he knew from the start that he wanted to bring Wonka straight to his flagship band. “There’s excitement right now in the Primus world,” he explains. Two years after releasing an album of new material, Green Naugahyde, the Primus machine has a full tank and is running hot. “There’s this reinvigoration here,” says Claypool. Beginning on New Year’s, drummer Tim “Herb” Alexander returned to the lineup, following a three-year hiatus (during which the baton was passed to Jay Lane). Reunited with Claypool and guitarist Larry “Ler” LaLonde, the trio was able to capture the classic Primus sound and honor the spirit of Willy Wonka as seen through Claypool’s H.G. Wells style, creative-vision goggles.

“The recording is about my early perception of the original Willy Wonka and the Chocolate Factory film,” says Claypool. “The notion wasn’t so much to go in and redo the soundtrack note for note as much as it was to utilize the classic elements of the music yet try to reflect some of the darker undertones of the Roald Dahl books, because when you read those books, there is an eerie and somewhat menacing aspect implied.”

In order to get the full depth that he envisioned for the music, Claypool called up two celebrated players from his multi-band roster -- Mike Dillon and Sam Bass. “Otherwise, it would’ve been the ‘Wynona’s Big Brown Beaver’ version of Willy Wonka,” he says. “I don’t think it would’ve carried as well. With the added ingredients of marimba, vibraphone, tabla and various strings, we were able to bring some depth to the sonic landscape and really shift the mood around. It gets dark and creepy yet maintains that notion of innocence.” This reinforced version of Primus (featuring the Fungi Ensemble after Les’s last solo band) set about recording what would become Primus and the Chocolate Factory at Claypool’s home studio, Rancho Relaxo, in Sonoma County, California, during the early months of 2014.

“The whole thing just unfolded,” says Claypool, who produced the album himself. “It was a very easy and pleasant project. It wasn’t like we sat and scratched our heads... Every song was all wrapped around how I would interpret the vocals, for the most part, because that was the most challenging thing.”

For example, Claypool took on the character of Grandpa Joe on the song, “Golden Ticket.” But rather than try to emulate the voice of Jack Albertson, (Grandpa Joe from the original film), he affected an almost comical, deep vibrato that brings to mind an aging Elvis impersonator lounge singer... with a wobble. “And then it just fell into place,” he says.

Some of the album’s finest moments were inspired by the same motivation that has driven Primus’ entire career: “I spent the last 20-some odd years just trying to make Larry LaLonde laugh,” says Claypool. “The majority of Primus music is me trying to crack him up and him trying to crack me up.” So when LaLonde humorously captured a Rockmaninoff melody that Wonka briefly performs in the movie, Claypool rebranded the track “Lermaninoff” in Larry’s honor and even snuck in a surprise vocal... without informing the guitarist. “That’s been the foundation of most of our career,” says Claypool. “Just trying to one-up and impress each other, and if I can make Ler piss with laughter, I win.”

The result is an album that Claypool enjoys listening to, as a fan. “One of the things that I’m most impressed with and that I’m most drawn into, on the recording, is Tim’s percussion,” he says. In order to achieve the effect he was going for, Alexander built a drum station that Claypool describes as both “a pile of percussion” and a “huge circle of things to bang on” so dense that Alexander then had to create a door just to enter and exit the thing. “Tim was able to produce these amazing sounds and he does these things that we’ve all loved about him over the years,” says Claypool. “But it’s not your traditional drum kit or rock playing. It’s very orchestral.”

With the album drop scheduled for October 21, Primus plans to tour the Chocolate Factory beginning the very next day. “We’re going to do some touring with it and we put together this pretty abstract stage production,” says Claypool, “We’re going to take it out there, around the planet, and see what happens. And, in light of the record business being gutted by the internet, we’ve made some PRIMUS brand chocolate bars to peddle as well.”

Of course, Claypool realized that it was risky business to adapt a cinematic classic that is so close to so many people’s hearts. And, naturally, he realized that it was dangerous waters to swim in the wake of Gene Wilder, who portrays Willy Wonka in the original film. The band pulls it off by making something that is truly their own, without taking anything away from the movie. When asked about the fairly recent Tim Burton attempt at bringing the Roald Dahl story to the screen Claypool comments, “Look, I love me some Tim Burton, when he writes his own stuff, and I respect what Johnny Depp has done over the years. Hell, Ed Wood is one of my favorite films, but that (Charlie and the Chocolate Factory) is just unwatchable and believe me I’ve tried…twice as a matter of fact,” Les continues, “Even my kids hated it”.

“Our project is an homage to Gene Wilder and David L. Wolper’s, Willy Wonka and the Chocolate Factory and the effect it had on me in my youth,” spouts Les, “Now we get to sell PRIMUS bars and hang out with demented Oompa Loompas. Plus to top it off, it gives me an excuse to wear a purple, velvet waistcoat and brown top hat for the next 18 months.”

 
John Brown's Body
@Gypsy Sally's | view more info »
Oct
29

John Brown's Body



Wednesday Oct 29|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 »

If you’ve been paying attention, you’ll know that Kings And Queens is a synthesis of every aspect of John Brown’s Body’s storied career. It’s as if, after close to two decades of existence, this pioneering band has finally crafted their ultimate statement, tying together styles they’ve dabbled in, paid respect to, created, or pushed forward into one tightly woven mosaic. JBB’s Future Roots is now present tense.

