UPCOMING SHOWS

The Gravel Project bring their masterful blend of classic rock, blues, & psychedelia back to the Press Room stage w/ support from Spencer Albee’s killer new band.

Taking inspiration from greats such as Stevie Wonder & modern masters like Vulfpeck, Telula’s music is soulful & dynamic, featuring intricate melodies backed by funky rhythms.

Heavily inspired by the Grateful Dead, Phish, and the 90’s ska movement, the Tide twists a signature sound as ever changing as the New England weather.

Hailing from the vibrant underground music scene in Portland, ME, the emerging duo LZRD PPL, composed of Slaythoven and abnr, is making a name for itself in the realm of experimental electronic music.

Come sing along to some traditional Irish ditties!

Jabbering Trout’s energetic delivery & eclectic songwriting have drawn comparisons w/ Elvis Costello & Joe Jackson, even the English Beat.

Cap off MLK Day w/ some stellar live jazz.

feat. Mike Effenberger on piano, Rob Gerry on bass, & Eric Von Oeyen on drums.

Modern UK post-punk legends shame are coming to rip the roof off of the Press Room.

“Cutthroat is a joyride. It’s for the inexperienced driver. The one who wants to go fast for no reason other than it’s fun. It’s driven by hunger. Hunger for something better. For something you’ve been told you don’t deserve.

It’s primal. It’s raw. It’s unapologetic. It’s the person who turns up to the party uninvited. ’Cause when you’ve been pushed down, there’s nowhere to go but up. When you ain’t got nothing, you ain’t got nothing to lose.” – shame

Cutthroat is shame at their blistering best. “It’s about the cowards, the cunts, the hypocrites,” says vocalist Charlie Steen. “Let’s face it, there’s a lot of them around right now.”

An unapologetic new album with Grammy winning producer John Congleton at the helm; it’s souped up and supercharged. It’s exactly where you want shame to be.

Still in their twenties, the five childhood friends – Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist Josh Finerty and drummer Charlie Forbes – have grown shame exponentially, with ambitious sonic ideas and the technical chops to execute them.

Having proved themselves several times over with legendary live shows and three critically-acclaimed albums under their belts, shame went into Cutthroat ready to create a new Ground Zero.

“This is about who we are,” says Steen. “Our live shows aren’t performance art – they’re direct, confrontational and raw. That’s always been the root of us. We live in crazy times. But it’s not about ‘Poor me.’ It’s about ‘Fuck you’.”

Crucial to this incendiary new outlook was producer John Congleton (St. Vincent, Angel Olsen). From their initial meeting, Congleton’s no-bullshit approach became a guiding force to streamline the band’s ideas.

Stamped throughout with shame’s trademark sense of humour, the album takes on the big issues of today and gleefully toys with them. With Trump in the Whitehouse and shame holed up in Salvation Studios in Brighton, they cast a merciless eye on themes of conflict and corruption; hunger and desire; lust, envy and the omnipresent shadow of cowardice.

Musically, too, the record plays with visceral new ideas. Making electronic music on tour for fun, Coyle-Smith had previously seen the loops he was crafting as a separate entity to the things he wrote for shame. Then, he realised, maybe they didn’t have to be. “This time, anything could go if it sounded good and you got it right,” he says.

Cutthroat’s first single and title track takes this idea and runs with it into, quite possibly, the best song shame have ever laid to tape. It’s a ball of barely-contained attitude packed into three minutes of indie dancefloor hedonism. It also masterfully introduces the lyrical outlook of the record: one where cocksure arrogance and deep insecurity are two sides of the same coin.

“I was reading a lot of Oscar Wilde plays where everything was about paradox,” Steen explains. “In ‘Cutthroat’, it’s that whole idea from Lady Windermere’s Fan, ‘Life’s far too important to be taken seriously’.”

‘Spartak’ rolls in on an Americana-flecked country lilt (“I was basically trying to write a Wilco song,” Coyle-Smith chuckles). This song holds one of the main themes of the record, criticising cliques and pack-mentality.

It sets its crosshairs on the social climbers; the people at the party always looking over your shoulder trying to find someone more important.

“I guess this disdain towards cliques comes from how shit I was made to feel by the cool kids growing up.” Says Steen, “ I was a chubby teenager who liked the wrong type of music and wore the wrong type of clothes.”

