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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

Lily & Madeleine w/ Shannon Hayden

Genre: Singer-songwriter

  1. Tuesday, February 17 7:30 PM (All ages)

Lily & Madeleine’s goal is to release an album-a-year for three years — a rare feat when the trend among singer-songwriters is to space albums by half-decades. So far, they’re on track: Fumes, the duo’s second LP, was released October 28, 2014, 366 days after last year’s Lily & Madeleine. The sophomore album is a leap forward for the duo, a mature sentiment of two gifted young artists who have launched from their hometown onto the world stage with speed and grace.

When Indianapolis sisters Lily and Madeleine Jurkiewicz first started making music together, it didn’t cross their minds that they could make a living at it. Although they now find themselves in an acclaimed full-fledged career, what got them here has nothing to do with money, and everything to do with the spirit.

“The music will always be first,” says Lily. Indeed, Lily & Madeleine’s artistic souls are obvious to anyone who has heard their recordings. From the beginning, the sisters’ calling card has been the breathtaking and intuitive union of their voices.

“Their voices can pierce through the chaos of everyday life and actually make you stop what you’re doing.” American Songwriter

When the two come together in ecstatic and seamless “blood harmony,” it’s a sound that continues to haunt long after the songs are sung, leaving an electrical charge behind like a sparkling tracer in the air. Lily & Madeleine however, are equally distinctive as soloists as they are as harmony singers. When they step out individually as vocalists, Lily’s warm, smoky alto is the counterpoint to Madeleine’s crystalline, bell-like soprano.

That calling card is just as clear on their new material as it is on the cover songs the duo uploaded to YouTube for fun in late 2012. It was through these first videos that producer Paul Mahern, a staple of the Midwest music scene and frontman for punk band Zero Boys, recognized something special in the sister’s sound and enlisted the help of songwriter Kenny Childers (Gentleman Caller). Mahern challenged the girls to write a song a day, with Childers as mentor.

It’s that experiment that would become Lily & Madeleine’s first EP, The Weight of the Globe. In early 2013, they released a sparse, simple version of first single, “In The Middle,” to YouTube. When a neighbor of Lily & Madeleine shared the video on Reddit, the song hit the site’s front page. Within hours the video received over a quarter of a million views. It also attracted the attention of Asthmatic Kitty Records. They quickly signed Lily & Madeleine and issued the EP on 10-inch.

Just a month after Globe dropped on vinyl, the duo re-entered the studio and recorded their self-titled debut, which was released in October of 2013 to both critical and fan acclaim. Of the music, Jon Pareles of the The New York Times writes, “the thing that flags them as extraordinary is their sibling vocal blend, deep and seamless and relaxed,” while American Songwriter describes, “Their voices can pierce through the chaos of everyday life and actually make you stop what you’re doing.”

Since that release, the sisters have toured worldwide, including a sold-out U.K. tour and a very special capacity performance at the historic 1,200-seat Circle Theater with their hometown Indianapolis Symphony Orchestra. They’ve played on live national TV (a slot on CBS “This Morning”) and were crowd favorites at 2014’s Lotus Festival. Yet, the girls have remained modest, sticking to hard work as their imperative.

As young as they are, Lily, 17, and Madeleine, 19, are their own women. The songs on Fumes acknowledge childhood’s end and announce the entrance into adulthood—a place where the road ahead is unknown and sometimes dark. Facing the darkness head on, Lily & Madeleine at times hark back to the female-driven post-punk band The Raincoats, delivering a distaff perspective that is equal parts beauty and toughness, sugar and salt.

“The thing that flags them as extraordinary is their sibling vocal blend, deep and seamless and relaxed.” New York Times

Many of the songs on Fumes also touch upon movement and transition, from leaving a situation to “find out who you are” (“Lips and Hips”), or to escape (“Cabin Fever,” “Ride Away”). The album is very much a travelogue that speaks to the essence of a restless creative spirit, and the sisters’ desire to break new ground.

“Fumes,” says Madeleine, “shows our transformation as musicians and as women, and was inspired by our experience on the road as well as the life experiences of people close to us. It’s a perfect reflection of this stage of our lives.”

Fumes arrived October 28th, 2014 on Asthmatic Kitty Records.

http://lilandmad.com/


Lisa Koch Birthday Bash With Vickie Shaw And Roxanna Ward

Genre: Comedy , Singer-songwriter

  1. Wednesday, February 04 7:30 PM (All ages)

Seattle singer/comedian LISA KOCH puts on her semi-annual Birthday Bash at the Triple Door Wednesday February 4, featuring hilarious Texas comedian VICKIE SHAW, twisted pianist ROXANNA WARD, and a host of special guests.  Snort-inducing comedy, fabulous music and surprise appearances for a jam-packed evening of tunes and laughs!

