8.17 Subhi at 7p ET
Aug
17
7:00 PM19:00

8.17 Subhi at 7p ET

Subhi's music promotes cross-cultural exchange of creative dialogues. 'Shaitaan Dil', the name of her debut album, showcases a blend of her Indian roots and the prominent Jazz culture of Chicago. It was during her travels back and forth between Mumbai & Chicago that the songs were written and highlight Subhi's journey as an artist.

 Her album release show was hosted by Old Town School of Folk Music and The Jazz Institute of Chicago. The show was part of the Official Jazz Club Tour 2017 and World Music Wednesdays series. 

Subhi will be performing at the Kennedy Center: Millennium Stage (D.C.) this August. Earlier this year, she performed at SXSW music festival 2018 (Austin). In May 2018, Subhi was selected as one of the five artists to be featured on the Emmy Award winning annual show 'Asian Influences' on ABC7 Chicago. She was the only artist invited to perform at ABC7 studio in Chicago.

Subhi recently toured with Red Baraat as part of their Festival of Colors Mid-West tour and opened for the band at Dakota Jazz Club (Minneapolis), CSPS Hall (Cedar Rapids) & Martyrs (Chicago). 

In 2017, Subhi was a speaker & performer at TEDx conference in Chicago and has performed at several venues including Navy Pier (Chicago), Lotus World Music & Arts Festival (Indiana), Red Poppy Art House (San Francisco), Hotel Utah (San Francisco), Brooklyn Raga Massive (New York City) & Eye On India Festival (Chicago).

While in India, she has worked with leading Indian Digital platforms: Y-Films (YRF) & The Viral Fever (TVF) and has composed for National Award winning film director Nila Madhab Panda. Subhi's songs have appeared on many stations including NPR (WBEZ) & WGN TV.

Social Media Links:

 

Website: www.subhimusic.com 

Youtube: YouTube.com/SubhiMusic

Facebook: Facebook.com/SubhiMusic

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8.10 Reina del Cid & Josh Turner at 7p ET
Aug
10
7:00 PM19:00

8.10 Reina del Cid & Josh Turner at 7p ET

Part singer-songwriter, part rock band, you can find Reina del Cid at the intersection of lyrical storytelling and scorching solos. In January of last year, Del Cid released a music video for the song "Death Cap," filmed in Iceland and directed by the band's longtime creative collaborator, Jason Ho. Their music has been featured by Paste Magazine, NPR, and Baeble Music. Their new release, Rerun City is out now!

reinadelcid.com

facebook.com/reinadelcid

The Other Favorites is the long time duo project of Carson McKee and Josh Turner. Perhaps best known for their performances on YouTube, which have garnered millions of views, The Other Favorites are now based out of Brooklyn, NY, and perform all around the east coast. Together, Turner and McKee bring their shared influences of folk, bluegrass and classic rock into a modern framework; one distinguished by incisive songwriting, virtuosic guitar work and tight two-part harmony. They just released their second full-length album, "Naysayer."

theotherfavorites.com

facebook.com/theotherfavoritesFB

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8.8 Asha at 7p ET
Aug
8
7:00 PM19:00

8.8 Asha at 7p ET

Asha is an artist, songwriter and producer that describes herself as the Brooklyn Vampire. Her music is a blend of dark indie pop and rock, gathering inspiration from artists like Fiona Apple and Nine Inch Nails, with a little bit of Lorde mixed in. Her new single "A Fever of Dreams" drops August 17th, and her EP Mercy will be released later this year. 

 

ashamakesmusic.com

www.instagram.com/ashamakesmusic/

twitter.com/ashamakesmusic

www.facebook.com/AshaMakesMusic/

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8.4 Megan Jean & The KFB at 7p ET
Aug
4
7:00 PM19:00

8.4 Megan Jean & The KFB at 7p ET

In the four years since their last album, Megan Jean and the Klay Family Band have undergone something of an identity crisis. Sure, there are elements that have remained the same: Megan Jean’s hurricane of a voice that can glide from baritone to mezzo soprano without breaking a sweat; the engine-room thrum-and-stomp of her husband Byrne Klay on banjo and bass drum — that’s all intact.

But depending on when you might have seen them on their endless tour around the country, Megan Jean and Byrne Klay might have been a folk-tinged duo with Jean on acoustic guitar, or a washboard-strumming revue heavy on campy 1950s horror movie references and 1920s flapper-jazz style vocals. In their most recent incarnation, they’re a mesh of fiercely rhythmic, percussion-heavy propulsion, with the banjo and Jean’s roof-shaking voice the only melodic elements.

It might seem that there’s some grand evolutionary design in place, but Jean says that necessity, and injury, have been the mothers of their invention.

“I started on guitar, and then realized I needed to have drums to get folks dancing,” she says. “And I needed to get ’em dancing if I wanted to play where the people were on Saturday night. I switched to washboard, which hurt my hands and shoulders terribly after a few hundred shows over several years.”

She adds, “These days I’m playing a full kit and singing, and it’s the most fun I’ve ever had onstage.”

Byrne Klay is one of those musical wizards who can essentially play any instrument he picks up, but even so, his style has changed as well. “Last year I started playing an electric banjo,” he says. “It’s a whole new thing for me. It plays and resonates like a banjo but sustains like a guitar. I’ve learned a lot making that thing work beneath Megan’s voice. And Megan’s drumming has really developed; her feel for rhythm is pure heartbeat.”

Klay adds, “A good musician knows that the secret is to tune your instrument to the strongest heartbeat. The rest is just a body in motion.”

The result is that Jean has more space than ever to flex her vocal muscle, which she does with even more skill on the KFB’s new album, “Tarantistas.” The duo recorded the album at The Jam Room in Columbia with engineer Zac Thomas. “We have special chemistry with Zac,” Klay says. “As an engineer, he’s the perfect partner for us. His ears are as good as Megan’s and his skill set covers everything we can’t. He has great taste and really listens to how we play.”

