Refine Your Search

  • Event or Artist
    Search by EVENT or ARTIST
  • Venue
    Search by VENUE
  • Genre
    Search by GENRES
    CTRL + Click to select multiple genres

  • Recommenders
    Search by RECOMMENDERS
    CTRL + Click to select multiple recommenders
  • Time and Date
    Search by TIME and DATE
    Search dates between and
  • Submit Search

Search Results

Lady "A" Presents 2nd Annual Sunday Gospel "Singing Happy and Blessed"

Genre: Gospel , Soul

  1. Sunday, April 19 6:00 PM (All ages)

Lady "A" Presents:  2nd Annual Sunday Gospel benefiting:  Missionaries of the Seattle area

"SINGING, HAPPY & BLESSED"

God will Take care of You


Featuring Pacific NW Artists:

Lady "A"                                         

John Oliver

Josephine Howell                      

Michael Hepburn

Theresa Oliver                            

Ricky McClain Jr

Mitia Oliver                                  

Cliff "Kip" Dumas

John Studamire

A night dedicated to encouraging others to help others, help others....

Pacific NW Blues Diva, Lady "A" bring her roots in Gospel to the Triple Door, along with her friends in music.   Lady "A" has been performing in the Seattle/Portland area for more than 20 years and has always remembered from whence she came by giving back to the community through Blues and Gospel.


This is a show for everyone 6 to 106.  You won't be disappointed as this band of Musicians comes together to encourage your hearts in Singing, Happy and Blessed and reminding each of us that "God will Take Care of You"

www.ladyababyblues.com

Landau Eugene Murphy Jr

Genre: Pop

  1. Saturday, July 18 8:00 PM (All ages)


When Landau Eugene Murphy Jr. showed up to audition for America's Got Talent, he was singing to pass the time while grinding out a living washing cars, and the only “nice” clothes he owned were the ones on his back; a pair of jeans, a modest button down striped shirt and jacket. 

Fortunately, you don't need a large wardrobe to win America’s heart.  You need talent and Landau has truckloads of that.  Since wowing the judges with his interpretations of classics by the likes of Frank Sinatra and Dean Martin and walking away with the million dollar grand prize in front of 14 million weekly viewers on AGT, Landau has released his Columbia Records debut "That's Life" (the CD hit #1 on the Billboard Jazz chart and was produced by Grammy winner Steve Tyrell, who also helmed Rod Stewart’s Great American Songbook album) and has performed all over the country, from the California State Fair to the New York's famous Apollo Theatre, Caesars Palace in Las Vegas to the Marina Civic Center in Florida and all points in between.

Along the way, he has appeared on The Today Show, The View, CNN, Fox and Friends, The Wendy Williams Show, The Talk, Anderson Cooper, Tom Joyner, Sirius XM, NPR and dozens of other outlets, was named his home state’s “West Virginian of the Year” (where he has performed a series of sold out concerts helping raise over a half million dollars for state charities), played a special command performance at the Governors Inauguration, won Reality TV Personality of the Year in Hollywood, and was honored to perform with his band for U.S. Troops in Germany. 

But all that success hasn't made Landau forget his roots.  He was born in the Mountain State of West Virginia and continues to live there rather than move to entertainment industry hubs like Los Angeles or New York.  “West Virginia will always be my home,” says Landau, “and home and family are the most important thing in the world to me. I can always fly out to L.A. or New York for work, but being here helps keep me humble and grounded.  I’m just very fortunate to be living my dream.”

For many winners of television talent competitions, the ride is short, but for Landau, more than two years after winning America's Got Talent, things couldn't be busier.  A book co-authored with award-winning writer Rick Robinson chronicling Landau's All American success story called LANDAU: FROM WASHING CARS TO HOLLYWOOD STAR, debuted at #1 on the Amazon.com Jazz Book chart.  Landau's CHRISTMAS MADE FOR TWO is an album full of both classic and brand new original holiday favorites (“Christmas is by far my favorite time of the year”).  The CD features a guest appearance by former Temptations lead vocalist Glenn Leonard reprising his role on "Silent Night" from the Temptations Christmas album.  Landau's Christmas CD is now a best-selling fundraising vehicle for The Children's Home Society charity, and the holiday season found Landau guest hosting a show on the Sirius/XM "Holly" channel while crisscrossing the country on a sold out Christmas tour with his mentor Leonard and former lead vocalists from The Platters and Drifters.  Landau also performed his first ever concerts with two complete symphony orchestras and visited Asia for the first time, at the headliner at a special charity benefit at the Mercedes Benz Arena in Shanghai China for AEG Live.  But also penciled into Landau’s busy calendar is spending time at his modest new home in the West Virginia hills.  “I’ve got my home studio, plenty of room for my family and a big beautiful mountain behind me. I’m so thankful to God everyday for giving me these blessings, and a bigger stage to perform on.” 