Special guests include: 

Peggy Platt (Dos Fallopia, "Ham for the Holidays")

Larry Murante (award winning singer-songwriter)

DJ Gommels (Ham for the Holidays)

Jen Todd (3 Track Mind, Laura Love Band)

Mel Watson (Fruit, 100th Monkey Records)

David Koch (Cabaret de Paris, Seattle Rep)

Ken Boynton and Anna Lauris (ACT, Annaken)

Lisa's talented pals often pop by for this Bash, so there’s no telling who will wander onstage for this wonderfully spontaneous jam.

Texan Vickie Shaw is a recovering SOB (Southern Baptist), and has raised three kids as an out lesbian mother. Vickie is a regular on Olivia Cruises, and has been seen on Comedy Central's Premium Blend, LOGO, Showtime, and in the film “Laughing Matters More.”

Cabaret-comic Roxanna Ward hails from Laguna Beach, CA.  Ward is a mom, a teacher, a regular performer on Olivia Cruises, and she penned the R&B single "Remember Who You Are" (Phyllis Hyman, Suede).

Koch is best known for her work with loony Seattle sketch-comedy duo, Dos Fallopia

(“Ham for the Holidays”), cult quartet Venus Envy ("I'll Be A Homo For Xmas"), and Seattle cabaret ("The Carpeters:  Uncomfortably Close To You"). She has been featured on Olivia, LOGO, is the composer of Off-Broadway musical “27, Rue de Fleurus”, and had one of her songs sampled by Jay-Z.

www.heylisa.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

Lloyd Cole

Genre: Singer-songwriter

  1. Tuesday, February 03 7:30 PM (All ages)

Lloyd Cole, though he’d never be so gauche as to suggest it himself, has enjoyed something of a renaissance in 2013. He released his new ‘career best’ album ‘Standards’ in the summer. He also found himself with star billing on the UK’s finest music TV show ‘Later With Jools Holland’(http://www.youtube.com/watch?v=HcDUDm4nNm8). He has been playing to sell-out houses across Europe ever since.

Cole played his first electric shows in a decade in January 2014 and the ‘never ending’ solo acoustic tour resumed in March, crossing Europe, New Zealand and Australia.

But still the album was not released in North America. At last this has been put right and ‘Standards’ will be released on Omnivore Recordings on September 30th. Cole expects to play a few select US shows in the fall with a fuller schedule in early 2015.

Recorded in late 2012 to early 2013 in Los Angeles, New York and at his home in Easthampton, Massachusetts, ‘Standards’ is produced by Lloyd and mixed by maverick German producer Olaf Opal. All songs are by Lloyd Cole apart from ‘California Earthquake’, which was written by American folk artist John Hartford.

Inspired in part by the vitality he found in septuagenarian Dylan’s acclaimed 2012 album ‘Tempest’ – says Cole, 52: “I took it as a kick up the backside…” – ‘Standards’ is a gloriously electric rock’n’roll record and arguably the best thing he has made since his groundbreaking debut with the Commotions, 1984’s ‘Rattlesnakes’.

The band Lloyd assembled for ‘Standards’ comprises Fred Maher (Material, Scritti Politti, Lou Reed) on drums and Matthew Sweet on bass reforming the rhythm section from Lloyd’s debut solo album 1990’s ‘Lloyd Cole’ and its follow up ‘Don’t Get Weird On Me Babe’. With Joan (As Police Woman) Wasser on piano/backing vocals, and Lloyd not only singing but playing synths amidst some of the crispest, stormiest, most stinging electric guitar, it’s a tight ship with a tight sound which tautens and relaxes according to the temper of the song. Augmenting the basic band are Lloyd’s son Will, Mark Schwaber and Matt Cullen on guitars, Commotions keyboardist Blair Cowan, percussionist Michael Wyzik and backing vocalist and Negative Dave Derby.

Says Lloyd: “I wanted to make an album with a small fixed palette of sounds, like a Van Gogh, like ‘Highway 61’. The album format is supposedly dead, but I still want to make them. Not bunches of songs – albums. For the last 10 years I’ve been primarily an acoustic musician but this is an album for electric guitars, electric bass and loud drums, with piano and a synthesizer for measure. Not quite monochrome, then, but not ever-changing either: it has a unique identity – a sound.”

http://www.lloydcole.com/weblog/


Los Lobos

Genre: Rock , Roots Rock

  1. Thursday, March 19 8:00 PM (All ages)
  2. Friday, March 20 8:00 PM (All ages)
  3. Saturday, March 21 8:00 PM (All ages)

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/

Lúnasa

Genre: Folk , Irish

  1. Monday, March 02 7:30 PM (All ages)

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/

Martha Davis & The Motels w/ Vaudeville Etiquette

Genre: New Wave , Rock



Whether you were there when The Motels first burst onto the music scene, or are just discovering them now, 2014 became a year of rediscovery for this iconic artist, which saw more Motels shows than in any year since 1985. Martha began writing songs at the age of 15 and has always known that the songs she writes are her mark. Born and raised in Berkeley, California, she moved to Los Angeles in the early ‘70s, along with the first incarnation of The Motels. The band reformed in 1978 and was immediately signed to Capitol Records.