John Brown’s Body formed (in Boston in the mid 1990s) at a time when there wasn’t what you’d call a U.S. reggae scene. The American bands that played reggae were regional at best, touring little, and many were primarily cover bands of the best known Jamaican reggae. JBB was one of a handful of groups that began touring nationally and created distinctly American reggae, steeped in traditional vibes but incorporating elements from other genres. Whereas most groups tackled typical reggae themes –religion and marijuana – JBB acted more like an indie band, writing songs that used the vocabulary of reggae to express their own experiences. Over time, this style has become the norm. The U.S. scene has grown tremendously – to the point of having two bands debut records in the Billboard Top 20 in 2012 – and many in the genre point to John Brown’s Body as a key influence.

However, this is not your typical story of an influential band doing what they did 20 years ago now trying to cash in on the movement they helped foment. Because a funny thing happened along the way for John Brown’s Body – they evolved and grew, taking their music ever forward, and have continued to influence the scene as much today – some might even say more so today – than they did at the start. The band’s relentless touring schedule helped pave the way for the nationwide scene, showing other bands that it was okay to be from the Northeast and still be comfortable playing in California, Hawaii, Colorado or Iowa. Early on, members of the band formed their own record label to highlight their local scene, which has since become the norm in many pockets of the scene. JBB delved deeply into dub effects from the start, incorporating elements of electronic music well before that became standard for today’s bands. Yet, JBB is somehow still utterly unique within the scene, even after two decades at work, which brings us back to the record at hand.

Musically and lyrically, lead singer/songwriter Elliot Martin has crafted a work that seems both self-reflective and visionary. A song like “Old John Brown” is obviously open to interpretation that Martin is commenting on both the man for whom the band is named after, as well as the legacy of the band itself. Musically, the song evokes riddims Burning Spear used in the 1970s, which has been an undercurrent influence on the group since the beginning, but has rarely surfaced as obviously as it does here since the band’s earliest breakthrough records.

The group’s last full-length record, Amplify (#1 on the Billboard Reggae chart in 2008), was extremely forward-thinking, steeped in electronic effects. Last Fall’s JBB IN DUB EP (#1 on iTunes’ Reggae Chart) stripped things down to the bedrock elements of reggae. Kings And Queens utilizes the best aspects of both these records, while bringing back much more of the classic JBB sound into the mix and production. This is reinforced by working with engineer Matt Saccuccimorano, who worked on some of the band’s earliest successful albums, and the involvement on numerous songs by former guitarist/keyboardist Nate “Silas” Richardson. Bassist Nate Edgar continues to astonish with his nimble and muscular bass lines. The bass and drums have always been at the center of Martin’s songwriting, but in Edgar and founding drummer Tommy Benedetti, he has found his most spectacular partners-in-crime. Martin has crafted his strongest batch of songs ever, coupled with startling horn lines written by the JBB Horns. Saying the JBB Horns are an influential bunch is no small talk, considering past alums have gone on to play for Slightly Stoopid as well as form the eclectically amazing band Rubblebucket.

The most obvious touch point for the band’s sound has always been classic UK reggae, especially the work of Aswad, Steel Pulse and Dennis Bovell, and that unmistakable influence permeates every track, most noticeably in the heavy drum and bass and complicated horn lines. As it was in that scene, JBB’s songs are more focused on sufferation, urban realities and overcoming, with songs like “Plantation,” “Empty Hands,” and “The Battle” sparking protest over haunting minor chords. This is not beach resort reggae. This is reality. However, the record is by no means all gloom and doom! Songs like “Shine Bright” and the love song “Fall On Deep” both add lightness, and even in his darkest metaphors, Martin can find hope and positivity (listen to the chorus of “Plantation” for evidence of that).

Kings And Queens is bookended by three songs (“Step Inside” and “Invitation” at the start and “Searchlight” at the end) that invite listeners into the live arena where this band has excelled from the beginning. Evoking sound systems from the music’s origins in 1960s Jamaica as well as JBB’s own powerful live show, these songs remind all listeners about the strength in numbers found in the reggae community, especially at live shows and festivals, and how John Brown’s Body has long been one of the greatest live acts in the genre.

This record shows that John Brown’s Body continues to lead from the front of the pack. They look forward by looking back and find a way to invite JBB fans from all eras into their packed and sweaty tent. As the opening song says, “So many people / Step inside, step inside / Come one and all / Got to make the dancehall tight.”


 
John Brown's Body
@The 8x10 | view more info »
Oct
30

John Brown's Body



Thursday Oct 30|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


John Brown's Body

official band site »

If you’ve been paying attention, you’ll know that Kings And Queens is a synthesis of every aspect of John Brown’s Body’s storied career. It’s as if, after close to two decades of existence, this pioneering band has finally crafted their ultimate statement, tying together styles they’ve dabbled in, paid respect to, created, or pushed forward into one tightly woven mosaic. JBB’s Future Roots is now present tense.

John Brown’s Body formed (in Boston in the mid 1990s) at a time when there wasn’t what you’d call a U.S. reggae scene. The American bands that played reggae were regional at best, touring little, and many were primarily cover bands of the best known Jamaican reggae. JBB was one of a handful of groups that began touring nationally and created distinctly American reggae, steeped in traditional vibes but incorporating elements from other genres. Whereas most groups tackled typical reggae themes –religion and marijuana – JBB acted more like an indie band, writing songs that used the vocabulary of reggae to express their own experiences. Over time, this style has become the norm. The U.S. scene has grown tremendously – to the point of having two bands debut records in the Billboard Top 20 in 2012 – and many in the genre point to John Brown’s Body as a key influence.