“It’s just another time I’d like to say fuck you to those people, and to anyone who makes someone feel shitty for not fitting in.” Steen says with a smile on his face.

Album highlight ‘Quiet Life’, the first spark in the Cutthroat writing process, is delivered via a snarling Rockabilly riff, influenced by the tone and attitude of such bands as The Gun Club and The Cramps.

“‘Quiet Life’ is about someone in a shitty relationship. It’s about the judgment they receive and the struggle that they have to go through, trying to understand the conflict they face, of wanting a better life… but being stuck.”

‘Lampião’ goes where shame have never gone before, as Steen sings in Portuguese about the polarising Brazilian bandit – a hero to some, a murderer to others.

“My girlfriend is Brazilian and I was in São Paulo with her parents,” Steen says. “Her mum told me about this famous bandit, Lampião, and his wife, Maria Bonita. They’re like Bonnie and Clyde over there, and just as famous.

“It seemed crazy to me how nobody in London seemed to know who they were, so I wanted to write this sort of folk-song about them, condensing their story. The song that I’m singing in the chorus was actually written by one of the bandits in Lampião’s crew, Volta Seca.”

‘After Party’ underpins Steen’s spitting delivery with unsettling, tremulous synths that then break into a wryly chirpy chorus before closer, ‘Axis of Evil’, sends shame into a whole new thrilling dimension. Channelling the prowling, lusty electronics of Depeche Mode, it’s like nothing the band have done before.

This cheeky self-awareness, too, is important. As much as shame want to burst the bubbles of bluster and ego, encouraging us to look in the mirror and ask ourselves, ‘He who casts the first stone…’, they also understand that, at its heart, life is often ridiculous.

“You never know when you’re gonna go, so make it count while you’re still here,” Steen shrugs. “Every good Catholic kid like myself might have fallen asleep every night with a crucified Jesus on their wall. Maybe that has something to do with it as well…”

The result is an album that revels in the idiosyncrasies of life, raising an eyebrow and asking the ugly questions that so often get tactfully brushed over.

“I’m not here to answer the questions, I’m a 27-year-old idiot…” Steen caveats with a self-effacing chuckle. But the one answer that Cutthroat gives with a resounding flourish is that, right now, shame have never sounded better.

A band formed in New Orleans by Jackson Lynch, Duff Thompson, Sam Doores (the deslondes), & members of Tuba Skinny, playing roots/New Orleans rhythm & blues with hair on it—with elements of swampy garage, jazz, & gospel woven in. Translation: get your dancing shoes on!

“Jackson and the Janks sought to create a sound that had all the groove of Huey Piano Smith, but with a dilapidated feel that was more like steel, rhodes, and horn reaching to help each other back onto a high wire. It was, in short, janky. The genesis of Jackson and the Janks was to keep people dancing for 3 hours at the Saturn Bar, but has grown to celebrate Lynch’s distinct writing voice, one of internal ryhmes and witisims, tongue tied phonetics and glowing melodies.“ -Chris Acker

“The only band I’ll stay up ’til 2am for!” -Esther Rose

“Rollicking rhythm & blues.” -American Blues Scene

“Extraordinary, loose and lively, raw, and mysterious.” -Glide Magazine

Cold Chocolate is a genre-bending Americana band that fuses folk, funk and bluegrass to create a unique sound all their own. Led by Ethan Robbins (vocals/guitar/mandolin) and Ariel Bernstein  (vocals/percussion/banjo), the Boston-based duo released their fifth full-length album in the fall of 2023. “We’re growing as a band, and I think that shows in our songwriting,” says Robbins. “I see this album as a leaping off point for many more new albums to come, and that’s an exciting prospect,” adds Bernstein.

Punctuated by tight harmonies and skillful musicianship, Cold Chocolate has quickly gained recognition for their original music and high-energy shows. The band has shared bills with Leftover Salmon, David Grisman, and Angelique Kidjo, and regularly performs at venues and music festivals across the country. Jason Verlinde of The Fretboard Journal who covered the band’s FreshGrass Festival set noted “there were plenty of magical moments…I will never forget [watching] Cold Chocolate perform.” Kathy Sands-Boehmer of No Depression raved, “[Ethan] feels the music in his heart and soul and it shows when he plays. Ethan becomes the music on stage. There’s an almost mystical connection between his guitar and the notes that flow out of it.”

