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John Gorka

Genre: Folk , Guitarist , Singer-songwriter

  1. Sunday, March 08 7:00 PM (All ages)

From New Jersey, John Gorka is a world-renowned singer-songwriter who got his start at a neighborhood coffeehouse in eastern Pennsylvania. Though small, Godfrey Daniels was and is one of the oldest and most venerable music institutions and has long been a hangout for music lovers and aspiring musicians. In the late 1970’s, John was one of these aspiring musicians. Although his academic coursework at Moravian College lay in Philosophy and History, music began to offer paramount enticements. Soon he found himself living in the club’s basement and acting as resident MC and sound man, encountering legendary folk troubadours like Canadian singer-songwriter Stan Rogers, Eric Andersen, Tom Paxton and Claudia Schmidt. Their brand of folk-inspired acoustic music inspired him, and before long he was performing his own songs – mostly as an opener for visiting acts. Soon he started traveling to New York City, where Jack Hardy’s legendary Fast Folk circle (a breeding ground for many a major singer-songwriter) became a powerful source of education and encouragement. Folk meccas like Texas’ Kerrville Folk Festival (where he won the New Folk Award in 1984) and Boston followed, and his stunningly soulful baritone voice and original songwriting began turning heads. Those who had at one time inspired him – Suzanne Vega, Bill Morrissey, Nanci Griffith, Christine Lavin, Shawn Colvin – had become his peers.

http://johngorka.com/

Johnny A

Genre: Guitarist

  1. Sunday, March 29 7:30 PM (All ages)


Lots of folks throw around the phrase “let the music do the talking,” but only a few have the fortitude to really do it – to just go out there and play, shunning flash, shrugging off image and reeling in the listener on the strength of the songs alone.

Johnny A. is that kind of performer. For the better part of three decades, the Massachusetts-based guitarist and bandleader has proven himself capable of generating heat at venues from working-class bars to international amphitheaters – and every sort of venue in between. And when the house lights are turned up, he’s just as adept at captivating serious students of the six-string with a virtuosity that earned him the rare honor of having his name placed on a signature Gibson® guitar.

“I want to create instrumental music and deliver it like a vocalist,” he says “You can be a great player, on any instrument, and people will take notice for a while...but what people really remember is someone who brings them a great melody.”

On Driven, his fourth outing as a solo performer – which is due for release this June -- Johnny serves up plenty of that, in more flavors than Baskin-Robbins and Ben and Jerry’s combined. From the Motown-inflected party-starter “C’Mon, C’mon” to the introspective “A Mask You Wear” (a song that’s flecked with subtle slide playing redolent of George Harrison’s vintage work), he paints vivid landscapes, scenes that create an emotional connection without words.

Nowhere is that more evident than on the album’s sole cover, a languid take on the Bee Gees’ “To Love Somebody,” which fuses the original’s mournful poignancy with a gentle jazziness – not to mention an underlying swing that’s all the more impressive when you consider that it, like the rest of Driven, is the product of a one-man band.

While Johnny has been a bandleader for most of his career, he opted to work alone on this outing. That meant playing all the album’s instruments himself, but it also meant producing and engineering the songs – which he recorded in a studio that he invested plenty of blood, sweat and tears in building.

“It was different, but it wasn’t all that difficult,” he says of going the solo route on this outing. “I started out as a drummer, so I knew what I was doing there, and I just built the songs on my own. I just visualized myself as the band – I could see myself playing everything, and doing it all at once.”

That take-no-prisoners attitude has been ingrained in Johnny A. since he first set foot on a stage, whether as leader of locally-acclaimed Boston acts like Hearts on Fire or in the company of acclaimed artists like J. Geils frontman Peter Wolf – whose band he anchored for more than seven years. It fully came to the fore in 1999, when he independently issued his first solo album, Sometime Tuesday Morning – a disc that eventually went on to sell 100,000 copies and spawn “Oh Yeah,” a single that topped the AAA charts (a feat no instrumental song had accomplished in more than a decade).

“When I was in my early bands, I sang, but when I was with [Peter Wolf], I came down with a really bad bronchial infection and never recovered my voice completely,” he says. “I made a conscious decision at that point to focus on instrumental music. I re-evaluated how I played, redefined my approach completely.”