However, this is not your typical story of an influential band doing what they did 20 years ago now trying to cash in on the movement they helped foment. Because a funny thing happened along the way for John Brown’s Body – they evolved and grew, taking their music ever forward, and have continued to influence the scene as much today – some might even say more so today – than they did at the start. The band’s relentless touring schedule helped pave the way for the nationwide scene, showing other bands that it was okay to be from the Northeast and still be comfortable playing in California, Hawaii, Colorado or Iowa. Early on, members of the band formed their own record label to highlight their local scene, which has since become the norm in many pockets of the scene. JBB delved deeply into dub effects from the start, incorporating elements of electronic music well before that became standard for today’s bands. Yet, JBB is somehow still utterly unique within the scene, even after two decades at work, which brings us back to the record at hand.

Musically and lyrically, lead singer/songwriter Elliot Martin has crafted a work that seems both self-reflective and visionary. A song like “Old John Brown” is obviously open to interpretation that Martin is commenting on both the man for whom the band is named after, as well as the legacy of the band itself. Musically, the song evokes riddims Burning Spear used in the 1970s, which has been an undercurrent influence on the group since the beginning, but has rarely surfaced as obviously as it does here since the band’s earliest breakthrough records.

The group’s last full-length record, Amplify (#1 on the Billboard Reggae chart in 2008), was extremely forward-thinking, steeped in electronic effects. Last Fall’s JBB IN DUB EP (#1 on iTunes’ Reggae Chart) stripped things down to the bedrock elements of reggae. Kings And Queens utilizes the best aspects of both these records, while bringing back much more of the classic JBB sound into the mix and production. This is reinforced by working with engineer Matt Saccuccimorano, who worked on some of the band’s earliest successful albums, and the involvement on numerous songs by former guitarist/keyboardist Nate “Silas” Richardson. Bassist Nate Edgar continues to astonish with his nimble and muscular bass lines. The bass and drums have always been at the center of Martin’s songwriting, but in Edgar and founding drummer Tommy Benedetti, he has found his most spectacular partners-in-crime. Martin has crafted his strongest batch of songs ever, coupled with startling horn lines written by the JBB Horns. Saying the JBB Horns are an influential bunch is no small talk, considering past alums have gone on to play for Slightly Stoopid as well as form the eclectically amazing band Rubblebucket.

The most obvious touch point for the band’s sound has always been classic UK reggae, especially the work of Aswad, Steel Pulse and Dennis Bovell, and that unmistakable influence permeates every track, most noticeably in the heavy drum and bass and complicated horn lines. As it was in that scene, JBB’s songs are more focused on sufferation, urban realities and overcoming, with songs like “Plantation,” “Empty Hands,” and “The Battle” sparking protest over haunting minor chords. This is not beach resort reggae. This is reality. However, the record is by no means all gloom and doom! Songs like “Shine Bright” and the love song “Fall On Deep” both add lightness, and even in his darkest metaphors, Martin can find hope and positivity (listen to the chorus of “Plantation” for evidence of that).

Kings And Queens is bookended by three songs (“Step Inside” and “Invitation” at the start and “Searchlight” at the end) that invite listeners into the live arena where this band has excelled from the beginning. Evoking sound systems from the music’s origins in 1960s Jamaica as well as JBB’s own powerful live show, these songs remind all listeners about the strength in numbers found in the reggae community, especially at live shows and festivals, and how John Brown’s Body has long been one of the greatest live acts in the genre.

This record shows that John Brown’s Body continues to lead from the front of the pack. They look forward by looking back and find a way to invite JBB fans from all eras into their packed and sweaty tent. As the opening song says, “So many people / Step inside, step inside / Come one and all / Got to make the dancehall tight.”


 
Live For Live Music Presents: Lettuce
Exmag | @9:30 club | view more info »
Oct
30

Live For Live Music Presents: Lettuce

Exmag


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


Live For Live Music Presents: Lettuce

official band site »

After celebrating their 20th anniversary as modern day rulers of old school funk, the Brooklyn-based juggernaut Lettuce Is not showing any signs of slowing. Having blown up stages from coast to coast last year, ranging from The Fillmore in San Francisco to Terminal 5 in NYC, Bonnaroo to Pemberton and all points in-between, Lettuce is poised to continue their rapid growth throughout 2014.

“We’re more together and set to crush than ever before,” says drummer and chief songwriter Adam Deitch of the all-star group that he and his accomplished band-mates cut their teeth with back in their Berklee School of Music days. That much history, along with the A-list crop of projects that each member has taken on away from Lettuce, gives the group a bottomless well of musical ideas and unrivaled chemistry—in fact, referring to themselves as a band of brothers. “I was in a practice room at 16 with these guys, and it all clicked,” says “lead” bassist Erick “Jesus” Coomes. “We all felt rhythms in similar ways. We were all about the pocket from day one.”