The gang takes on Bowie’s final masterpiece.

David Bowie died within days after the January 8, 2016 release of Blackstar, an event that immediately shaped perceptions of his 25th album. Unbeknownst to all but his inner circle, Bowie wrote and recorded Blackstar after receiving word that he had liver cancer, so the album was certainly shaped through the prism of this diagnosis. A close listen reveals how the album is littered with references to dying — indeed, it concludes with a note of acceptance in “I Can’t Give Everything Away” — but Bowie’s remarkable achievement with Blackstar is how it’s an album about mortality that is utterly alive, even playful.

Unlike its predecessor, 2013’s The Next Day, Blackstar doesn’t carry the burden of ushering a new era in Bowie’s career. Occasionally, the record contains a nod to his past — two of its key songs, “Sue (Or in a Season of Crime)” and “‘Tis a Pity She Was a Whore,” were even aired in 2014 as a supporting single for the Nothing Has Changed compilation (both are revamped for this album) — but Bowie and producer Tony Visconti are unconcerned with weaving winking postmodern tapestries; now that they’ve shaken free their creative cobwebs, they’re ready to explore. Certainly, the luxurious ten-minute sprawl of “Blackstar” — a two-part suite stitched together by string feints and ominous saxophone — suggests Bowie isn’t encumbered with commercial aspirations, but Blackstar neither alienates nor does it wander into uncharted territory. For all its odd twists, the album proceeds logically, unfolding with stately purpose and sustaining a dark, glassy shimmer. It is music for the dead of night but not moments of desolation; it’s created for the moment when reflection can’t be avoided. Fittingly, the music itself is suspended in time, sometimes recalling the hard urban gloss of ’70s prog — Bowie’s work, yes, but also Roxy Music and, especially, the Scott Walker of Nite Flights — and sometimes evoking the drum’n’bass dabbling of the ’90s incarnation of the Thin White Duke, sounds that can still suggest a coming future, but in the context of this album these flourishes are the foundation of a persistent present. This comfort with the now is the most striking thing about Blackstar: it is the sound of a restless artist feeling utterly at ease not only within his own skin and fate but within his own time. To that end, Bowie recruited saxophonist Donny McCaslin and several of his New York cohorts to provide the instrumentation (and drafted disciple James Murphy to contribute percussion on a pair of cuts), a cast that suggests Blackstar goes a bit farther out than it actually does. Cannily front-loaded with its complicated cuts (songs that were not coincidentally also released as teaser singles), Blackstar starts at the fringe and works its way back toward familiar ground, ending with a trio of pop songs dressed in fancy electronics. This progression brings Blackstar to a close on a contemplative note, a sentiment that when combined with Bowie’s passing lends the album a suggestion of finality that’s peaceful, not haunting.

Sax- Russ Grazier
Guitar-Jon Mccormack
Bass- Nick Phaneuf
Vocals- Billie Butler
Keys- Andrew Strout
Drums- Mike Walsh

Scorchin’ bill of some of the finest indie twang around.

Deer Isle is a twang rock band from the NH Seacoast. A group made up of local musicians with a shared love of alt country and its predecessors.

Coyote Smoke is a six-piece band from the Seacoast of New Hampshire, made up of dreamers, wanderers, and troublemakers. Their honest, raw, and gritty lyrics blend with a powerful indie Americana rock sound that resonates with music lovers from all walks of life.

Fronted by the captivating vocals of Gabbi Toribio and Jordan Cowley, with Rainor Vigneault on lead guitar, Aiden Delaney on bass, Jeff Hayes on keys, and Jed Allen on drums, Coyote Smoke chases their version of the restless American dream—bringing everyone along for the ride.

The Mountain is Phil Boyd (banjo, mandolin, octave mandolin), Colin Vandenbergh (mandolin, fiddle), Chris D’Amore (bass, guitar) and Joe Kenneally (guitar, banjo, octave mandolin). At a Mountain show, you can expect rippin’ old-time pickin’, luscious harmonies, and intimate vibes. Don’t be shocked to see onstage hugs. The band was born out of spending a little too much time picking tunes in Joe’s barn during that time we couldn’t go out.

Coyote Island’s sound covers everything from reggae to folk, Afrobeat to Gypsy jazz, Cumbia to psychedelia—and it’s sure to make you dance.