That new approach won plenty of accolades from outlets like the Boston Phoenix, which dubbed him “a singular presence on the Boston rock and pop scene, winding jazz, blues, popular tunes, rock, and flourishes of psychedelic improvisation into a tight, passionate ball.” The success of Sometime Tuesday Morning led to a second release, Get Inside, which brought forth a radio hit in the form of the title track – and drew the folks at Gibson®, who approached Johnny to collaborate on a custom guitar, the second best selling signature model in the company’s illustrious line of instruments.

Ever the restless spirit, Johnny A. continues to glide across genres effortlessly, exploring elements of jazz, soul and even a bit of Chet Atkins-styled country on his instructional DVD Taste, Tone, Space, which was released in 2006.


That stylistic fluidity got front and center placement on Johnny’s 2010 release, the live CD-DVD package One November Night, which captures just such a riveting evening for posterity and proves that , in the words of Premiere Guitar Magazine, “ Johnny A.'s magic crosses over because, like [Bill] Frisell, he doesn't just play guitar - he plays music.” That year he earned a Blues Artist of the Year award at 2010’s Boston Music Awards.

The journeying continues on the appropriately-titled Driven, a veritable sonic travelogue that takes the listener from the mists of the hypnotic opener “Ghost” through the rough-hewn terrain of “The Arizona Man,” before fading out in the mysteriously lovely sepia tones of “Gone (Like a Sunset).”

“My goal was to make a really lyrical album that would stay with people, not an album that would make people think ‘wow, that guy’s a great guitarist,’” he says. “I’m not interested in blowing someone’s head off with my playing, or showing how I can shred. With my favorite guitarists, I always tried to put my finger on how I could pick them out of a crowd. You can have all the chops in the world and be voiceless – I always want to have a voice.”

http://johnnya.com/


Jonatha Brooke

Genre: Folk , Pop , Singer-songwriter

Jonatha Brooke has written folk/pop songs, made records and toured world-wide for over three decades. During her early years in Boston she released two albums on Elektra Records with band The Story, Grace in Gravity and The Angel in the House. In 1995, Jonatha released her first of two solo albums on MCA/Universal, Plumb, followed by Ten Cent Wings in 1997. In 1999 she started her own independent label, Bad Dog, and has since released six more albums. Her 2008 release, The Works, combined previously unheard, unpublished Woody Guthrie lyrics with her own music and arrangements. Recently, she's co-written songs with Katy Perry and The Courtyard Hounds for their current releases. Jonatha's also written for three Disney films, various television shows, and composed the theme song for Joss Whedon's Dollhouse.

http://jonathabrooke.com/

Joseph Arthur w/ Jill Sobule

Genre: Singer-songwriter

  1. Tuesday, June 02 7:30 PM (All ages)

When Lou Reed friend Bill Bentley, now working as an A&R director for Vanguard Records, read Joseph Arthur’s moving eulogy in American Songwriter magazine, he approached him to record an album of Lou Reed songs. “Bill told me, ‘Don’t overthink it,’” says Joseph. Arthur set himself up in his Brooklyn studio last December and proceeded to cut twelve of his favorites—using only acoustic guitar and bass, piano and vocals. “The only way I know to give new life to something as rich with life as Lou’s songs and recordings is to go about them in a completely different way. No drums or electricity.”

By stripping these songs down to their essence, Arthur allows us to hear Reed’s music and especially his lyrics, with brand-new ears, from the well-known (“Walk on the Wild Side,” “Heroin,” “Pale Blue Eyes,” “Satellite of Love” and the first song he attempted, “Coney Island Baby”) to the more obscure (Magic and Loss’ “Sword of Damocles,” Set the Twilight Reeling’s “NYC Man,” Lou Reed’s “Wild Child” and “Stephanie Says,” later reworked as Berlin’s “Caroline Says”).

“I put my soul into this record,” says Arthur. “It was like getting to hang out with Lou again, being inside his head.”

Indeed, Lou lets you listen to these songs as if you’ve never heard them before. “I only wish he was alive to have heard them,” says Arthur, who wrote in his remembrance, “I’m trying not to focus on the fact that I had him in my life; that I loved him, and he loved me, and not think about the lost opportunity to see him again. We can’t cross over and we can’t come back and those that go before us become one with the mystery of everything. Lou was always of that mystery.”

Lou Reed was not only one of Joseph Arthur’s musical inspirations, he was a good friend, and that “Family Love,” as the singer/songwriter/painter/designer describes the pair’s relationship, can be heard in Lou, his simultaneous eulogy and tribute to the man’s life. Reed was on hand at New York’s Club Fez back in 1996 when Arthur performed a live audition for Peter Gabriel, which earned him his initial deal as the first American artist signed to Gabriel’s Real World label. Afterward, the two went out to eat ice cream, and found themselves sitting next to Dolly Parton.