“People tend to look at funk as a one-trick pony, “ says Deitch, but we aim to smashes those limits by drawing on a range of styles that can be traced from the early ’60s through the early ’80s, incorporating plenty of modern hip-hop sensibilities—heavy bass, kick and snare—along the way. Having evolved and refocused, without ever dropping the beat, Lettuce is getting ready to take audiences to the cosmos with a high-octane Fall tour. “Lettuce is like a Learjet that wasn’t getting clearance from the tower,” says Jesus. “But we’re done just rolling around on the runway.” They’re not asking for permission, so put your tray tables in their full, upright and locked position. This plane’s itching for lift off.

Lettuce released a limited edition ‘45 featuring “Don’t Be Afraid To Try” with singer Alecia Chakour (who is also touring with the band) this March, and are recording a new full-length record this fall. So be on the lookout for new music and a guaranteed PARTY!


Exmag

official band site »

Word is born. With Planet Earth in a state of great chaos and turmoil, a force of extraordinary magnitude from across the multiverse has come to assist. As we approach the great inevitability, Exmag brings the soulful sounds of the future to aid in your journey. Peace to all worlds!

 
Lake Street Dive
@Rams Head Live | view more info »
Nov
10

Lake Street Dive



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


Lake Street Dive

official band site »

Lake Street Dive find themselves on the cusp of stardom, though they insist they will always be the same people whose stage outfits once consisted of matching sweater vests. “We realize this could all go away tomorrow,” says Rachael Price. “But that won’t change what we do. We want to continue to do this for a long, long time. This is what we love. We just want to make sure we keep enjoying ourselves.”

Lake Street Dive have been performing for nearly a decade after meeting as fellow students at the New England Conservatory in Boston. The band was hand picked by Minneapolis trumpet/guitar player Mike Olson and named after an actual neighborhood of seedy bars in his hometown. Vocalist Rachael Price came from outside Nashville, Tennessee, stand-up bassist Bridget Kearney was an Iowa native, while drummer Mike Calabrese called Philadelphia home. “I wasn’t only impressed with their musicianship,” says Olson, who acquired the nickname “McDuck” while at the conservatory for his reclusive ways. “They were also a lot of fun just to hang out with. The first four years of rehearsals were more like glorified dinner parties.”

Lake Street Dive has come a long way, but this just could be the start of something even bigger.

It took a casually made video featuring the band gathered around a single mic, performing a cover of Jackson 5’s “I Want You Back,” shot on a Brighton, Massachusetts, street corner to grab the public’s attention—its YouTube views now hurtling past a million views. What followed was nothing less than a modern-day music business success story—T Bone Burnett tapping them to perform on the Another Day, Another Time show at Town Hall featuring music from and inspired by the Coen brothers’ Inside Llewyn Davis, taped for an upcoming special on Showtime. The New Yorker raved of their Town Hall performance: “I can’t imagine then, that Lake Street Dive—a quartet led by an amazing young singer, Rachael Price—won’t be getting some air time soon.” Rolling Stone called the band “unexpected showstoppers,” while Hollywood Reporter noted the group “delivered one of the show’s best moments with the swinging ‘You Go Down Smooth,’ with stirring vocals by lead singer Rachael Price.” The New York Daily News was similarly enthused, saying Lake Street Dive “was the evening’s wild card,” and noting Price “has the soulful howl of a young Etta James.”

And just like that, Lake Street Dive went from playing for a small devoted following, to selling out venues and planning an initial European tour, with dates on several late-night TV shows in the offing.

While “I Want You Back,” a track from their six-song Fun Machine EP, which included five covers and an original track, was spreading like wildfire on the Internet, the band had little idea what was happening. They were ensconced at Great North Sound Society, a recording studio located on an 18th century farmhouse in Parsonsfield, Maine, two hours from Boston, with producer/engineer Sam Kassirer (Josh Ritter) a location so remote, cell phone reception was spotty and web access non-existent.

The new album, Bad Self Portraits, which is being released by the Northampton, Massachusetts indie label Signature Sounds Recording as the follow-up to a self-titled debut and subsequent EP, is a microcosm of Lake Street Dive’s evolution of the band from “a weird alt-country jazz group to a pop-soul juggernaut, that turns ‘60s influences like Brill Building girl groups (“Stop Your Crying”), British Invasion rock (“Bobby Tanqueray”), horn-driven Stax R&B (“You Go Down Smooth”), Motown soul (“Use Me Up”) and even The Band-like gospel blues (“What About Me”).

“Our musical development has been like Google Earth,” explains Olson, “going from the entire universe to a specific place. That’s how we’ve honed in on our sound. We had the whole world of music at our fingertips, and we were unsure of what direction to take, but now we’re zeroing in a little closer.”

All four members of the band take part in the writing. The Bridget-penned title track is a wry commentary on how those selfie iPhone photos are just a cover for loneliness, but it could also refer to the rest of the album, each song a polaroid glimpse of a band that is constantly evolving.

“Nothing we do is set in stone,” says Olson about the band’s recording process in the studio, and that they are, first and foremost, a live outfit. “Songs change when we start to play them for people. That determines the stylistic direction more than anything else. When we record a song, that’s just a snapshot of where it was at that moment. And it continues to grow as we perform it."

And as things are rapidly growing for Lake Street Dive, the nine years that they spent focusing on their musical development has left them with one constant to strive for. "We are named in homage to dive bar bands," says Calabrese, "we were, are and always will be a dive bar band. Whether we're playing for 10 people or 10,000 we want them to have that feeling."