Mike O’Hehir, the man at the heart of Coyote Island, is an old soul, but the music he’s crafted with his band and growing collection of diverse collaborators is as fresh as anything going today. From the breezy and bouncy mix of Caribbean beats and contemporary pop production that blasted “Here Before” into the post-pandemic public consciousness to the meditative and moody organ that makes “Shine through the Darkness” a glimmering beacon for lost souls, his songs are mood enhancements and attitude adjustments — perfect for a generation of music lovers looking for a path forward.

Now, to follow the breakout success of their 2023 album “Holy Illusion,” Coyote Island have released “Shadow Magic,” the 2nd album on Ineffable Records. Much like everything to come from a band named for the coyote, often depicted as a wise and playful trickster in indigenous cultures, the sound is hard to pin down. It opens warm and inviting, walks into a skittering chorus, then brings in thundering drums and an ethereal guitar lead.

“You don’t have to please everyone/ You gotta listen to your soul now,” O’Hehir offers to open “Trust the Path,” and that sentiment is core to the Coyote Island ethos. As he has moved from itinerant troubadour criss-crossing the United States to rooted family man, he has put together a band fully invested in exploring the possibilities offered up by everything from reggae to folk, Afrobeats to Gypsy jazz, cumbia to psychedelia. Guitarist Amir Rivera, a co-writer on “Trust the Path,” is versatile and wily. Fans know anything can happen when he comes strutting toward the front of the stage. And the rhythm section of Garrett Jones on bass and Ryan Benoit on drums navigate the often complex rhythms in a way that makes them feel comfortable and familiar.

Not that you have to be some kind of musicologist to appreciate what Coyote Island is doing.

Like Khruangbin or Father John Misty, Vampire Weekend or Talking Heads, they take these authentic traditions and spin them into the future, bringing you along with them as they follow their own path, trusting that they’ll figure everything out along the way. Or won’t. It’s that sort of curiosity about the world that turns clubs into tent revivals, festivals into mystical experiences. The coyote is elusive, by nature. You sort of have to let go of the wheel and see what happens.

With new music on the way that will challenge anyone to predict what comes next, O’Hehir and crew find themselves creating deep connections to people via a shared vibration everyone can only hear for themselves: “It’s all about you,” he likes to tell folks. “You have to dance in authenticity.”

“Do you still believe it?” John Ross asks that question after journeying through the wreckage, after singing of thunder rolling down the track and lighting in a bottle. These are tropes, and he knows it. It’s a moment where he’s returning to the ancient wisdom of his classic rock forebears, trying to find the answers all over again. This is the ground Ross travels in “The Fences Of Stonehenge,” the lead single, opening track, and mission statement of the new Wild Pink album Dulling The Horns. The question reverberates across the album: “Do you still believe it?” And what happens when you don’t anymore?

Ross’ response is to start anew. From the late ‘10s through the early ‘20s, Wild Pink was on the classic ascension arc. The otherworldly synth-Americana of 2018’s Yolk In The Fur garnered them press buzz and accolades, while the widescreen gloss and scope of its followup, 2021’s A Billion Little Lights, swung for the fences at the cusp of the band’s breakthrough. Then everything changed: Ross received a shocking cancer diagnosis. Wild Pink’s subsequent release, 2022’s ILYSM, was inevitably saddled with the weight of being an album about mortality and love. On the other side of it all, Ross began to reimagine what Wild Pink was.

The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I didn’t want to clean up anymore,” he says. “In doing so we’ve arrived at a new place.”

After the “digital lacquer” of A Billion Little Lights, Ross had already wanted ILYSM to be more organic and human. But Dulling The Horns takes that prompt further in every way. There will still be occasional synth plinks, sax drones, pedal steel courtesy of frequent collaborator Mike “Slo Mo” Brenner, and even a bit of fiddle. But otherwise, Dulling The Horns is coarse, lived-in, visceral — music intended to be played live, with pounding rhythms and guitars bleeding all over. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era.

Dulling The Horns is the sound of Wild Pink fraying at the edges. On the other side of his cancer battle and having to retell the story through an album cycle, he found himself exhausted — desperate for a new spark, a new story. “You zoom out, and I’m very fortunate,” he continues. “But Dulling The Horns came from the feeling of figuring out how do you deal with things and move forward and just keep creating.”