And, yes, he still sings while he washes cars.  But now, those cars belong to Landau.


www.landaumurphyjr.com

Led Kaapana and Mike Kaawa

Genre: Hawaiian

  1. Thursday, April 02 7:30 PM (All ages)

“Ledward Kaapana is a master slack key guitarist.” —The New York Times

"[Led]…friendly, generous, self-effacing, a little kolohe (rascally) and a flat out genius at just about any stringed instrument that can be finger-picked." -- The Honolulu Advertiser

A master of the slack key guitar, Led Kaapana has been one of Hawai‘i's most influential musicians for four decades. His mastery of stringed instruments, exceptional picking style on slack key guitar and ‘ukulele, and extraordinary baritone to leo ki`eki`e (falsetto) vocal range, have made him a musical legend. With easy-going style and kolohe (rascal) charm, he has built a loyal corps of “Led Heads” from Brussels to his birthplace on the Big Island of Hawai‘i. In 2011, he was honored with an NEA National Heritage Fellowship for his artistic excellence and his contributions to our nation's traditional arts heritage.

Mike Kaawa is Hawai’i’s finest 12-string guitar player and one of its most highly regarded musicians. Known as “The Hawaiian Boy”, he describes his music as “Hawaiian with attitude”. He started performing at a young age and briefly flirted with rock-and-roll before committing himself to Hawaiian music. He is a regular at Hawaii’s Slack Key Festivals and popular venues. A captivating performer, Mike has created his own unique, robust sound in his playing, with a distinct vocal expression that comes straight from the heart. Often teaming up with Led Kaapana, they released Force of Nature late 2008 which earned a Grammy Award nomination for Best Hawaiian Music Album.

http://www.ledkaapana.com/

http://www.reverbnation.com/mikekaawa

Left Hand Smoke

Genre: R&B , Rock

  1. Saturday, April 04 8:00 PM (All ages)

“…a furious romp of smokin’ grooves and burnin’ rhythm and blues as kicked out by a pack of hungry wolves bent on dazzling audiences with their showmanship and virtuosity. ”

Seattle PI

“American band Left Hand Smoke deliver an earthy brand of rhythm and blues harking back to a time when R&B was about love lost in smokey bars and dancing on tables under the influence of a few too many shots of sour mash.” Play Music London

“…a straight-ahead rock ‘n’ roll killing machine. ” The Idaho Statesman

LHS “distinguish themselves through formidable musicianship and a controlled looseness…and they find a nice balance between structure, discipline, and playfulness. LHS are a band to keep an eye on.” Amazon.com

https://lefthandsmoke.wordpress.com/

Lilly Hiatt

Genre: Singer-songwriter

  1. Monday, March 30 7:30 PM (All ages)


Royal Blue, the second album by East Nashville firebrand Lilly Hiatt, is about the majesty of melancholy—or, as she explains it, “accepting the sadder aspects of life and finding some peace in them.” A dance between pedal steel and synths, the album examines the vagaries of love and commitment but steadfastly refuses to romanticize any notion of romance. Singing in a barbed lilt full of deep worry and gritty determination in equal measure, she conveys emotions too finely shaded to be easily named, yet will be familiar to any listener who’s had their heart broken—or has broken a heart.

This is, in other words, not a well-behaved singer-songwriter album. Instead, it’s feisty and rough-around-the-edges, full of humor and bite and attitude from a woman who proclaims, “I’d rather throw a punch than bat my eye.” Royal Blue hints at autobiography without sounding self-absorbed, as Lilly transforms a rough patch of life into smart, sturdy, sometimes even hilarious songs that don’t sit squarely in any one genre. Instead, Royal Blue reaches out boldly and playfully into many different sounds and styles: Austin folk rock, Pacific Northwest indie, pre-Oasis Britpop, New York punk ca. 1977. There are ‘90s alt guitars and ’00 indie synths, some twang and some Neko Case and Kim Deal.