 
Yonder Mountain String Band
with special guests Allie Kral (fiddle) & Jake Jolliff (Mandolin) | The Larry Keel Experience | @9:30 club | view more info »
Nov
11

Yonder Mountain String Band

with special guests Allie Kral (fiddle) & Jake Jolliff (Mandolin)
The Larry Keel Experience

Tuesday Nov 11|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


with special guests Allie Kral (fiddle) & Jake Jolliff (Mandolin)

official band site »

Yonder Mountain String Band has always played music by its own set of rules. Bending bluegrass, rock and countless other influences that the band cites, Yonder has pioneered a sound of their own. With their traditional lineup of instruments, the band may look like a traditional bluegrass band at first glance but they’ve created their own music that transcends any genre. Dave Johnston points out “What could be more pure than making your own music.” Yonder’s sound cannot be classified purely as “bluegrass” or “string music” but rather it’s an original sound created from “looking at music from [their] own experiences and doing the best job possible.” The band continues to play by their own rules on their latest record The Show.

The Colorado-based foursome has crisscrossed the country over the past eleven years playing such varied settings as festivals, rock clubs, Red Rocks Amphitheater in the band’s home state, and recently the Democratic National Convention in Denver at Mile High Stadium opening for Barack Obama. Their loyal fanbase has been built from this diverse setting of music venues as fans latched on to their genre-defying original sound.

The band has long cited such varied influences as the bluegrass of Del McCoury, Johnson Mountain Boys, Jimmy Martin, Bill Monroe, Osborne Brothers as well as the punk rock of Bad Religion, Black Flag and the Dead Kennedys. Somewhere in between these two tent poles are early 20th Century composers and alternative rock bands like Grandaddy and Postal Service. It’s all funneled through the band’s unique chemistry, honed since they first met at an informal club performance in 1998. With band members writing individually, in different pairings and as a collective, the album proves that this group is a collection of creative peers and you can hear it in the rich tapestry of music that makes up The Show.

The Larry Keel Experience

official band site »

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

 
Lake Street Dive
@9:30 club | view more info »
sold out
Nov
12

Lake Street Dive



Wednesday Nov 12|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930
Sold Out


Lake Street Dive

official band site »

Lake Street Dive find themselves on the cusp of stardom, though they insist they will always be the same people whose stage outfits once consisted of matching sweater vests. “We realize this could all go away tomorrow,” says Rachael Price. “But that won’t change what we do. We want to continue to do this for a long, long time. This is what we love. We just want to make sure we keep enjoying ourselves.”

Lake Street Dive have been performing for nearly a decade after meeting as fellow students at the New England Conservatory in Boston. The band was hand picked by Minneapolis trumpet/guitar player Mike Olson and named after an actual neighborhood of seedy bars in his hometown. Vocalist Rachael Price came from outside Nashville, Tennessee, stand-up bassist Bridget Kearney was an Iowa native, while drummer Mike Calabrese called Philadelphia home. “I wasn’t only impressed with their musicianship,” says Olson, who acquired the nickname “McDuck” while at the conservatory for his reclusive ways. “They were also a lot of fun just to hang out with. The first four years of rehearsals were more like glorified dinner parties.”

Lake Street Dive has come a long way, but this just could be the start of something even bigger.

It took a casually made video featuring the band gathered around a single mic, performing a cover of Jackson 5’s “I Want You Back,” shot on a Brighton, Massachusetts, street corner to grab the public’s attention—its YouTube views now hurtling past a million views. What followed was nothing less than a modern-day music business success story—T Bone Burnett tapping them to perform on the Another Day, Another Time show at Town Hall featuring music from and inspired by the Coen brothers’ Inside Llewyn Davis, taped for an upcoming special on Showtime. The New Yorker raved of their Town Hall performance: “I can’t imagine then, that Lake Street Dive—a quartet led by an amazing young singer, Rachael Price—won’t be getting some air time soon.” Rolling Stone called the band “unexpected showstoppers,” while Hollywood Reporter noted the group “delivered one of the show’s best moments with the swinging ‘You Go Down Smooth,’ with stirring vocals by lead singer Rachael Price.” The New York Daily News was similarly enthused, saying Lake Street Dive “was the evening’s wild card,” and noting Price “has the soulful howl of a young Etta James.”

And just like that, Lake Street Dive went from playing for a small devoted following, to selling out venues and planning an initial European tour, with dates on several late-night TV shows in the offing.

While “I Want You Back,” a track from their six-song Fun Machine EP, which included five covers and an original track, was spreading like wildfire on the Internet, the band had little idea what was happening. They were ensconced at Great North Sound Society, a recording studio located on an 18th century farmhouse in Parsonsfield, Maine, two hours from Boston, with producer/engineer Sam Kassirer (Josh Ritter) a location so remote, cell phone reception was spotty and web access non-existent.

The new album, Bad Self Portraits, which is being released by the Northampton, Massachusetts indie label Signature Sounds Recording as the follow-up to a self-titled debut and subsequent EP, is a microcosm of Lake Street Dive’s evolution of the band from “a weird alt-country jazz group to a pop-soul juggernaut, that turns ‘60s influences like Brill Building girl groups (“Stop Your Crying”), British Invasion rock (“Bobby Tanqueray”), horn-driven Stax R&B (“You Go Down Smooth”), Motown soul (“Use Me Up”) and even The Band-like gospel blues (“What About Me”).