There’s a paradox at the core of the album: You can hear the toll the years took on Ross, but his new music sounds like a vital reclamation. Accordingly, the album’s overall mood conflicts with itself, too. Ross picked the phrase “dulling the horns” to refer to when a wild animal’s horns get worn down and thinking about the treadmill of the music industry. But now as Ross has also become a father, aging has meant wear and tear as well as those new joys.

But before you foist the parenthood album on Ross after his cancer album, Dulling The Horns is more a rangey, unruly eruption than the pristine epics of previous Wild Pink albums. Far from staid domestication or venturing out to pasture, Ross’s latest collection is wooly and wild with ideas. Throughout, his lyrics mirror the music in its scrappiness. Some connect, some are ellipses; some resonate poignantly and some tumble into hilarious asides. With Dulling The Horns as Wild Pink’s reset, it’s as if Ross is emptying all this loose, untamed energy both musically and spiritually.

That means “Eating The Egg Whole” rides a chugging road ramble of a beat while Ross muses on Michael Jordan documentaries and DC sports history, slyly connecting local vicissitudes to mortality with one raspy “Nothing lasts forever!” “Sprinter Brain” takes its name for a band in-joke — about one particularly stressful sprinter van tour that plagued Ross — but cloaks one of the album’s most touching stories as Ross juxtaposes his anxiety against his wife’s solidarity. Tiny moments of personal revelation sit right alongside a mesmerizing mess of disparate asides and themes. Take “Catholic Dracula,” a song in which Ross sings about how Dracula was, in fact, once a Catholic, before asking: “And I wonder what he thought about/ All that imagery of suffering/ The execution on the giant wooden pole/ And how it must have inspired his later work.” The songs work almost as collage vignettes, Ross rattling himself out of ennui with loud, emphatic music chasing whichever thread his frazzled mind thought might lead somewhere surprising.

But in the end, he finds his way back to something like home. Dulling The Horns’ was almost named for its closer, “Rung Cold,” the first song Ross began working on for the album. Instead, it becomes the final word, one last avalanche of modern day overstimulation and overdosing on cappuccins and Czech news on a TV in a bank before, finally, Ross concludes: “And if you can’t get along with it/ You gotta just get on with it.” Perhaps it’s a fittingly world-weary sentiment, an unsteady resolution for the ineffable “it” Ross was still trying to believe in at the beginning of the album. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving.

How does one cope with the pang of desire? It’s the tender, sometimes volatile question that confronts Genevieve Beaudoin on her debut full-length as Dead Gowns.

A deft lyricist with a sweeping range of poetic color and texture, Beaudoin paints her story in dark romantics, presenting a woman in the high summer of adulthood deciphering life’s capacity to fulfill desires or let them go painfully unmet. These cravings – to be touched, to be known, to have just one more encounter with someone lost to time – are a lacuna Beaudoin prods at insistently throughout the album’s twelve songs.

Though never named outright, Beaudoin’s home in Maine – and its ragged, granite strewn coastline – is an evocative character inhabiting the album, a force even more implacable than Beaudoin’s emotions. Also present is the acute awareness of time passing. Pulled from an Eileen Miles poem, the album’s title, It’s Summer, I Love You, and I’m Surrounded by Snow, evokes a feeling of disorientation and the inevitability of change. External and internal forces charge Beaudoin, her inner world shifting much like the dizzying change of the seasons. “We get swept up in the blizzard, and then we are set down in the hot salty haze of August,” she says, remembering the Maine winters of her childhood.

By the album’s end, Beaudoin holds her longing in the balance, no longer overcome but embodied. And if you listen carefully – these songs will pick you up and put you down again, transformed, raw, and satiated.

Dummy Ache’s music shimmers, swells, and explodes, building epic soundscapes where fragile melodies crash headlong into walls of reverb and noise. Part shoegaze, part dreamy indie rock, part fuzz-ravaged chaos, Dummy Ache takes cues from Yo La Tengo, Galaxie 500, Slowdive, and Dinosaur Jr. while carving out something raw, massive, and mesmerizing.

Megan From Work is a four piece indie rock band based in New England. Their music blends chugging punk rock guitars with pop melodies and a nod to 90’s radio hits.