Setting the tone for the album, “Far Away” marries a shimmery Cure synth theme to a steady rock-and-roll backbeat, as Lilly explains the devastating realities of a love gone sour: “I have never felt more far away than when you were right here.” When she delivers a volley of ooo-ooo-ooohs on the coda, it’s hard to tell whether she’s lamenting her loss or proclaiming her freedom. Even at its most personal, Royal Blue remains complicated and often contradictory. The surging surf-country number “Machine” hints at rebellious adolescence while “Somebody’s Daughter” is a nod to Lilly’s songwriting father, John Hiatt.

Lilly’s songs are equal parts romantic autopsy and acid kiss-off to a dismissive lover. He shows up again on the fidgety “Get This Right,” with its insistent drum patter, churning guitars, and anthemic chorus. “When you turn your lamp off, please hear my sweet, soft voice,” Lilly sings over the gentle acoustic strums and Doppler-effect synths on “Your Choice.” Then she adds, with startling finality, “You made your choice.” Royal Blue is not your typical break-up album, though. Lilly would rather rock than mope.

lillyhiatt.com


Liz Longley / Anthony D’Amato

Genre: Singer-songwriter

  1. Wednesday, May 06 7:30 PM (All ages)

Sugar Hill Records announces it has signed singer-songwriter Liz Longley. The artist's eagerly anticipated album is slated for release in March 2015.

"It felt like a dream come true and worth every second of the wait," says Longley regarding her offer from Sugar Hill, "I am so excited about working with this group. It has become very important to me over the past few years to build a team that is trustworthy and hardworking, and they are just that. I can't wait to see this album reach its full potential."

Longley's self titled release was produced by fellow Berklee College of Music alum Gus Berry at Ocean Way Studios in Nashville, Tennessee and features three special mixes from Sugar Hill's own Gary Paczosa. All songs were written solely by Longley with the exception of a co-write on "This is Not the End."

"For me songwriting is my therapy and these songs are almost like personal journal entries during that time of my life," says Longley. She also cites her musical influences as eclectic, mentioning Joni Mitchell, Van Morrison and Lucinda Williams as inspirations for her own music.

Longley believes her move to Nashville in 2011 had a big influence on the sound of this album. "It felt more like coming home to me," Longley muses about her big move. The album features appearances by world class musicians including Michael Rhodes, Nir Zidkyahu, Tom Bukovac, Danny Rader, John Hobbs, JT Corenflos, and Marco Giovino, who boast previous work recording and playing with John Mayer, Etta James, James Taylor, Stevie Nicks and many other musical greats.

"It was amazing and humbling having all of these talented musicians play on my album, and it was just mind blowing working with Gary," says Longley. "He brought the songs he mixed to life. The vocal is so present and it feels like a more intimate performance, those details really show his genius."

Gary Paczosa, Sugar Hill's VP of A&R, says, "I'm thrilled to have Liz on the Sugar Hill roster, from an A&R standpoint she's a dream come true. Besides having a stunning voice, she's a brilliant songwriter that possesses the capability to connect with the listener in a way that not many artists achieve. Her effortless vocals and beautiful melodies made this such an obvious choice for us at Sugar Hill; we are thrilled to welcome Liz aboard!"

Longley hails from a small town outside Philadelphia where her nurturing parents encouraged her from a young age to take piano and vocal lessons. Later, after being accepted to Berklee, Longley packed her bags for Boston where she studied under the best and was even chosen to participate in a workshop with John Mayer. In the short time since her graduation Longley has developed a reputation as an accomplished songwriter having taken home top prizes at some of the most prestigious songwriting competitions in the country, including the BMI John Lennon Songwriting Scholarship Competition, the International Acoustic Music Awards and the Rocky Mountain Folk Fest Songwriting Competition. Longley's music has taken center stage on a national level as well with several television placements on networks such as ABC and Lifetime and Sirius XM radio airplay.

Sugar Hill's General Manager and Senior Vice President Cliff O'Sullivan, states, "Liz Longley is an incredible talent, both as a singer and a songwriter. We're thrilled to have her be the latest artist to join Sugar Hill."

"The outpouring of support and the money raised for this album through my Kickstarter campaign was incredible! I can't wait for my followers to hear these songs in a whole new capacity with this release," says Longley.

Sugar Hill is thrilled to bring such a talented songstress to the forefront of the musical stratosphere.

www.lizlongley.com

http://www.anthonydamatomusic.com

London Tone Music Celebration - 52 Artists, 52 Singles, 52 Weeks

Genre: Everything

  1. Thursday, April 30 8:00 PM (All ages)

The London Tone Music 52x52 Celebration brings together more than 40 incredibly talented Seattle area musicians to celebrate the completion of London Tone’s unprecedented and historic label launch: signing 52 musical artists (emerging to established) to singles contracts, producing high quality recordings of their 52 original songs (various genres) and releasing a new single each week for 52 weeks.