“Our musical development has been like Google Earth,” explains Olson, “going from the entire universe to a specific place. That’s how we’ve honed in on our sound. We had the whole world of music at our fingertips, and we were unsure of what direction to take, but now we’re zeroing in a little closer.”

All four members of the band take part in the writing. The Bridget-penned title track is a wry commentary on how those selfie iPhone photos are just a cover for loneliness, but it could also refer to the rest of the album, each song a polaroid glimpse of a band that is constantly evolving.

“Nothing we do is set in stone,” says Olson about the band’s recording process in the studio, and that they are, first and foremost, a live outfit. “Songs change when we start to play them for people. That determines the stylistic direction more than anything else. When we record a song, that’s just a snapshot of where it was at that moment. And it continues to grow as we perform it."

And as things are rapidly growing for Lake Street Dive, the nine years that they spent focusing on their musical development has left them with one constant to strive for. "We are named in homage to dive bar bands," says Calabrese, "we were, are and always will be a dive bar band. Whether we're playing for 10 people or 10,000 we want them to have that feeling."


 
The Werks & Zoogma
Soohan | @Baltimore Soundstage | view more info »
Nov
15

The Werks & Zoogma

Soohan


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


The Werks

official band site »

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


Zoogma

official band site »

Evolving in the dirty south, ZOOGMA's sound combines the sonic diversity and precision of a DJ with the excitement and immediacy of a four-piece rock group. ZOOGMA is able to blend genres in a musical experience that is refreshingly original yet steeped in dance music tradition, appealing to a range of audiences. Known for their energetic performances and retina pleasing light shows, the band consistently dishes out heavyweight beat-driven dance parties across the nation. With the most recent release of “Anthems 4 Androids” and a relentless touring schedule, the four members have already added their unique voice to the live electronic-rock scene.


Soohan

official band site »

 
John Butler Trio
Monica Heldal | @Rams Head Live | view more info »
Nov
18

John Butler Trio

Monica Heldal


Tuesday Nov 18|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


John Butler Trio

official band site »

The contradictions in John Butler are evident, and, despite his magnificently successful career (with number one albums in Australia and sell-out tours) his is a troubled soul. One of the most successful recording artists Australia has ever produced and a musician whose reputation has begun to rock the waters of both Europe and America, Butler is nevertheless a man on the edge, poised like a beautiful suicide. Where will he go next? Up or down? Despite the tensions within the man and his music the new album makes his future trajectory abundantly clear.

An independent role model, founder of Australia’s Jarrah Records, family man and proud skateboard aficionado, JB, in spite of his matey public persona, remains an enigma. He is from everywhere and nowhere, an Australian/American, Everyman/Nowhere Man, and his music mixes rootedness and rootlessness, pain and celebration in a way that is utterly beguiling. He is the consummate rebel-refugee whose songs chart disenchantment with the corporate world and show a yearning for truth along with an ongoing struggle for a sense of locus. The songs’ off-centre grooves have always been their charm, and yet now there is a sense, in the new album at least, of resolution and peace after years of being against the world and what it offered. Maybe the man on the brink will not jump after all?

Born in California and of mixed Australian, Greek and Bulgarian ancestry, Butler began his musical career in classic if tentative style. The narrative arc is well-known Down Under. An art-school dropout, he was ‘discovered’ busking in 1996, bystanders marvelling at ‘the sweat flying off his brow’ and ‘the holy madness in his eyes’. The tape of these early compositional soundscapes Searching for Heritage gave an inkling of where Butler was going, reaching as it did both forwards and backwards in time, conversant with all genres and yet somehow defining its own. The sound had, and still has, elements of folk, funk, reggae and rock all drizzled through the 90s Seattle sensibility. Behind all that there was a wistful Celtic ambience surreally counterpointed by a Jamaican roots/rudeboy vibe. What could have been a mess somehow made perfect sense, with the bluegrass fingerpicking, hip hop beats and psychedelic wig-outs proving not uneasy bedfellows but perfect complements.

On Flesh & Blood it goes even further, yet with a restraint that bespeaks a deepening maturity. There are dirty Stevie Wonder-style boogies, ghostly refrains that could come from Simon and Garfunkel, sonic poltergeists which seem, at times, to resemble lost rock classics. In the hands of a lesser man this would be mere thievery dressed up as ‘eclecticism’. But Butler is a maestro - he takes his influences and transcends them. He creates a sound that is as ancient as aboriginal bone-art and yet as modern as your Twitter feed. He has been hailed as one of the world’s greatest guitarists, a musician’s musician, one whose sound offers not three chords and the truth but a thousand. His prestidigitation is astounding. An old song like “Ocean,” for example, has chalked up 30 million Youtube hits, and not just with guitar freaks studying his technique. The new album has songs that are less expansive and more ‘reined in’, but the playing is all the more impressive for being more tightly corralled. Less sometimes really is more.

Flesh & Blood may be his best yet. In parts it is simply overwhelming. The album has captured that elusive thing: soul. Butler has spoken in interviews of his songs being like ‘wild horses, wild beasts’ and you can see what he means. Songs, he says, come from the ‘ether’, from a savage hinterland: they must be caught without breaking their spirit. A ‘song-capturer’, Butler’s job has been not to tame those horses but to present their wildness. His myth of composition evokes the timeless expanse of both the Aussie Outback and the American West, and he and his fellow band members have been at pains to honour the songs as independent things that belong to no one, least of all themselves.