Jean estimates that the band has played 600 shows since their last album, and despite the hardships of being an independent band that literally lives on the road (their home is their touring van much of the time), the experience they’ve accumulated has been invaluable.

“I think it’s been a blessing of sorts for us, to exist like we have in a vacuum, devoid of industry interest,” she says. “We’ve been able to develop our own sound organically, just playing enough to keep gas in our tank and food in our bellies. We run our band like an old-school jazz act: If you ain’t playing, you paying. Time was, you played seven days a week and hit the studio during the day, so you sounded as tight as you could be. And all that playing develops your craft and your sound. Your songs get better, your playing gets better, you appreciate the gigs more, and you learn what it takes to be a real artist.”

-Vincent Harris, Greenville Journal

In the four years since their last album, Megan Jean and the Klay Family Band have undergone something of an identity crisis. Sure, there are elements that have remained the same: Megan Jean’s hurricane of a voice that can glide from baritone to mezzo soprano without breaking a sweat; the engine-room thrum-and-stomp of her husband Byrne Klay on banjo and bass drum — that’s all intact.

But depending on when you might have seen them on their endless tour around the country, Megan Jean and Byrne Klay might have been a folk-tinged duo with Jean on acoustic guitar, or a washboard-strumming revue heavy on campy 1950s horror movie references and 1920s flapper-jazz style vocals. In their most recent incarnation, they’re a mesh of fiercely rhythmic, percussion-heavy propulsion, with the banjo and Jean’s roof-shaking voice the only melodic elements.

It might seem that there’s some grand evolutionary design in place, but Jean says that necessity, and injury, have been the mothers of their invention.

“I started on guitar, and then realized I needed to have drums to get folks dancing,” she says. “And I needed to get ’em dancing if I wanted to play where the people were on Saturday night. I switched to washboard, which hurt my hands and shoulders terribly after a few hundred shows over several years.”

She adds, “These days I’m playing a full kit and singing, and it’s the most fun I’ve ever had onstage.”

Byrne Klay is one of those musical wizards who can essentially play any instrument he picks up, but even so, his style has changed as well. “Last year I started playing an electric banjo,” he says. “It’s a whole new thing for me. It plays and resonates like a banjo but sustains like a guitar. I’ve learned a lot making that thing work beneath Megan’s voice. And Megan’s drumming has really developed; her feel for rhythm is pure heartbeat.”

Klay adds, “A good musician knows that the secret is to tune your instrument to the strongest heartbeat. The rest is just a body in motion.”

The result is that Jean has more space than ever to flex her vocal muscle, which she does with even more skill on the KFB’s new album, “Tarantistas.” The duo recorded the album at The Jam Room in Columbia with engineer Zac Thomas. “We have special chemistry with Zac,” Klay says. “As an engineer, he’s the perfect partner for us. His ears are as good as Megan’s and his skill set covers everything we can’t. He has great taste and really listens to how we play.”

Jean estimates that the band has played 600 shows since their last album, and despite the hardships of being an independent band that literally lives on the road (their home is their touring van much of the time), the experience they’ve accumulated has been invaluable.

“I think it’s been a blessing of sorts for us, to exist like we have in a vacuum, devoid of industry interest,” she says. “We’ve been able to develop our own sound organically, just playing enough to keep gas in our tank and food in our bellies. We run our band like an old-school jazz act: If you ain’t playing, you paying. Time was, you played seven days a week and hit the studio during the day, so you sounded as tight as you could be. And all that playing develops your craft and your sound. Your songs get better, your playing gets better, you appreciate the gigs more, and you learn what it takes to be a real artist.”

-Vincent Harris, Greenville Journal

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8.2 Takenobu at 9p ET
Aug
2
9:00 PM21:00

8.2 Takenobu at 9p ET

Takénobu is a live-looping cinematic folk string duo performing original songs with vocal
harmonies and ethereal instrumentals.

Cellist Nick Ogawa has been a touring member of Kishi Bashi and is a composer for
NPR's Invisibilia, Netflix's Last Chance U, and the Netflix documentary 42 Grams by
Jack Newell about michelin star chef Jake Bickelhaupt.


Kathryn Koch holds a Masters degree in Violin Performance and plays regularly with the
Atlanta Symphony Orchestra, the Atlanta Opera, and Chattanooga Symphony and
Opera. She has toured with the Trans Siberian Orchestra and Tiny Rhymes, and
appears on many film and video game soundtracks.

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7.28 Irv Irving at 8p ET
Jul
28
8:00 PM20:00

7.28 Irv Irving at 8p ET

Irv Irving's sound is at once accessible to all and entirely his own. It spans a range of 20th Century American music including rock and roll, blues, folk, country, and more, yet it is greater than the sum of those parts. His lyrics, while seemingly familiar in form and topic, interweave a multitude of references to literature and history, at the same time remaining intensely personal. From jamming and hanging out with folk legends Pete Seeger and Ramblin' Jack Elliott while just a teenager to logging hours on the New York City scene, headlining shows with his band and opening for acts ranging from bluegrassers King Wilkie to indie rockers Stellastarr, Irving has seen a lot and is keeping his eyes wide open. 

Irving went into the studio in 2017 to cut some songs with his friend Tim Hatfield, who has engineered recordings for artists such as Keith Richards and Steve Earle. To accompany Irving, Hatfield recruited a band of top musicians, including drummer Charley Drayton (Keith Richards, Johnny Cash), bassist Tony Garnier (Bob Dylan, Tom Waits), keyboardists Glenn Patscha (Willie Nelson, Levon Helm) and Joe McGinty (Devenda Banhart, Ryan Adams), multi-instrumentalist David Mansfield (T-Bone Burnett, Johnny Cash). Irving personally invited in guitar hero Jim Campilongo, whom he met on the New York City live music scene. We think you'll enjoy the results.