The band is comprised of singer/songwriter Megan Simon, Joey Martin (bass), Luis Hernandez (lead guitar), and Alex Ruscansky (drums).

Sorry Safari is a high paced, action packed act hailing from South Portland, Maine. Combining 90’s alternative rock ideals with new age indie/midwest emo riffage, Sorry Safari is an act that you will not want to miss.

Fun City Fan Club makes jangly, hook-heavy indie rock that feels equal parts late-night radio and sweaty basement show. Built on chiming guitars, melodic basslines, and lyrics that balance earnestness with a knowing smirk, the band channels classic college-rock energy through a modern, restless lens. It’s music for people who fall a little too hard—for cities, for songs, for each other—and keep showing up anyway.

Rigometrics is making serious waves in the Northeast music scene with a dynamic, high-energy sound that blends the soul of classic rock with the grit of funk and blues, the hooks of indie, and the urgency of modern alternative. Their music fuses Josef Berger’s searing guitar work, Derek Haney’s hard-hitting, groove-driven drums, and Keenan Hendricks’ soaring vocals and swaggering piano, which doubles as the bass in their live setup, creating a genre-blurring style that feels both timeless and fresh. The result is a live experience and growing catalog that consistently draws in diverse audiences and fuels an ever-expanding, loyal fan base.

Since forming in 2021, the three-piece has toured the East Coast and South ten times, sold out 300-cap venues, headlined major shows in Maine, and played over 350 gigs, entirely independently. Their catalog includes 2025’s Live in Maine II and single Couldn’t Tell Ya, 2024’s EP Elodie, live album Live in Maine, and singles Endless Road, All My Friends (Live for the Weekend), and No Smoke; 2023’s EP No Time to Waste and single Share the Fortune; and their 2022 debut album Rig N’ Roll. These projects are being shared through constant energetic live performances and an undeniable stage presence via a renovated school bus that the Rigometrics calls home when on the road.

To bring these releases to life, Rigometrics collaborated with top-tier producers Jon Wyman, Matt Perry, and Anthony Gatti, as well as Grammy winners Dave Gutter, Adam Ayan, and ‘Bassy’ Bob Brockmann. Together, they crafted music that elevates Rigometrics’ signature sound while staying deeply rooted in the spirit of rock ‘n’ roll.

Rigometrics is making serious waves in the Northeast music scene with a dynamic, high-energy sound that blends the soul of classic rock with the grit of funk and blues, the hooks of indie, and the urgency of modern alternative. Their music fuses Josef Berger’s searing guitar work, Derek Haney’s hard-hitting, groove-driven drums, and Keenan Hendricks’ soaring vocals and swaggering piano, which doubles as the bass in their live setup, creating a genre-blurring style that feels both timeless and fresh. The result is a live experience and growing catalog that consistently draws in diverse audiences and fuels an ever-expanding, loyal fan base.

Since forming in 2021, the three-piece has toured the East Coast and South ten times, sold out 300-cap venues, headlined major shows in Maine, and played over 350 gigs, entirely independently. Their catalog includes 2025’s Live in Maine II and single Couldn’t Tell Ya, 2024’s EP Elodie, live album Live in Maine, and singles Endless Road, All My Friends (Live for the Weekend), and No Smoke; 2023’s EP No Time to Waste and single Share the Fortune; and their 2022 debut album Rig N’ Roll. These projects are being shared through constant energetic live performances and an undeniable stage presence via a renovated school bus that the Rigometrics calls home when on the road.

To bring these releases to life, Rigometrics collaborated with top-tier producers Jon Wyman, Matt Perry, and Anthony Gatti, as well as Grammy winners Dave Gutter, Adam Ayan, and ‘Bassy’ Bob Brockmann. Together, they crafted music that elevates Rigometrics’ signature sound while staying deeply rooted in the spirit of rock ‘n’ roll.

Drown Your Boots are a Brooklyn-formed indie-folk band known for their restless, lo-fi sound and seasoned songwriting. Drawing on years of experience, they balance heartfelt anthems with moments of loose, psychedelic exploration. Their sets shift naturally between intimacy and momentum.