Arising from a series of agenda-free jams in Butler’s studio ‘The Compound’ in Fremantle, (Australia) the album took a mere 20 days to record and, though beautifully structured in sonic terms, there is a rawness and honesty to the album that reflects the brevity of its laying down. The songs have a wide-open, semi-improvised feel. The crisp and beautifully spare production of Jan Skubiszewski accentuates the sense of limitless space: the drums (courtesy of the aptly named Nicky Bomba) kick with dub explosions, while the bass (‘Lord’ Byron Luiters) goes on inspired transient walkabouts. Butler’s voice, free of the ‘anger’ that has dogged him for so long, now soars with both melancholy and plangent purity. “Wings are Wide” evokes rainforests: it is drenched in dizzying guitar loops in which the listener is enmeshed and lifted timelessly elsewhere. “Spring to Come” could be a classic, Butler’s acrylic fingernails plucking more of their extraordinary patterns. “Blame it on Me” is a cocky peacock-strut juxtaposed with dark references to apocalyptic ‘heavy times’. “Young and Wild” has the simple beauty of a song - a down home-country feel offset by the gorgeous shadowing of female vocalist Ainslie Wills. “How You Sleep at Night” is a hypnotically anthemic piece featuring the ferocious drumming of new man Grant Gerathy; Bomba having jumped ship (albeit amicably) to front his own Melbourne Ska Orchestra. The synth-anchored “You’re Free” sounds like its title: it is as if the composer, haunted by righteous ire, has taken flight, escaping earthly confines but not flying too close to the sun. New single “Only One” shows a new maturity in pop craftsmanship. The quiet/loud dynamic is beautifully exploited yet again. A simple three note refrain and rolling storm-cloud drums establishes a minor key mood: a place of ‘castles built out of sand’ and ‘something haunting’ the protagonist. But then the chorus erupts with steel drum euphoria transporting the listener to what sounds like Africa — a third world of ecstatic being. That is the JB trick par excellence: the shift from fireside ballad to communal dance, from private to public, from doubt to assertion.

With Flesh & Blood, Butler has come full circle. Searching for Heritage led ultimately to April Uprising, an album that delved into Butler’s family history, one in which ethnic Bulgarians (Butler’s kin) rose up in 1876 against the tyrannical Ottoman Empire that had suppressed them. John’s own name derives from his paternal grandfather, a forestry worker who died fighting a bushfire in Nannup, Oz. From these historical titbits we glean some inkling of the artist. He is a man fighting for justice, a man fighting fires — those of love gone bad, of corporate greed, or simply of his own angry soul. As Butler has confessed in a recent interview, “I thought my anger was my strongest asset and that’s what made me powerful, but it was actually my weakest link. My vulnerability, my honesty and patience and trust are my strongest attributes.” The album bears this out. As Butler has matured the anger has been sublimated in poetry, and his voice, on the tender love songs especially, has become his outstanding instrument.

Flesh & Blood is a testament to his talent, and to a man who has finally found himself. On some songs he sounds simply reborn. “I wanted the songs to be a lot more guttural and fleshier,” says a newly humble JB. “I wanted to smell it and feel it a bit more. And I wanted my voice, now and always, to be more convincing.” If it’s authenticity he was seeking he has surely found it.

If he has been a ‘man on the edge’ he is certainly not going to jump and end it all. He now has the wisdom and the courage to take a step back - and enjoy the view.

John Butler is no pie-in-the-sky hippy. He has dirt beneath his feet: red dirt. He is well-known Down Under for his environmental and political commitment. His white Rasta look once suggested a teleported Bob Marley - but that has gone. The more recent barbered image makes him look like a handsome American from the Civil War era. His stare is hypnotic. Who will draw first, you or him? He is not, however, all gun and no trousers. He has put his money where his mouth is, fronting a campaign that helped stop a vast gas plant from despoiling the natural beauty of the Kimberley area in NW Australia. He has also set up a charitable trust that has enabled many aspiring artists to find an outlet. He is a man who cares about the world he is in and one who has tried, in his own way, to set in right.


Monica Heldal

official band site »

It’s not always easy, even with the gift of hindsight, to say exactly when something started. When the artist side of a person is awakened, making it impossible to continue on the journey that is life without making it an odyssey in music. Perhaps it was as early as when she, aged nine, heard Neil Young for the first time. Or Christmas the year she turned twelve, when her parents gift to her was a guitar. Yes, that may have been when it started, when she started playing the guitar.

Musically, artists she has no demographic connections with, had a major influence on her. Nick Drake, Emmylou Harris, the Irish blues artist Rory Gallagher, and acoustic segments from Led Zeppelin’s portfolio. There is also a strong, almost urgent, craving for something else, something of her own, that she isn’t yet able to express.

At least not until she, at 16, takes part in a singer/songwriter session in her hometown of Bergen, Norway. Just prior to this she sat herself down and wrote “Silly Willy”, a song which is still a part of her live set, and included on her debut album; Boy From The North.

The album contains ten such songs, such stories, ten segments that, despite variations in origin, create a perfect whole. Much has happened in Heldal’s life since the first song was written. She lived in Ireland for a year, where music studies soon were eclipsed by living, breathing and performing music. She gained experience, and fans, performing the music of the aforementioned Rory Gallagher, one of her earliest sources of inspiration.