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7.24 Town Mountain at 9:15p ET
Jul
24
9:15 PM21:15

7.24 Town Mountain at 9:15p ET

ASHEVILLE,  NC  --Raw,  soulful,  and  with  plenty  of  swagger,  Town  Mountain  has  earned  raves  for  their  hard-driving  sound,  their  in-house  songwriting  and  the  honky-tonk  edge  that  permeates  their  exhilarating  live  performances,  whether  in  a  packed  club  or  at  a  sold-out  festival.  The  hearty  base  of  Town  Mountain's  music  is  the  first  and  second  generation  of  bluegrass  spiced  with  country,  old  school  rock  ‘n’  roll,  and  boogie-woogie.  It's  what  else  goes  into  the  mix  that  brings  it  all  to  life  both  on  stage  and  on  record  and  reflects  the  group's  wide-ranging  influences  –  from  the  Grateful  Dead's  Jerry  Garcia  and  the  ethereal  lyrics  of  Robert  Hunter,  to  the  honest,  vintage  country  of  Willie,  Waylon,  and  Merle.  The  Bend  Bulletin’s  Brian  McElhiney  says  Town  Mountain,  “has  serious  country  and  rock  ’n’  roll  DNA.”Town  Mountain  features  guitarist  and  vocalist  Robert  Greer,  banjoist  Jesse  Langlais,  mandolinist  Phil  Barker,  fiddler  Bobby  Britt,  and  Zach  Smith  on  bass.  Town  Mountain  just  finished  recording  their  6th  studio  album  at  Echo  Mountain  Studios  with  roots  music  hero  Caleb  Klauder  producing.    Slated  to  release  this  Fall,  the  album  is  full  of  new  material  and  features  several  guest  artists  including  Tyler  Childers  who  co-wrote  one  of  the  songs,  Miles  Miller  (Sturgill  Simpson,  drummer),  and  other  friends.  They  are  also  excited  to  be  the  host  of  the  2018  MerleFest  Midnight  Jam  and  will  be  performing  at  Joe  Val  Bluegrass  Festival  and  John  Hartford  Memorial  Festival  among  others  in  2018.Their  5th  studio  album,Southern  Crescent,  came  out  April  1,  2016  on  LoHi  Records.  Produced  and  engineered  by  GRAMMY  winner  Dirk  Powell,  Southern  Crescent  was  recorded  in  Powell’s  studio  The  Cypress  House  in  south-central  Louisiana  town  of  Breaux  Bridge.  Since  it’s  release  the  band  debuted  on  the  Grand  Ole  Opry  and  the  Ryman  Auditorium  stages  in  2016  bringing  their  sound  to  new  audiences.  The  critically  acclaimed  album  debuted  at  #4  on  the  Billboard  Bluegrass  Chart  while  staying  for  ten  weeks  on  the  Americana  Music  Association's  radio  chart  Top  40.  “This  Asheville  band  killed  it  at  the  Ryman  this  summer  [2016]  opening  up  the  bluegrass  series  and  they  put  out  this  stellar  collection  of  original  songs  that  asserts  them  as  the  hippest,  bluest  traditional  bluegrass  band  of  their  generation.  In  an  era  of  bluegrass  with  manners,  they  cut  with  a  serrated  edge,”exclaims  Nashville’s  Roots  Radio’s  Craig  Havighurst  in  his  list  of  “Essential  Americana  Albums  We  Loved  in  2016.”Town  Mountain  returned  to  the  Grand  Ole  Opry  in  July  2017!  Other  albums  include  Leave  The  Bottle(Pinecastle  Records  2012),  Steady  Operator  (Pinecastle  Records  2011),  and  Heroes  &  Heretics  (October  2008).  They  also  independently  released  a  LIVE  album(2014  from  a  show  at  Isis  Music  Hall  in  Asheville)  as  well  as  a  two-song  EP  (2015)  of  Grateful  Dead  tunes  called  The  Dead  Sessions.  Their  debut  album  (June  2008)  is  entitled  Original  Bluegrass  and  Roots  Countryand  KSUT/Durango  Telegraph’s  Chris  Aaland  writes,  “No  critic  has  coined  a  better  phrase  to  describe  their  sound.”While  the  members  have  taken  the  road  less  traveled  when  it  comes  to  the  mainstream  or  traditional  purists,  they’ve  been  dubbed  as  "The  Taco  Stand  Troubadours”  by  Aaland  (due  to  their  frequent  stops  at  such  establishments)  and  he  calls  them  “one  of  those  bands  that  has  paid  its  dues  and  won  over  the  Durango  audience  through  the  years,  much  like  the  Gourds  and  Leftover  Salmon.  They  have  performed  opening  shows  with  Railroad  Earth,  Peter  Rowan,  Hard  Working  Americans,  Greensky  Bluegrass,  Yonder  Mountain  String  Band,  Hackensaw  Boys,  Ralph  Stanley  and  his  Clinch  Mountain  Boys,  The  Del  McCoury  Band,  The  Seldom  Scene,  The  Infamous  Stringdusters,  Bobby  Hicks,  The  Steep  Canyon  Rangers,  and  Jim  Lauderdale  among  others.What  has  become  one  of  the  group’s  more  memorable  live  performance  songs  is  their  cover  ofBruce  
Springsteen’s  “I’m  On  Fire,”which  they  first  recorded  in  2008’s  Heroes  &  Heretics,  with  Greer’s  distinctive  Southern  drawl  at  the  forefront.  The  track  has  reached  over  3.3  million  listens  on  Spotify.  The  Atlantic’s  Matt  Vasilogambros  writes,  “Bruce  Springsteen  is  a  natural  fit  for  bluegrass...  Even  the  Boss’s  earlier  music  had  hints  of  folk  influences.  Just  listen  to  “I’m  On  Fire”...  I  keep  turning  to  one  cover,  whichI  admittedly  listen  to  more  often  than  the  original.It’s  from  Town  Mountain...  They  dropped  the  synthesizer,  added  a  banjo,  a  fiddle,  and  another  singer  for  harmony,  and  made  a  gem.”Another  fan  favorite  is  their  Jimmy  Martin-esque  original  “Lawdog,”  penned  by  Barker  in  2012,  which  music    journalist  Juli  Thanki  instantly  called  an  “unearthed  classic”  when  the  album  was  released.  They  recorded  a  live  version  of  the  song  at  WAMU’s  Bluegrass  Country  Radio  in  2013  which  has  over  125,000  views  and  continues  to  be  a  barn  burner  to  this  day  with  the  entire  crowd  singing  along  as  barker  sings,  “I  make  my  livin  driving,  I’m  a  bluegrass  music  man...  Chasin  the  horizon,  for  another  one  night  stand...  I  got  a  lot  of  miles  to  travel,  and  I’m  runnin’  a  little  late...    And  a  no  show  gets  me  nothin,  so  don’t  you  get  in  my  way.  I  got  no  time  for  ya  lawdog...”“While  it  remains  a  bluegrass  band  in  all  things  instrumentation  and  touring  the  bluegrass  and  festival  circuit,  it's’  sound  crosses  into  American  roots  and  even  outlaw  country,  perhaps  as  a  result  of  the  gritty,  mournful  tone  of  Greer’s  vocals.”  Durango’s  KDUR  radio’s  DJ,  Bryant  Liggett  says,  “It  is  reminiscent  of  the  1970s  truck-driving  film  sound,  the  perfect  accompaniment  to  a  car  chase  through  the  south  á  la  ‘Smokey  and  the  Bandit.’”