In 1982, the Motels released “All Four One.” The smash single “Only The Lonely” rocketed into the Top 10, immediately propelling the album to gold status and breaking The Motels wide open in the United States. The group dominated the music scene and was voted Best Performance for “Only The Lonely” at the 1982 American Music Awards.

Her voice is unique, unmistakable and timeless – The Los Angeles Times’ Robert Hilburn called her “arguably the most charismatic female performer in rock.” And about the Hollywood Bowl concert just a few months ago, The Hollywood Reporter wrote, "Martha Davis, of the Motels, was still strong in voice and admirably delivered hits like 'Only The Lonely' and 'Suddenly Last Summer.'”

http://themotels.com/




Martyn Joseph

Genre: Singer-songwriter

  1. Friday, March 06 8:00 PM (All ages)

Martyn Joseph is a powerful singer and songwriter gifted with the rare ability to speak to the soul with his expressive and poignant lyrics. With a career spanning 30 years, 31 albums, over a half a million record sales and thousands of live performances, the versatility of his music touches genres of folk, rock, soul, folk funk and Americana, yet somehow all these labels cannot define the spirit of his music. Compared to Bruce Springsteen, John Mayer, Bruce Cockburn and Dave Matthews, he has created his own style and reputation as a mesmerising live performer. A unique talent driven by passion, social awareness and love for his trade, his music manages to empower and speak for the many.

http://www.martynjoseph.net/

Mason Jennings

Genre: Folk , Pop , Singer-songwriter

  1. Friday, April 17 8:00 PM (All ages)

As one grows into adulthood, remaining steadfastly single-minded about one’s pursuits gets increasingly difficult. The musician becomes a band mate navigating the creative energies of those around them. He becomes a boyfriend, a husband, a businessman. She becomes a lover, a mother, a practitioner of her art. Life becomes multifarious, and the pressure to not let the disparate threads of a chaotic life unravel can cause strain on any relationship. With his new album Minnesota, Mason Jennings crafts a collage of love trying to survive the transition into being a grown-up in a complex world.

“Love is the most important thing to me, my relationship with my wife and kids,” Mason says, adding “And music has always been as important as breathing to me. I have come to realize that to have it all, I have to take the long view when it comes to integrating all these parts of my life.” Increasingly, a sense of place and community has become important to him as well. “The album is called Minnesota because it’s a metaphor for an ever-changing landscape. More than any place I’ve ever been, things change so much here, even month-to-month. But even as things change, Minnesota is where my home is, where my center is.” His profession often takes him away from that center. Being on the road and finding the personal space to create while at home has caused him to examine how he balances his loves. He generally writes from an intensely personal point of view, but Minnesota represents a step toward the light after the darkness of Blood of Man, his last album.

A case in point is the first song on the album, “Bitter Heart,” which manages to be simultaneously plaintive and hopeful. The protagonist recognizes the breach of faith and the sense of estrangement in the relationship, but sings tenderly of rapprochement. To Mason, the central line in this song and a central point to the album is “Our world is filled with only what we see/Can we see love now.” Mason says, “I have come to the understanding that the way that we feel inside is the most important thing, and that we have a say in that.”

Mason often encounters couples after his shows who tell him his music played a major role when they were falling in love. “Raindrops On The Kitchen Floor” is an unadulterated love song, with that love being so visceral that it can seemingly transcend the possible (“How am I gonna live forever/Promise me you will/Call it off, the age of reason/There’s no more time to kill”). “I guess this is music to stay in love to,” he jokes.

But this collage is far from monochromatic. “Clutch” looks back wistfully at a love before the demands of adulthood came knocking. At the end of the song, Mason sings that “Maybe we could work it out, we could live in a dream, live in a dream,” as though he knows it’s too late to re-enter the honeymoon phase of the relationship. The song ends in a dream-like instrumental break that leads directly into “Witches’ Dream,” a fabulist romp that juxtaposes raw lust with fairy tale imagery. He stays in this dream state with “Rudy,” an allegory in which a good man overcomes the forces of darkness, while “Wake Up” addresses the need to put self-inflicted darkness behind one as well.

Musically, Mason paints from a more varied palette than ever. For instance, piano is featured more prominently than any of his previous albums. “The piano seemed to fit the emotional core of the album,” he explains. “I felt that it was important to begin and end the album with piano.” Mason played almost all of the instruments on the album, the one exception being “Well Of Love,” a Perez Prado-esque number that features his friends in The Living Room, the side project of Jack Johnson drummer/percussionist Adam Topol. Friend Jason Schwartzman adds additional piano and background vocals on “Raindrops.”

Minnesota finds Mason Jennings more at home than ever: More at home in his adopted state and more at home with the integration of the self that is required to live an artistic life while enjoying the community of his friends and loved ones.

http://masonjennings.com/



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