“He was always just true to himself and what he was,” admired Arthur, whose liner notes for the album states, despite his punk reputation, “Lou was lovable… Everyone I knew loved him, whether they knew him or not.”

Lou offers a glimpse behind the curtain, both homage and a way to breathe new life into Reed’s remarkably deep, but consistent, catalog for future generations to come. Lou works as a cohesive whole, even though the individual songs come from all periods in Reed’s career, from the Velvet Underground to his solo output.

The Akron, Ohio-born Arthur was a jazz fusion bassist when he first discovered the Velvet Underground in his late teens (“It was the perfect timing,” he recalls, since he had only begun singing himself), and forged an impressive solo career that began with 1997’s Big City Secrets, as the first American signed to Peter Gabriel’s Real World label, later joining Gabriel’s WOMAD tour in Europe. Two years later, the EP Vacancy, with an album cover he created and designed himself—as he did with most of his releases—earned a 2000 Grammy nomination for Best Recording Package.

Arthur released his sophomore album, Come to Where I’m From, produced by T Bone Burnett and Tchad Blake, in 2000, his last album for Real World before putting out the double album Redemption’s Son on Universal Music Group’s Enjoy Records in 2002. He followed with Our Shadows Will Remain on Vector Recordings, making the album in New Orleans, New York City, London and Prague, with string arrangements provided by the City of Prague Philharmonic. In 2006, Arthur started his own label, Lonely Astronaut Records, releasing a visual collection of his artworks in a book titled We Almost Made It, along with his fifth studio album, The Invisible Parade, recorded in Berlin and Los Angeles. His song, “In the Sun,” was covered by R.E.M.’s Michael Stipe and Coldplay’s Chris Martin for a digital Hurricane Katrina EP sold on iTunes, which included six different versions, one a remix by Justin Timberlake. A sixth album, Let’s Just Be, came out in 2007, followed by Temporary People in 2008, both recorded with his back-up band the Lonely Astronauts.

Arthur was also a member of two super groups, including Fistful of Mercy with Ben Harper and Dhani Harrison, releasing the album As I Call You Down in 2010, also collaborating with Pearl Jam’s Jeff Ament in the band RNDM. He released three solo albums over the past three years: The Graduation Ceremony, The double-CD Redemption City and last year’s The Ballad of Boogie Christ, which he successfully financed through online crowd-funding site, Pledge Music.

http://www.josepharthur.com/

Jill Sobule is a Denver-born singer, songwriter, storyteller, guitarist and gypsy.  Over seven albums and nearly two decades of recording, Jill has mused on topics such as the death penalty, anorexia, shoplifting, reproduction, the French resistance movement, adolescence and the Christian right.

Her recording career began in 1990 with her debut album Things Here are Different, recorded by Todd Rundgren. Her 1995 self-titled album, Jill Sobule, yielded the hit songs I Kissed A Girl (the original) and Supermodel. Since then, she has continued to record, produce and tour with an ever-growing loyal fan base. Jill is considered a pioneer in crowd sourcing, with her 2009 fan-funded record, California Years. She continues to be at the forefront of exploring and creating new models for artists in an ever-changing changing music industry.  

She’s performed with Neil Young, Billy Bragg, Steve Earle, Cyndi Lauper, Tom Morello and Warren Zevon and inducted Neil Diamond into the Songwriter’s Hall of Fame. She can be seen live as a solo performer as well as the co-star of the Jill & Julia Show, an unusual and mesmerizing combination of song and storytelling in collaboration with comedian/actress Julia Sweeney. She also served as songwriter/composer for the hit Nickelodeon network show Unfabulous during that show's three-season run. She composed the music for the off-Broadway show Prozak and Platypus and her songs have appeared in a multitude of films including Mind the Gap, in which Jill herself co-starred.  She has been a political troubadour for NPR stations across America and most recently performed original music at the keynote session for Netroots Nation. Jill is a longtime participant as well as musical contributor at TED. 

A veritable gypsy, Jill divides her time between a busy touring schedule and a variety of other projects. The recently released A Day at the Pass finally captures an ongoing collaboration between Jill and John Doe (from the iconic punk band X) and was recorded live at The Pass studio on one fine day in Los Angeles. She is currently recording her next record, Dottie’s Charm’s - a collaboration between her and 11 of her favorite authors, including: Rick Moody, David Hajdu and Jonathon Lathem, Jill is also working with Steve Cossin (The Civillians), Jim Lewis (FELA) and Robin Eaton (a longtime collaborator) on the musical, Times Square.