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7.24 Kate Vargas at 7p ET
Jul
24
7:00 PM19:00

7.24 Kate Vargas at 7p ET

A reformed wild child, in recent years Kate Vargas has traded the party for meditation,
yoga, clean eating and a renewed focus on what she values most—her music. The
New Mexico-raised, NYC-based artist is building ever more mindfully on her sound,
and the music press is taking notice, Vargas receiving praise from a variety of
respected outlets including Impose, The Boot and the Huffington Post, the latter
assessing, “There is an unlimited amount of potential in this superstar on the rise.”
Vargas has packed houses from Ireland’s Westport Folk and Bluegrass Festival to The
Troubadour in London, The Mansion on O Street in Washington D.C. to New York’s
Bowery Electric. Her upcoming album, For The Wolfish & Wandering (out July 27),
features her singular folk-style storytelling. The songs are grounded in a darkly melodic,
reverb-washed sonic palette of dreampop, dusty folk and junkyard blues, all carried by
Vargas’ rough-hewn vocals and guitar playing. In equal measure, she channels a
surprising array of artists, from Tom Waits and 16 Horsepower to Lana Del Rey and K.
Flay.

On the new record, Vargas’ moody and deeply personal songs weave stories from her
life with tales she soaked up from literature and also the rich oral folklore tradition with
which she grew up. “You can’t get lower than the ground, but you can roll around for a
long time,” Vargas sings on the album’s lead track “Roll Around,” a smoky, desolate
number that hits hard, priming listeners for a wild jaunt into the emotional depths. The
song, Vargas says, is about “being comfortable with discomfort.” While an air of
unease permeates the new record’s narratives, Vargas explains, “Even though I get
pretty dark, I always intend it with a smirk. I like being able to step back, detach and
look at things as a fly on the wall.”
Always challenging, For The Wolfish & Wandering is peppered with restless moments,
from the aforementioned “Roll Around” to “Mountain Song” (which pulls from the New
Mexican story of the “Taos Hum,” pondering the value of knowledge gained) and
stripped-down acoustic ballad “Madeline” (a 19th-century yarn about a troubled
patient at New York’s Willard Asylum). Whether drawn from folklore or direct
experience, Vargas injects an intimate feel into each song via her poetic lyricism and
jagged vocal delivery. On “7 Inches,” based on a chord progression Vargas had been
toying with since she was just 16, her vocals are at once sultry and ominous, imbuing
the song with a subtle tension. “This Affliction”—written in the wake of the tragic
shooting at Orlando’s Pulse Nightclub—juxtaposes a creeping rhythm, a bleak melody,
clinking percussion, mournful dobro guitar and ghostly whistling with striking lyrics that
question the role social media plays in revealing ourselves to others. “Pick apart my
lonely heart,” Vargas sings, “it’s a morbid motif but I look pretty from a distance and the
rest is history.” Drawing from a deep well of tragedy, Vargas damn near hypnotizes, her
compositions seeping to the edge of the subconscious, hardwiring listeners to ponder
questions that, in other contexts, might make them squirm.

While Vargas’ sharp tractor-beam-like storytelling is a big part of Wolfish & Wandering’s
draw, the music is every bit as strong. Before a recent European tour, Vargas found and
fell in love with a vintage 1949 Marveltone guitar. “It has such a personality and sound,”
she says. “I played it all over Europe and was so attached to it that I knew I wanted to
make it the centerpiece of this album.” In late 2017, Vargas joined forces with producer
Charles Newman, the primary engineer and co-producer for Stephin Merritt and The
Magnetic Fields. Newman helped Vargas achieve the unvarnished sound she was
looking for, peppering the album’s sonic landscape with simple, inventive percussion
using everyday objects, from milk jugs and trash cans to rusted chains—even the body
of her beloved Marveltone. The result is Vargas’ most adventurous album to date.
Vargas’ childhood in Corrales, New Mexico, had a profound impact on the woman and
artist she would become. This artist and farming village just outside Albuquerque was
populated with Mexican-Catholic families like hers, as well as creatives and a variety of
seekers. It was a community rich in oral tradition and folklore, steeped in tales of good
and evil, ghosts and witches, sin, The Devil—even extraterrestrial visitors. “It was a
strange and wonderful place that I’ve really come to appreciate as an adult. There was
a culture of storytelling, and the stories were often dark—the way I write songs now is
rooted in that tradition. The paranormal and the supernatural always seem to make
their way in. It was a great place for an imagination to run wild. If I told my mother I was
bored, she’d tell me, ‘Go outside and pretend something.’”
Still, the slow pace of rural small-town life was excruciating at times for Vargas, who
longed for the action and possibility of the big city. She began playing the flute at a
young age and by the time she was in high school developed an interest in jazz that led
her to Boston where she studied music at Berklee. Once there, she consistently found
herself coming back to writing and guitar after classes. Upon graduating from Berklee,
Vargas relocated to New York City, playing an open mic night every Monday at the now
defunct P & G Bar on the Upper West Side. “People responded really positively to the
songs,” she says, “ and that kept me coming back.”
Eventually, the club gave her a showcase spot and more gigs followed. With people
continually asking her for a CD, Vargas knew the time had come to make an album. Her
debut, the DIY affair Down to My Soul, was released in 2014, hinting at the promise of
a vibrant new voice. Her follow-up, 2016’s Strangeclaw, was recorded at New York’s
Mercy Sound Studios (Blondie, Macy Gray) and mastered at the legendary Abbey Road
Studios in London, capturing Vargas’ impressive growth as an artist in gorgeous
fidelity. With Strangeclaw, Vargas had begun to come into her own, laying a foundation
for the unique and textured sound she continues to refine on For The Wolfish &
Wandering. Now hitting her stride, Vargas’ affecting story songs stir the emotional
cauldron, blazing a genre-bending path that is both sonically and lyrically daring.