A wonderful result of London Tones launch is a community of musicians, bonded by London Tone’s dynamic approach to recording and presenting music, who will be participating in this non-stop, engaging and lively night of top-flight musicianship, unique collaborations and fun!

London Tone Music artists scheduled to perform include Kim Virant, Andrew Joslyn, Susy Sun, Jessica Lynn, Kitt Bender, Eric Lilavois, Geoffrey Castle, Nolan Garrett, Rikk Beatty, Tobias The Owl, Smokey Brights, Will Jordan, Strong Suit, Before Cars, Vanowen, Whitney Lyman, Lions Ambition, Jovino Santos Neto, Spyn Reset, Philana Goodrich, Jeremy Serwer, Danny Pentin, Antoine Martell & Raymond Hayden.

Enjoy some of your favorite musicians and prepare to be blown away by ones you may not have heard yet.  London Tone Music is proud to bring them all together to share their musical gifts for an unforgettable evening of music.

London Tone Music is a partnership between Seattle's iconic London Bridge Studio and music business consulting firm, 2 Jeffs on Music.

http://londontonemusic.com/

https://soundcloud.com/londontonemusic52x52

Los Lobos

Genre: Rock , Roots Rock

More than three decades have passed since Los Lobos released their debut album, Just Another Band from East L.A. Since then they’ve repeatedly disproven that title—Los Lobos isn’t “just another” anything, but rather a band that has consistently evolved artistically while never losing sight of their humble roots.

Los Lobos are:

Louie Perez- Drums, Guitars, Percussion, Vocals

Steve Berlin- Saxophone, Percussion, Flute, Midsax, Harmonica, Melodica

Cesar Rosas- Vocals, Guitar, Mandolin

Conrad Lozano- Bass, Guitarron, Vocals

David Hidalgo- Vocals, Guitar, Accordion, Percussion, Bass, Keyboards, Melodica, Drums, Violin, Banjo

Enrique "Bugs" Gonzalez - Drums/Percussion

Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy Award winning band (Best Mexican-American/Tejano Music Performance) by the time they recorded their major label debut How Will The Wolf Survive? in 1984.

Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band—David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin—saw parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots. Perez, the band’s drummer, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, a worldwide smash single (“La Bamba”) and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. The band chronicles a key moment of their expansive journey on Disconnected In New York City, a dynamic live album that marks the band’s 40th anniversary and launches their new association with 429 Records.

Recorded over two nights in December 2012 at The City Winery in NYC, the engaging 12-song set celebrates Los Lobos’ great legacy as a freewheeling and unpredictable live band, which most recently includes touring in Europe with Neil Young and Crazy Horse in June 2013. Disconnected in New York City features fresh interpretations of songs from throughout their three decade recording career, including their first ever live recording of “La Bamba,” their worldwide pop crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart and whose video won a 1988 MTV Music Video Award. The collection covers the band’s 25 year studio discography, from “Gotta Let You Know” (a bouncy zydeco rocker driven by Hidalgo’s accordion from How Will The Wolf Survive?) through “Tin Can Trust,” a bluesy rock ballad that was the title cut from their last studio release in 2010.

By design, Disconnected in New York City has songs that have been longtime staples of Los Lobos’ tours mixed with other gems that had somehow fallen by the wayside over the years. The mix includes the mid-tempo shuffling rocker title track from The Neighborhood (1990); the easy flowing and whimsical (thanks to Berlin’s jazzy sax solo) “Oh Yeah” (from This Time, 1999); the spirited, traditional flavored, Rosas penned Spanish language “Chuco’s Cumbia” (from The Town and the City, 2006); the graceful and spiritual “Tears of God” (from By The Light of the Moon, 1987); “La Venganza de Los Pelados,” a fiery burst of Latin rock fusion with mariachi textures (from The Ride, 2004); the soulful, simmering blues of “Little Things” (from The Town and The City, 2006); the Latin blues funk classic “Set Me Free Rosa Lee” (from By The Light of the Moon); and two mid tempo funk pop/rock tunes from 2002’s Good Morning Aztlan, “Maria Christina” and “Malaque.” 