In the words of New York Times pop music critic Jon Pareles, “Jill Sobule can claim her place among the stellar New York singer-songwriters of the last decade. Topical, funny and more than a little poignant...grown-up music for an adolescent age.”

http://jillsobule.com/

Joy Mills Band

Genre: Americana , Roots Rock

  1. Wednesday, April 15 8:30 PM (21+)

Following the release of their balladeering and soulful country album, Trick of the Eye, The Joy Mills Band brings forth their 2nd full-length record, Cat & Mouse. Joy Mills, on acoustic guitar and vocals, is joined by Lucien LaMotte on electric guitar and pedal steel, Tom Parker on bass and vocals, and Mike McDermott on drums. The resulting sound is a well-grooved blend of roots, rock ‘n’ roll, folk and country.  10 songs that explore modern themes – characters that filter world-weariness through the lens of self-awareness.

"Seattle’s liveliest country-flavored act since Neko Case."  - Paul Constant (The Stranger)

www.joymills.com/

JP Hennessy (Trio)

Genre: Blues , Rock

  1. Wednesday, April 01 8:30 PM (21+)

JP Hennessy is an Irish recording artist located in Seattle. Raised in Ireland, JP began playing the guitar at the age of 15. He studied Music at the University of West London and then left to pursue his music career with Irish rock band the VooDoos. It was with this band that Hennessy performed at the MTV EMA Awards 2011 to an audience of 15,000 music fans. He played a large role in writing the VooDoos' first album and with them toured America, Ireland, Spain and Germany.

In 2012, Hennessy parted ways with the VooDoos to pursue his own solo career.

Now based in Seattle, JP is performing regularly gaining a large following, and has a fanbase that stretches from Seattle right back to his homeland.

Growing up, JP's mother would play music from the likes of Frank Sinatra, Ella Fitzgerald, Louis Armstrong and Nat King Cole. As Hennessy developed his guitar playing and singing, he began listening to an eclectic range of artists including BB King, Stevie Ray Vaughan, Little Willie John, Elvis Presley, Ray Charles and even hard hitting rock gods, Led Zeppelin.  

In May 2014, JP began recording his debut EP.‚Äč Consisting of 4 tracks and in a genre that is best described as rockin' soul-blues with a splash of swing, his self-titled EP was released December that year.

www.jphennessymusic.com/

Jr Cadillac

Genre: Classic Rock

  1. Saturday, August 15 8:00 PM (All ages)

Ted and Frank Fliss, brothers, came to Jr. Cadillac through Tommy Cadillac. Fellow Queen Anners, Ted was our roadie for a good long stretch and brother Frank was listed as our "spiritual adviser" on the "Hamburgers To Go" album. They were a couple of very funny dudes and wild men in the bargain.

After Ted had roadied for us awhile he'd amassed a small fortune...as this work does pay so well. He decided he would promote one of our many "Sea Cruises". So he took all the money he had and then some and rented the Goodtime II party boat leaving out of downtown Seattle.

While Teddy got the party ready aboard, Frank and some pals were having Double Dirty Mothers at a nearby bar. Somehow he got his drink in a plastic go cup and came aboard just at sailing. Frank and I were standing at the rail up top of the Good Ship Goodtime II. He was regaling me with tales of their wild exploits when at a certain time he said, "Anybody go over the side yet?" I guess I indicated NO because he said, "Here, hold my drink"....and over the top and into the frigid Puget Sound he goes....yeah. He did.

He was sucked under the moving boat and held there for a goodly time. People are getting upset...where is he? Suddenly he emerges floundering and gasping for breath. By now the Captain has stopped the boat to pick Frank out of the water. Teddy threw him a ring and hauled him aboard the little stern area.

He was soaked and a lovely shade of blue/gray. Nearly drowned and suffering from exposure to that cold, cold water. The girls are rubbing his feet and covering him and getting him some hot drink.

The Captain found NO humor in this move of Frank's and was threatening to turn the boat around and head for shore...."No, no", sez Teddy. "I have my life savings into this cruise!!" The Captain relents but promises to abort the party if there is any more trouble of this sort. Ted ASSURES him that he'll deal with his brother, and that there'll be no repeats.