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7.22 Bayo Fayemi at 9p ET
Jul
22
9:00 PM21:00

7.22 Bayo Fayemi at 9p ET

Bayo Fayemi is an up and coming guitarist/bandleader/composer. He began to study the guitar and jazz at the age of 18. He honed his skills in the York College Big Band, before joining several ensembles around NYC. His styles of choice range from Jazz, R &B, and the Blues. He is set to record his debut album this Spring.

Bayo has honed his skills in numerous NYC venues, including: B.B. King’s Lucille Room, The Shrine, Silvana, DROM, Rockwood Music Hall, Lovecraft Bar, The Illinois Jacquet Performance Space, Jamaica Performing Arts Center, York College Arts Festival, and the Air train Jazz Festival. Many of these venues  he has entered as a leader. Bayo has performed with the legendary Bernard Purdie, Leon Kaleta, The Label Noir, Jeanne Marie Boes, Noel Wippler, Johnny Hobbes, and has opened for funk/soul band Erehmeta and jazz pianist Mark Adams.

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7.21 Monroe at 7p ET
Jul
21
7:00 PM19:00

7.21 Monroe at 7p ET

Monroe is the alias of Matt Berman, a multi-instrumentalist pop/rock artist who’s musical accomplishments span both on and off the stage.

On stage, Monroe has played keys and saxophone on Brandon Flowers’ (The Killers) “Desired Effect” World Tour, performing at festivals across the nation such as Life is Beautiful, Bumbershoot and Austin City Limits. Off stage, Monroe’s music has been praised by the Alternative Press, Popdust Magazine, Substream Magazine and more, along with TV placements on HBO’s “Boardwalk Empire” and the CW’s “Gossip Girl”.

Monroe signed with Pacific Records early 2018 and plans to release “The Streetlight” EP in the spring, featuring the singles “Streetlight”, which has been hailed as an “indie-pop/rock summer anthem” by Vents Magazine, and “One More Night” which was labeled an “indie pop gem” by Wolf in a Suit.

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7.18 East Forest at 10p ET
Jul
18
2:30 PM14:30

7.18 East Forest at 10p ET

Trevor Oswalt (a.k.a. East Forest) is a unique bird in the Wild West aviary of electronic music. While his shamanic ambient electropop can be contextualized along with Aphex Twin, Philip Glass and Sigur Ros, the fundamental mission of his project is to create sonic architecture for others to explore their own inner space. Thus, it is a process of opening doorways for the listener to walk through, which takes patience. Patience, while typically thought of as kryptonite in the instant gratification, hyper-speed world of music, might just be the medicine we need.

Nature indelibly made a huge impression on Oswalt, who grew up in the Pacific Northwest. He spent a decade in NYC, where he discovered indigenous traditions and began cultivating source recordings from sound healings and mushroom ceremonies. Eventually he started leading underground ceremonies across the country. Playing in the private shadows allowed the patient sound of East Forest to emerge: an emotional and spacious lexicon born out of a practical need to play solo for six hours, while guiding a room full of listeners in deep meditation.

Word organically spread as a devoted community shared his early albums, leading to glowing nods of approval from the likes of NPR and Wired. He completed multiple tours across the U.S. and Europe and shared his mission on the stage of TEDx while performing in a diverse range of settings, from SXSW to Grace Cathedral, as well as private parties for the likes of Google. As his diverse catalogue emerged (14 releases total), the music evolved from extended, ambient jams to more concise, structured material with vocals - a vivid mix of the digital and analog realms with a social and spiritual underpinning. “I’ve always been inspired by the natural world and the psychedelic experience” Oswalt asserts, cementing his position on plant medicine, which he has often implemented in his recording process. “I prefer to operate where my intuitive musical mind can speak and something larger can come through”

His newest release, a deluxe version of his 2017 album CAIRN, drops January 26th, 2018 –rounded out by several unreleased B-Sides and remixes. The original sessions took place in the high desert of Utah at Oswalt’s Boulder Rock Studios with the assistance of electronic producer Keith Sweaty. It was a highly collaborative project that also featured trumpet by Brad Lee of The Album Leaf and rhymes by Scarub of Living Legends, along with strings by the ‘Bizarre Strings’ trio (Band of Horses, My Morning Jacket, Joanna Newsom). The bulk of the material explored the collapse of a long-term relationship and the fundamental changes that result, both in the personal sense, as well as in a global level.

A cairn is traditionally a stack of stones that marks a trail in the wilderness. Come across a marker and you know you’ve reached a point in the trail. Trails in turn lead somewhere: the destination we hope to reach. Reflecting on the album title, Oswalt notes “The past year I was going through a divorce and immense changes which caused me to riff on this idea - where do I go from here? I was looking for signs to show me the next step and was also interested in leaving a marker for others, if I found my way.”