As per the literal meaning of its title, Disconnected In New York City sets itself apart from Los Lobos’ other acclaimed live recordings (most notably, 2005’s Live At the Fillmore) by stripping down the instrumentation for a mostly acoustic affair. Lozano, who drives the grooves with his bass and also plays the deep-bodied Mexican 6-string acoustic bass called the guitarron, says, “It’s funny because when the venue hired us, they specifically requested that we do something acoustic to fit its smaller dinner house vibe. The idea popped into our heads to ask them if we could record it and they were cool with that.

“We’re well known for our electric, high energy performances but we’ve done acoustic stuff for certain smaller auditorium tours,” he says. “Playing these songs acoustically makes them feel more intimate. We notice that when you play softer and quieter, the audience tends to pay attention to everything we’re doing. When you play rock, they’re thinking more about rhythm than melodies and lyrics, but playing them this way allows for more subtle elements of the songs to stand out.”

Perez laughs when he calls the Los Lobos Unplugged experience “folk music for the hearing impaired - it’s still loud because the acoustic instruments are amplified! The idea of making a record like this came from never having the opportunity to work some of our favorite songs from over the years into our usual sets. Because most tours are done in support of new albums, the fresh material we play means that some favorite older tunes fall away over time. When we thought about making another live album and what would make it different, the logical concept was to revisit songs we haven’t played in a while but had been requested by a lot of fans. We had already documented our rock show with Fillmore, so we felt kind of liberated to take another approach with this one.

“There are two challenges releasing a live album, though,” Perez continues. “One is choosing certain songs over other ones. It’s like having kids. We love Tommy as much as Johnny but one day Johnny gets to go the park today and Johnny stays home. In spite of this, we do cover a lot of ground. The biggest problem is the way people sometimes perceive live albums, like they’re an afterthought put out to fill some kind of gap. Bands love doing them but fans don’t always pay attention. But historically, it can be a license for great creativity. Jimi Hendrix did Band of Gypsies to fulfill his last recording commitment, but it was one of the most incredible recordings he ever made. Because Disconnected in New York City marks a key anniversary and the start of us working with a new label, we put a lot of thought into the project, from its design and structure and how we performed the songs.”

Steve Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP …And A Time To Dance. Though he wasn’t jamming with the others way back in the “Krypton days” (as Perez calls it) in the barrio garage, Berlin felt it was important to find a special way to mark his cohorts’ 40th year--just as they had done on their 30th by inviting special guests (Dave Alvin, Bobby Womack, Elvis Costello, Mavis Staples) to be part of their 2004 date The Ride.

“Trying to figure out a way to acknowledge 40 years as a band is harder than you might think,” he says. “We got to play with all of our heroes on our 30th so what was something we had not done? So, like Louie said, we thought the best thing was to bring back songs we rarely if ever play and put them into a fresh context. We wanted to create something of value for our fans that would reflect the mutual appreciation we share with them – starting, of course, with ‘La Bamba,’ which we had never documented live before. I think it was important also that once we knew the set lists for the shows that we would eventually choose the final tracking from, we didn’t over-think the arrangements. We only rehearsed these shows for a single day. The coolest part of how Disconnected worked out is that we hadn’t been doing some of these songs long enough to worry about how to pull them off. And because we performed them acoustically, we couldn’t just blast everyone with power and skate through them. We had to be present and make the choices that occurred to us in each moment.”

Around the time of their last big anniversary Rolling Stone magazine summed up that distinctive, diverse and spontaneous Los Lobos aesthetic perfectly: “This is what happens when five guys create a magical sound, then stick together for 30 years to see how far it can take them.” Most fans know that the group came together from three separate units. Hidalgo, the band’s lead vocalist/guitarist (whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo) met Perez at Garfield High in East LA and started a garage band. Rosas, who plays guitar and mandolin, had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”

Looking back at the historical and cultural sweep of the band, Lozano sees the release of Disconnected In New York City as Los Lobos coming full circle. “A lot of people forget that though we were rock musicians when we got out of high school, the band started off as an acoustic outfit,” he says. “We wanted to play Mexican folk music because those were our roots and there was this whole Chicano awareness thing happening back in the early 70s. We started to pay attention to our traditions and culture, and focused on those styles of music for years. We studied music from every region of Mexico, learned how to play all these authentic instruments. So that’s what we did for ten years until we decided to play rock again by bringing in drum and electric bass. 