The girls had brought Frank around pretty much and when Teddy got back to him, Ted hauled him out on the stern and just kicked the living shit out of Frank. "You f.....er. You almost cost me a fortune, you asshole!" Beating him with every deprecation.

We played "Sea Cruise" and we were underway.... The party was a big success.

... and there's more to come, to be sure...

http://www.jrcadillac.com/


Judd Wasserman Trio

Genre: Americana , Folk , Roots Rock

  1. Thursday, March 19 9:00 PM (21+)


Judd Wasserman is a musician living in Seattle, WA. He has been solo support for Lights Siberia Acoustic tour NW, shared the stage with members of The Presidents of the United States of America, The Posies, Flight to Mars, Screaming Trees, Unwound, and appeared in the film "Kurt Cobain About A Son," while collaborating with Ben Gibbard (Death Cab) and Steve Fisk.


Judd has composed for Saint Helens string quartet, Pacific Rim Percussion, and Seattle Chamber Ensemble. 


Judd is mainly known as a vocalist and guitarist, but has also played drums since childhood and bass for three years with Olympia, WA band, The Pasties, recording, mixing, and producing their second album, "Bikes Are Sexy," in addition to self-recording and playing almost all instruments on many of his own albums.



 http://www.juddwasserman.com/



 

Kaki King: The Neck is a Bridge to the Body

Genre: Guitarist , Singer-songwriter

  1. Monday, April 06 7:30 PM (All ages)

An Innovative Multi-Media Performance

"There are some guitar players that are good, and there are some guitar players that are really fucking good. And then there's Kaki King." – Dave Grohl

"a shockingly gifted, stunningly complex performer... King has been dubbed by fans and critics alike: an iconoclast, a prodigy and a guitar hero, even drawing critical comparisons to Jimi Hendrix." - LA Times

Kaki King’s groundbreaking new work, The Neck Is A Bridge To The Body, sees the renowned guitarist and composer joining forces with visual performance pioneers Glowing Pictures to construct an innovative, immersive multi-media production in which The Guitar itself takes centerstage.

The Neck Is A Bridge To The Body lays bare The Guitar’s inner life and protean power, its incalculable possibility and perpetual presence in our deepest unconscious. The hour-long production places the focus directly on The Guitar itself, the Instrument serving as an ontological tabula rasa in a creation myth unlike any other ever presented.

King and Glowing Pictures – known for their work with such artists as Animal Collective, David Byrne & Brian Eno, Beastie Boys, and TV On The Radio – have reconceived The Guitar as a screen for a remarkable range of new digital projections. Luminous visions of genesis and death, unexpected textures and skins, are cast onto a Ovation Adamas 1581-KK Kaki King Signature 6-String Acoustic guitar customized specifically for this production. The Guitar gradually evolves, taking on a living, breathing existence of its own, complete with friends, family, and complex skeletal, muscular and nervous systems. Provocative and moving, surprising and beautiful, The Neck Is A Bridge To The Body is Kaki King at her visionary best, as ever deconstructing and redefining the role of solo instrumental artist though virtuoso technique, outsized imagination, and boundless humanity.

“The Guitar is a shape-shifter,” King says, “something that plays all types of music and really fills all kinds of roles. It’s not always the six-string guitar that we all know and love. I’ve been playing guitar for more than 30 years. It’s who I am and if anything, this project has made me even more familiar with it.”

The Neck Is A Bridge To The Body debuted at Brooklyn’s acclaimed BRIC Theater in New York City in 2014, and will tour extensively in 2015. An album featuring the music from the show will also be released in the coming months.



http://www.kakiking.com/




Kim Simmonds and Savoy Brown 50th Anniversary

Genre: Blues , Rock

  1. Wednesday, March 18 7:30 PM (All ages)


British Blues/Rock pioneer Kim Simmonds and Savoy Brown celebrate 50 continuous years, 44 albums, and more than 5,000 gigs from Carnegie Hall to the Fillmore East and West to The Triple Door!  Simmonds and Savoy Brown are on a creative and performing tear - their new release "Goin' To The Delta" hit #5 on Billboard and #2 on the Roots Report. Their brand new "Still Live After 50 Years" recorded in New York is available only at the concerts. Be sure to join us for this historic night!

But Kim Simmonds is not living in the past; he’s challenging himself and his band to reach new heights and find higher ground.