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7.17 Howard at 10:15p ET
Jul
17
10:15 PM22:15

7.17 Howard at 10:15p ET

When it comes to meaning, the title of Howard's second album Together Alone contains multitudes. It's an aching, restless, and altogether lovely document of the paradoxical sensation in which we feel more isolated than ever in the face of increasing togetherness and connectivity—a modern sentiment wrapped in music that's timeless in its timbre. Following 2015's intriguing debut Religion, it's the first album from 30-year-old multifaceted bandleader Howard Feibusch's project to be recorded with the full band that so capably toured behind Religion.

Thematically, Together Alone is dual-headed and informed by its elliptical title. "I got married, which shifted the writing and emotion behind behind my process,” Feibusch explains when talking about his lyrical approach. "At first, I was a bit lost about what to write about, because I was happy. It's easier to write from a place of unrequited love and isolation. It was challenging for me to avoid the darker and heavier places in my head."  Even though a newly found togetherness informed Feibusch's overall outlook, Together Alone still deals with heavy themes—specifically, the isolation caused by technology and the ever-threatening overflow of the Information Age. "We all talk, but connections are thinner than they ever were before," he sings on the ghostly title track, built off a beautiful music-box melody.

Feibusch, has been playing music since he received an electric guitar for his 12th birthday: "The first twenty songs I learned were Nirvana's," he reminisces, a self-guided musical upbringing that included heaping helpings of modern and classic rock, along with electronic music. The genesis of Howard as a band, specifically, lies within Feibusch and bassist Myles Heffernan's previous band Orange Television, which the pair formed while attending UMass and worked under for five years. In the fall of 2013, they moved to NYC, playing shows as a duo before meeting drummer Chris Holdridge; the three rehearsed Orange Television songs together, but something didn't feel quite right. "I felt like I was in a cover band of myself," Feibusch admits. "I wanted to start over."

And that he did: after linking up with multi-instrumentalist and engineer/producer Alex Chakour (Charles Bradley, Sharon Jones), the group recorded Religion, a gauzy and sonically exploratory album that took the phrase "bedroom recordings" to a new level: "I did a lot of it on my own—I was literally putting it together in my bedroom." After touring behind Religion's expansive tunes, a fascinating and largely electronic EP Recycle followed in 2016, and the now-fully-formed band got to work on Together Alone in Feibusch's newly-minted recording studio. This record was crafted as a band—the last one was more about samples and production,” he explains. "It feels like a new orbit within our evolution.”

Together Alone finds Howard venturing further out of their comfort zone and using their full-band capabilities to their greatest advantage—a full-bodied warmth, aided by horn contributions from the famed Daptone musical family. No sonic stone is left unturned here, from the gently rollicking and subtly psychedelic "Mothers Wedding" to the brittle, dusty desert rock of "Oh Dear Brother." You can hear a variety of influences here, from the winsome sounds of Athens' Elephant 6 collective to Amnesiac-era Radiohead and the distant lullabies of the Everly Brothers—but they all coalesce to form a sound that is truly its own.

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7.15 Jenn Bostic at 8p ET
Jul
15
8:00 PM20:00

7.15 Jenn Bostic at 8p ET

Jenn Bostic is a soulful singer/songwriter with a hint of blues, soul, country, pop and gospel. Her emotive songwriting and powerful vocals have been touching hearts around the world. “Jealous of the Angels,” written for her late father, was championed by both Smooth Radio and BBC Radio 2. She has performed the song on BBC Breakfast, Weekend Wogan, Good Morning Sunday and Songs of Praise, and the music video has over 3 million views on YouTube. She has had 4 singles play listed at BBC Radio 2, the most listened to radio station in Europe.

In 2012 she won five Independent Country Music Association Awards including "Best Songwriter," "Best Musician," and "Overall Winner." Bostic was also named “International Touring Artist of the Year” at the 2017 British Country Music Awards, where she gave a stunning performance that received the first standing ovation of the night.

She has performed sold out tours across the United States and Europe, and has opened for the likes of Richard Marx, Christian Kane and The Band Perry. Venues have included The Grand Ole Opry, The Ryman Auditorium and Jazz at Lincoln Center in New York City. She currently resides in Nashville, Tennessee, where she worked on her new album with six-time Grammy Award winner Paul Salveson. The album "Revival" was released on May 4th, 2018 and has received a number of positive reviews.

Social Media:

Facebook: https://www.facebook.com/jennbostic/
Twitter: https://twitter.com/jennbostic
Webpage: http://jennbostic.com/

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7.15 Tiffany Danae Thompson at 7p ET
Jul
15
7:00 PM19:00

7.15 Tiffany Danae Thompson at 7p ET

Tiffany Danae Thompson began writing and recording music her freshman year of high school in Austin, Texas and continued to refine her voice and songwriting during college in Wheaton, IL. In addition to Austin her music has been influenced by her time spent living abroad in Russia and various cities in the United States which have vibrant music scenes.   

Her songs articulate the everyday struggles of loneliness, loss and love, but all the while looking with a hopeful eye toward the future. In 2016 she completed a project entitled DANAE, which was a pop music collective based out of Nashville that created inspirational and engaging experiences that she refers to as positive pop. DANAE taps into the originality of a team of producers, songwriters, musicians and filmmakers to blur genres and break expectations. The end result of the project was the EP "Direction", which featured the singles "Prove", "Gold In the Dirt", "Actualized", and the title track.  The album won the award for "Best POP EP" at the 16th Annual Independent Music Awards which were held at New York's Lincoln Center in April 2018.

One of the Tiffany's early works, the 2011 single "We Are the Dreamers", was featured on one of the most popular segments of the Lifetime TV series "Dance Moms" and the video from the show has had over 2 million views.

This is her third appearance at Rockwood Music Hall and she looks forward to introducing some new music to the audience.