Though blues may be the foundation of many of her songs, her music encompasses equal measures rock and folk. And her satin-smooth vocals have a Nordic coolness that is reminiscent of Ane Brun. Her guitar playing is eminent, and she press have already described her as a guitar virtuoso.

While still based in the small village of Dundalk in Ireland, Monica first applied to perform at Norwegian music festival by:Larm. She was admitted, and since then has performed at numerous festivals, in Norway and abroad, opening for Tom Petty and Ben Howard in Oslo. The latter so taken with what he heard, that he invited her to join him for the full European tour, and on the title track of the Burgh Island EP, which topped the UK iTunes charts.

Before even having a single out Monica has performed live on Norwegian national TV twice, been nominated for, and received, coveted awards, and played on the main stages of some of the greatest cities and festivals in Europe. The album is finally due, and she is most emphatically on her way.

For the eagerly awaited debut album, Boy From The North, Monica was thrilled to work with her bandmates Øyvind Blomstrøm (guitar), Cato “Salsa” Thomassen (gitar) and Børge Fjordheim (drums). In addition Ben Howard drummer Chris Bond is on board, both as an instrumentalist and as producer. Most of the album tracks were recorded at the Deep Litter Studio in England, the southern-most point in the County of Devon. At a venue called Start Point…

 
Twiddle
Threesound | @Gypsy Sally's | view more info »
Nov
21

Twiddle

Threesound


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


Twiddle

official band site »

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


Threesound

official band site »

Threesound seamlessly merges various genres of music to create something Fresh. Catchy songs that encompass rock, jazz, funk, jam, dance and beyond.

 
The Revivalists
@Baltimore Soundstage | view more info »
Nov
21

The Revivalists



Friday Nov 21|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


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.


 
Atlas Road Crew
@Gypsy Sally's | view more info »
Nov
22

Atlas Road Crew



Saturday Nov 22|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Atlas Road Crew

official band site »

It seems as if Atlas Road Crew has arrived from another decade as their old-school sound oozes vintage 70s rock dripping with influences ranging from the Rolling Stones to The Band to the Allmans but with modern influences like The Black Keys and Kings of Leon. Their time on the South East / Mid-Atlantic circuit over the past 2 years has brought their name to thousands of new faces, earning them a legion of new fans.

In 2014 alone the band has been featured at the AAA Sunset Sessions convention in Carlsbad, CA, was direct support for Hootie & The Blowfish and The Hard Working Americans in the spring, and played the Wakarusa Music Festival in June.

Practicing in a storage unit on Atlas Road in Columbia, SC (hence the name), the band quickly begun molding, tweaking and perfecting its old-school rock 'n' roll sound. Despite the sweltering heat that often stifled the small unit during marathon practice sessions, the band stripped down heavy technology in favor of the more guitar-driven, easy riding sound that seemed to come naturally.

Atlas Road Crew is: Taylor Nicholson (vocals, guitar) from Pawley's Island, SC; Max Becker (bass) from Charleston, SC; Dave Beddingfield (guitar) from Charlotte, NC; Bryce James (piano) from Columbia, SC and Patrick Drohan (drums) from Great Falls, VA.

The guys are young, but damn do they have soul.


 
Twiddle
Threesound | @The 8x10 | view more info »
Nov
22

Twiddle

Threesound


Saturday Nov 22|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Twiddle

official band site »

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


Threesound

official band site »

Threesound seamlessly merges various genres of music to create something Fresh. Catchy songs that encompass rock, jazz, funk, jam, dance and beyond.

 
Pigeons Playing Ping Pong
@Howard Theatre | view more info »
Nov
28

Pigeons Playing Ping Pong



Friday Nov 28|doors 11:00 pm|all ages
Howard Theatre|get directions »
620 T Street NW
Washington DC|p: (202) 803-2899


Pigeons Playing Ping Pong

official band site »

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

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

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


 
Medeski Scofield Martin & Wood
@9:30 club | view more info »
Dec
4

Medeski Scofield Martin & Wood



Thursday Dec 4|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Medeski Scofield Martin & Wood

official band site »

The ever-­evolving, genre-­defying collaboration between influential trio Medeski Martin & Wood and maverick guitarist John Scofield continues to flourish. Since first convening nearly 17 years ago, Medeski Scofield Martin & Wood's kinship both onstage and off has fostered an escalating degree of musical interplay, exquisitely captured on Juice – their third studio effort and fourth album overall, available September 16, 2014, via MMW's Indirecto Records imprint.

With four multi-­faceted musicians participating as equals, anything and everything is possible. The band’s first collaboration together, the now classic 1997 release, A Go Go, featured Scofield compositions exclusively, while 2006's Out Louder was an experiment in spontaneous, collective co-­composition. To give shape to what eventually became Juice, Medeski Scofield Martin & Wood sought common ground and inspiration in the intersection of improvisation and rhythms from the Afro-­Latin diaspora. More specifically, the blueprint was found in a compilation of these sounds put together by drummer Billy Martin and shared among the ensemble.


 
Dark Star Orchestra
@9:30 club | view more info »
Jan
2

Dark Star Orchestra



Friday Jan 2|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


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.


 
Dark Star Orchestra
@9:30 club | view more info »
Jan
3

Dark Star Orchestra



Saturday Jan 3|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


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.