“Savoy Brown is a very musical band,” Simmonds says.  “We’re not comparing ourselves to others.  We appeal to an audience who wants to hear what we are up to now, what we are rehearsing, creating as a band.  I think my guys and my team are empowering me to do this.”

That’s what Kim lives for and invigorates him - playing for audiences who are hungry to listen for new heights in artistry - not just living off 50 years as an architect of the British hard blues scene.

“Whether I like it or not, I think my destiny is to keep doing what I’m doing, play in clubs and theaters where people pay their hard eared money to hear us give them one-hundred and ten percent.”

Legendary blues/rock institution…true innovators. These are just a few of the ways Savoy Brown has been described over the past forty years by music critics and fans.

One of the earliest of British blues bands forming in 1965, Savoy Brown, with founder guitarist Kim Simmonds at the helm, helped launch the UK blues boom movement that brought blues music back to the USA invigorating the style forever. In the process, the band became part of the framework that launched the rock and roll music of the 1970's. Their influence now stretches into modern rock as we know it today.

The band recorded their first singles for Mike Vernon's Purdah label in 1966 and quickly followed up with the landmark album "Shakedown”. Singer Chris Youlden joined the band in 1968 and many classic records appeared with songs such as "I'm Tired” and "Louisiana Blues” becoming radio staples. Blues-rock and boogie music always was the band's calling card and they captured, forever, the spirit of the music on the live side of "A Step Further” (1969) with a twenty-minute boogie "The Savoy Brown Boogie” dedicated to fans in Detroit.

By 1971, Youlden had departed on a solo career and band members Dave Peverett, Roger Earle, and Tony Stevens had left to form their own group Foghat.  Kim Simmonds rebuilt the band using former members of the blues band Chicken Shack and vocalist Dave Walker. That year, "Street Corner Talking” brought the band its best chart success up to that date. "Tell Mama”, "Street Corner Talking”, "All I Can Do Is Cry” and the band's funky re-make of the Motown classic - "I Can't Get Next To You” - took the band to platinum status and placed them in front of wildly enthusiastic rock audiences in arenas all over the world.

After the successful run of the early to mid 70's, Kim moved operations to the USA and continued making the kind of records he wanted to make with a succession of line-ups. Records as diverse as the acoustic blues "Slow Train to the hard-hitting Rock And Roll Warriors appeared. All were eagerly accepted by the fans.

A three record deal with Crescendo in 1987 took the band into more of a rock direction, with records such as Live 'n' Kicking placing the group in a live setting, one in which they have always excelled.

In the '90's, Let It Ride was released and then turning things around in 1994, Kim enlisted Pete McMahon for vocal and harmonica duties and ex-Robert Cray drummer Dave Olsen to record Bring It Home for Viceroy. This set the tone for the next five years.

Following on, Nathaniel Peterson was brought in to handle the bass playing and singing. After touring the world extensively for three years, in 1999, The Blues Keep me Holding in 1999 was released on Mystic Music. This modern blues record brought the band's epic music journey full circle.

With new goals in mind, Kim Simmonds took over the front singing duties in 2001and the 2003 Blind Pig release “Strange Dreams” was a hit with critics and fans alike and Kim, as front man vocalist, fitted the times perfectly. Changing into a three piece classic blues/rock outfit in 2006 and still doing double duty as guitarist and vocalist, Kim released the bands 30th album "Steel.”  In 2009, after nearly a decade of singing lead vocals and wanting to concentrate once again on his guitar playing, Simmonds brought in Joe Whiting as lead singer. The band thus became a four piece aggregation with Garnet Grimm on drums and Pat DeSalvo playing bass. The new changes coincided with the release of a retrospective album "Too Much of a Good Thing” that covered the years 1992-2007.

From London's Soho night clubs in 1966 to headlining the world's most famous venues (Carnegie Hall, Fillmore's East and West, Cobo Hall, etc) Savoy Brown has done it all and as the band continues to tour worldwide they give a glimpse into the past and also inspire new listeners with their personal brand of rocking boogie, blues and rock.

In 2011 Kim signed the band to Ruf Records releasing the album "Voodoo Moon” that has became a best seller on Amazon.  2014’s “Going To The Delta” hit #5 on Billboard Blues Chart, #2 on the Roots Report Chart and #1 on Amazon Blues Sales.  The band’s brand new “Still Live After 50 Years” is only available at their concerts.  And they’re already in the studio with their next album, “The Devil To Pay” which is being featured already in concert.


http://www.savoybrown.com/

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Triple Door

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