Social Media:

Twitter: https://twitter.com/Danaeco

Facebook:  http://www.facebook.com/danaemusic.co

Home Page:  http://danae.co/

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7.13 Added Color at 11p ET
Jul
13
to Jul 14

7.13 Added Color at 11p ET

ADDED COLOR is a Brazilian/American rock band formed in Brooklyn, NY, comprised of Brazilian brothers Dan and Kiko Freiberg, Tim Haggerty, and Danny Dahan. Since meeting in 2014, the group has played around 200 shows in over 20 states in the USA, and toured internationally in Canada, Morocco, and Brazil. They have played major festivals in Brazil such as Porão do Rock, which has featured Muse, Eagles of Death Metal, amongst others, and are currently working on finalizing a tour through the USA, Europe, Morocco, and Brazil in 2018. While they have only been called Added Color since May, 2017, the band’s previous project under the same formation received critical acclaim from significant press outlets such as PureVolume, Red Bull Music, The Huffington Post, AOL Noisecreep, and The Village Voice, with The Monsters of Rock Festival officially nominating them as one of the top five upcoming Brazilian rock bands.

Added Color made their debut on May 9, 2017 releasing their 5-song EP entitled “Psycho”. The EP received the backing of an international tour, beginning in Morocco and was followed by a 6-week US Tour. Pancakes and Whiskey debuted the title single off the “Psycho” EP by stating “If you’re ready to hear the best rock track of the year, thus far, then you’ve come to the right place.” 

Added Color's second EP, "Mr. Industry" was released on April 20, 2018. The EP was recorded in Brooklyn at Silver Cord Studios by Johann Meyer (Gojira/Roadrunner Records) and Jamie Uertz (Blind Melon) and produced by Added Color and Fadel Dabien. "Mr. Industry was backed by a second Morocco tour, and will be followed by a US summer tour. The EP has received great reviews and has been impressing crowds when performed live.  

Whether they’re playing big stages in Brazilian festivals or more intimate venues, Added Color always brings a high energy performance to the audience. Their message: be yourself no matter what, respect others for who they are, and don’t play into people’s expectations of who you should be.

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7.13 Magna Carda at 10p ET
Jul
13
10:00 PM22:00

7.13 Magna Carda at 10p ET

From their humble beginnings on a college campus four years ago, Magna Carda has steadily risen to the top of the Austin music scene as the premiere hip hop act. Described by Mashable as “Austin’s answer to The Roots,” Magna Carda is led by the city’s most dynamic MC-producer duo — Megz Kelli and Dougie Do — whose work pairs like a fine wine with the meat-and-potatoes backbone of the group’s signature live instrumentation. With their genre-defying blend of rap-meets-jazz-meets-R&B-meets-electronic, the band has quickly captured the imagination of listeners and the attention of critics alike in Texas and beyond.

 

After forming as a rapper/producer duo on the campus of St. Edward’s University in 2012, Megz Kelli and Dougie Do set their sights on developing a new sound that would make use of both live musicianship and studio production. Since then, the band has been at the forefront of Austin’s burgeoning hip hop scene, and has shared the stage with hip hop’s biggest names from The Pharcyde to Joey Bada$$ and from Chali 2na to Oddisee. Magna Carda’s unique sound has attracted the attention of NPR among other regional and national press.

 

With their upcoming EP, Magna Carda is well-positioned as a band to watch in 2018.

 

New EP "Somewhere Between" now available for streaming via Spotify/iTunes/Tidal.

http://magnacardamusic.com
http://facebook.com/magnacarda
http://instagram.com/magnacarda
http://twitter.com/magnacarda

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7.8 Jeremy Bosch at 8p ET
Jul
8
12:30 PM12:30

7.8 Jeremy Bosch at 8p ET

Music has been at the heart of Jeremy Bosch's life for as long as he can remember. As a child growing up in Puerto Rico, he played percussion and sang at his local church, while his family raised him on a diverse melee of classics by legends such as Barry White, Earth Wind & Fire, Miles Davis, Hector Lavoe, Chicago and Tony Bennett, to name a few. It didn't take long for his musical talent to manifest: at the young age of 15, the prodigy received a full scholarship to a summer performance program at Berklee's College of Music, an honor he was awarded again and again into his late teens. 

It was during these formative years that Bosch had his first professional experience as an artist, playing alongside Puerto Rican percussionist legend Giovanni Hidalgo and his All Star Band. Suddenly, Bosch knew he was destined for a career in music. 

It's been a long and transformative road since Bosch's summers at Berklee. He has performed across the globe at concerts and festivals in Europe, South America, North America and the Caribbean. Most recently, DeJesus had the honor of performing as a band leader at the European Parliament in Brussels, Belgium. He also performed alongside Grammy Award winner Sergio George and the Salsa Giants in New York City's legendary Madison Square Garden. 

As an artist, Bosch has grown to find inspiration not just in fellow musicians, but also in luminaries from a wide range of artistic paths and disciplines. From actors and actresses to writers and athletes, Bosch maintains that a powerful work ethic and dedication to one's passion is the true source of his artistic influence.   

After all, the title Bosch holds goes far beyond that of 'musician.' A classically trained composer and forward-thinking visionary, he strives to produce music that can be experienced by all the senses. 

"Lately I've been trying to make my music as visual as possible. Trying to have people see through the lens of my lyrics and music the setting, the colors, the people, the entire landscape, as well as the emotions that accompany these things: the heartache, the euphoria, the nostalgia, the humor etc."

The journey of an artist isn't always easy - it takes great discipline, consistency, dedication and sacrifice to reap satisfaction and success...and Bosch wouldn't have it any other way. A firm believer in art's ability to heal and unite through creative growth, Bosch's greatest aspiration is to be heard around the world as a source of inspiration and promoter of progress.

"What I want my listeners to receive from my music is renewed Hope.  Hope for the industry, hope in their daily lives, hope in their families, in their homes, for their future, for their destinies. Hope."  

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6.29 SK Invitational feat. Baritone MKenzie & John Robinson at 10:15p ET
Jun
29
10:15 PM22:15

6.29 SK Invitational feat. Baritone MKenzie & John Robinson at 10:15p ET

He is a producer, composer, bass player and leader of one of the most exciting big bands of our times. Stephan Kondert, a.k.a. SK, born and raised in Salzburg, Austria, started his biggest music project to date in 2006, when the opportunity to play a grand-scale concert arose with the aim of creating something new, refreshing and never heard before. So SK gathered and unifed the solid core of his musician friends on stage; altogether 16 people, who played a legendary concert with brand new instrumental tracks, specially composed for this occasion. SK experimented with Drum n Bass, Dancehall and Hip-Hop beats, to work out diferent ways to present the full range of the big band sound. The history of SK Invitational had just begun, leading to their frst, self-titled Album, released in 2007.