“We were playing this restaurant gig for two years, and some small local clubs, playing the same songs, when people in the crowd started shouting out, ‘Do you know any Beatles or Grateful Dead tunes?’” Lozano adds. “Soon we got fired from the restaurant and headed back to the garage to write our first original songs that were rock with some accordion on them: ‘Let’s Say Goodnight’ and ‘How Much Can I Do?’ We made a little tape and gave it to the guys in The Blasters, which included Steve Berlin, when we went to see them live on Sunset Strip. They loved our tunes and invited us to open their show at the Whiskey-A-Go-Go, which was the first time Los Lobos performed on the other side of the Los Angeles River. We played some originals and old favorites by Hendrix, Cream, The Yardbirds and Beatles – all the stuff we loved as kids. The icing on the cake is that the audience loved it, too.”



http://www.loslobos.org/site/

Luke Wade

Genre: Singer-songwriter

  1. Monday, May 11 7:30 PM (All ages)

Luke was a semi-finalist on the currently airing season of THE VOICE. Luke has an incredibly soulful voice. All Four judges Immediately turned their chairs.   Adam Levine declared him "quite possibly the best voice in the competition," and ultimately Luke chose Pharrell Williams as his coach. 

He slayed the competition last week in the battle rounds, and his performance this coming Monday is quite the Knockout.  This boy is going to go far. 





Growing up on Hurt Street in a sultry little Texas town might seem an auspicious beginning for a soul singer. But for Dublin’s Luke Wade, it’s hard to imagine that it would be anything short of destiny.


Born of extraordinary artists and self-described ‘Hippies’, Luke is the product of a home that truly cultivated creativity. The youngest of four children, his music is the modern manifestation of the introspective and enlightened notions instilled by his parents. Bob and Wanda spawned a self- awareness that makes Luke’s music inherently reflective, without need of gimmick or novelty. His insightful and thoughtful lyrics make it easy to imagine that if Hurt Street were located in some distant galaxy, this is still the music he would create.


An unlikely series of childhood ailments provided Luke with an early sense of perspective that many never find even as adults. A bout of spinal meningitis proved almost fatal, a paintball accident left him blind in one eye and some years later a severe heatstroke left him struggling to overcome temporary brain damage and amnesia. And though these experiences inevitably influence his music, it is not in the fatalistic way you might expect. While his songs may have that soulful ‘written on the porch because the house was too damned hot’ feel, the end result is a style that feels ever hopeful.


It is but a few times in a generation that an artist comes along with the potential to reflect so honestly the human condition. Such a calling requires a humility and self-awareness that seldom find an artist until late in his career, when he’s turned the corner from idealistic to philosophical. Often young singer-songwriters aspire to draw a picture with words, a melodic expression of the visual, hoping to capture a single meaningful moment in time. Luke aspires to capture our journey through it - and his sophomore album, “The River”, speaks to a brilliant departure on that journey.


The spring release of “The River” and a swell of media coverage have prompted renewed comparison to the likes of Ray LaMontagne. Each stylistically unique, Luke surrounds himself with exceptional musicians and remains keenly aware as to his place in the musical equation. His incomparable musicality requires more of the accompaniment than just support of the lyric, he allows it to build a distinctive setting in which to tell his story. When performing with his full band, Luke’s boisterous horn section and soulful voice are the perfect paring of audacity and nuance.


Luke’s writing is always honest and never self-indulgent, creating music that feels as much a part of the listener as the artist. His ‘damaged in transport but absolutely delivered’ charm has endeared him to his audience and encouraged a rabid following wherever he performs. Instinctively, Luke seems to realize that his success is always secondary to the song, resulting in a refreshing vulnerability that you couldn’t touch with a ten foot pole.


Music is at once frivolous and necessary. That rare artist willing to embrace this idea will become timeless, making the music that comes to describe generations and cultures, not simply as historical narrative, but as a conscious identity by which we willingly choose to define ourselves in real time.


Meet Luke Wade.




Lúnasa

Genre: Folk , Irish

This Irish quintet's intricate, groove-driven acoustic sound makes them one of Celtic music's most highly regarded modern instrumental groups. Revered like rock stars back home, Lunasa take traditional Irish instruments, fiddle, pipes, flute and guitar and shift them into rhythmic overdrive with intricate arrangements. At the center of their sound is the playing of double bassist Trevor Hutchinson, whose time signatures lead the group toward the innovative turf of acoustic music leaders like Bela Fleck and Darol Anger.  Seeing the group in a venue this intimate should be amazing.

http://www.lunasa.ie/

 Back  6 7 8 9 10 11 12 13 14 15  Next 
Triple Door

216 Union Street
Seattle, WA 98101
Tickets 206.838.4333