The album got attention from rappers all over the world that acknowledged the originality of the sound of SK. Some of them became part of the upcoming second album “Raw Glazed”, which was nominated for the “Best Hip-Hop” Amadeus Award in 2010, became album of the week on the radio stations FM4 and Superfly, and got a great deal of airplay all over the world. Besides that, the band got hired by some of Europe's best independent and major label artists for recordings, performances and production, for example for the album “Wir” of legendary Munich-based Rap crew Blumentopf and the live album “sweet16” of Austrian Hip-Hop band Texta.

Alongside their studio work, the complete band carried out four successful tours with several feature guests through Germany, Hungary and Austria, and played a lot of festivals in Europe, for example Donauinselfest, Freakwave, Linzfest, Ottensheim Openair and Popfest Vienna.

After 6 intense years of touring, producing and moving to NYC, Stephan Kondert fnished his third SK Invitational album, including features of rappers and singers from both the US and Europe, such as M.O.P., Homeboy Sandman, TY, Blak Twang, Edo G., Sadat X, John Robinson, J Hoard, Lylit, Horst Raimund and Baritone MKenzie. “Golden Crown” is going to be released in February 2017 via Kopfhörer Recordings. 

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6.27 Late Sea at 10:45p ET
Jun
27
10:45 PM22:45

6.27 Late Sea at 10:45p ET

Late Sea is a Brooklyn based art rock band led by composer and multi-
instrumentalist Izzy Gliksberg.
The group is known for their dark ambient grooves that carry Izzy’s
enigmatic Leonard Cohen-like lyrics. Late Sea are a prominent group in the
NY music scene with regular performances at House of Yes, National
Sawdust, Drom, Apple Studios, Pete's Candy Store and Rough Trade
amongst others.
Late Sea draws inspiration from lyrical, song-based acts such as Nick Cave
and Tom Waits, but their approach to production and musical arrangement
is influenced by forward thinking, experimental acts such as Nicolas Jaar,
Radiohead, and James Blake.
Late Sea were the first and only music act ever to receive the prestigious
KSF Artist of Choice Award where they collaborated with Emmy nominated
director Andrey Alistratov and Producer Hazuki Aikawa to create their
recently released visual EP The Writers Trilogy.
*******

Late Sea are:
Izzy Gliksberg – vocals, guitars, and keyboards
Sam Nester – trumpet and laptop
Graham Dobby – drums
Kalen Lister – keyboards and vocals
******

'like memories of lost loves, their music washes over you in waves of
nostalgia and mystery' Song and Soul Magazine
'Haunting... stunning and in your face.' Impose Magazine
'Brings shivers up and down your spine' Audio Fuzz Magazine

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6.26 Trixie Whitley at 8:30p ET
Jun
26
8:30 PM20:30

6.26 Trixie Whitley at 8:30p ET

For Trixie Whitley, her sophomore release represents an introspective expedition into the depths of her creative identity. Porta Bohemica cribs its name from a defunct European railroad. Its songs wind through landscapes of absolute subconscious that she learned to trust by largely self-producing the album.

“The metaphor of an old train line feeds something in my imagination. I related to that sense of travel when making this record. It involved letting go of my past to embrace my individuality as a young woman and as an artist,” the Brooklyn-based musician says.

From a very young age, Trixie Whitely nurtured a singular creative spirit, springing from her restless inner directive. At the ripe age of three, she made her onstage debut alongside her father, the internationally acclaimed singer-songwriter Chris Whitley. Never relying on her lineage, Trixie set out to craft a unique personal and artistic identity. She started playing drums when she was ten. At age eleven she became the youngest resident DJ in Belgium, spinning underground electronica, free jazz, ambient instrumentals and hip-hop at raves and modern art museums. By her early teens she was touring with several avant-garde theater and dance collectives throughout Europe, including Les Ballets C de la B, with Sidi Larbi Cherkaoui.

During this time she developed an affinity for punk rock’s nonconformist and D.I.Y. ethics, which permeated her fearless genre-bending and daring life choices.  After a nomadic transatlantic existence, living between New York and Belgium, she quit high school at age 17 and took a job slinging burgers at a dive while steadily advancing her music career. One of her early efforts impressed the iconic producer Daniel Lanois, who has worked with musical legends such as Bob Dylan, Neil Young and Emmylou Harris.  He enlisted her to front his own band, Black Dub, with modern jazz drummer Brian Blade and renowned New Orleans bassist Daryl Johnson.

Since 2013, Trixie has emerged as a compelling solo artist with three EPs and one full album in her catalog. Fourth Corner, her full-length debut, garnered acclaim from MOJO, Interview, ELLE, Vogue, Vmag, Relix, The Village Voice, NPR and The New York Times, among other publications. With its success, she has toured internationally and earned three nominations, as well as a win for Best Female Artist at the 2013 MIA Awards and best writer/composer at the 2016 MIA awards.

Trixie’s prismatic artistry reflects electronica, R&B, the vulnerable ethos of singer-songwriters, and the unapologetic individuality of punk rock. Although her previous effort reflects her broad tastes, it is with her latest release that she creates a transcendent musical miscellany. She even cast aside an earlier version of the record and started over in order to achieve the ultimate meaning and mastery displayed in Porta Bohemica.

“I wanted to make people think and feel something honest and emotionally complex in my music that comes from being fully present in the creative moment.”

Porta Bohemica was a two-year odyssey that profoundly changed the artist. “I embraced many realizations making this record,” Whitley says. “Intuition and vulnerability are some of the most underestimated powers that we have. Once you let go of your fears, you can face your potential and there is an endless palette of possibilities to explore. This is just the beginning, and I feel a lot of excitement and optimism about what’s to come.”

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