Formed in 2023, White Mountain Ramblers (WMR) is an acoustic quartet playing bluegrass and beyond. The band features Nathaniel Haas (upright bass/vocals), Ben Rossetter (mandolin/vocals), Luke Bartol (fiddle), and Robbie Neeb (guitar/vocals). Playing a mix of original, familiar, and traditional music, WMR’s unique sound draws from the members’ diverse musical backgrounds. As outdoor enthusiasts who’ve lived in mountain ranges across the U.S., it only made sense to name the band after the Whites, the range that brought them together. Found in venues, bars, and fields across Northern New England, WMR’s hot licks, three part harmonies, and fresh arrangements are guaranteed to get you ramblin’ along!

Stillwater is a bluegrass quintet founded in 2023 on the banks of the Stillwater River in Old Town, Maine. Stillwater features Trip Nickel (guitar), Yoni Musher (mandolin), Kiera Luu (double bass), George Horvat (fiddle), and Jack Pasternak (dobro). Stillwater incorporates modern renditions of traditional American folk and bluegrass tunes with contemporary jamgrass, respectfully exploring their creative freedom within the wide world of improvisational music and songwriting.

Feat. live performances by Bill Durling, The Occasionals, & KindVolt!

Proceeds to benefit Planned Parenthood.

When Emanuel Casablanca picks up a guitar, it doesn’t just sing—it testifies. A torchbearer for 21st-century blues and blues-rock, Casablanca straddles grit and grace like few others in the genre today. 

When Emanuel Casablanca picks up a guitar, it doesn’t just sing—it testifies. A torchbearer for 21st-century blues and blues-rock, Casablanca straddles grit and grace like few others in the genre today.

Born and raised in Brooklyn, NY, Emanuel grew up immersed in the rhythmic pulse of the city and the echoes of Southern blues. His influences—ranging from Muddy Waters, Albert King, and Jimi Hendrix, to Gary Clark Jr. and Dan Auerbach—converge in a sound that’s raw, rhythmic, and righteously unpolished. Casablanca first turned heads with his breakout LP, Fingers and Knives (2018), but it was his sophomore effort, Strung Out on Thrills (2020), that signaled the arrival of a major voice in modern blues.

His third album, Blood on My Hands (2022), catapulted him to new heights. Hailed by critics for its emotional depth and sonic swagger, the record garnered two Independent Blues Award nominations, including Best Emerging Artist Album and Best Modern Blues Performance. Casablanca’s songwriting—marked by vivid, unfiltered storytelling—showed an artist unwilling to flinch, both musically and lyrically.

He’s shared stages and studio space with some of the heaviest hitters in the business: Eric Gales, whose fiery fretwork pushed Casablanca to new improvisational heights; Doug Wimbish, the iconic bassist from Living Colour, with whom he’s forged a gritty musical brotherhood; and Joe Louis Walker, a modern blues master who called Casablanca “the future of this music—rough, real, and unrelenting.” He’s also performed alongside artists like Corey Glover, James Samuel III, and Darcy Malone, continuing to expand his musical reach.

Beyond the accolades and high-profile collaborations, Emanuel Casablanca’s power lies in his honesty. There’s blood in the strings, truth in the lyrics, and nothing safe about his sound. Whether he’s tearing through a fuzz-drenched solo or whispering a lyric that cuts like a knife, Casablanca never phones it in. He’s a student of the blues—but also its unruly, defiant son.

And now, the next chapter is almost here.

On November 7, 2025, Casablanca will release his fourth full-length album—a work he describes as “both a reckoning and a resurrection.” Teasing collaborations with new and returning guest artists, along with a darker, more experimental edge, this upcoming LP is poised to redefine what modern blues can be. Those lucky enough to catch his recent live shows have heard whispers of what’s coming: jagged riffs, ghostly ballads, and a renewed sense of fire.

Blues is often said to be music for the soul—but in Emanuel Casablanca’s hands, it’s also music for the fight. And make no mistake: he’s fighting to make sure this music doesn’t just survive—it evolves.

Love will tear us apart again.

Ooh-wee-ooh, we look just like Buddy Holly!

Don’t miss Recent History as they take on one of the most iconic albums of the 90s: Weezer’s Blue Album. This isn’t just a cover, it’s a full-album experience, played track-for-track, complete with deep cuts and fan-favorites from the era. From the opening riff of “My Name Is Jonas” to the epic sweep of “Only in Dreams,” plus a selection of other classics like “Susanne” and “Tired of Sex,” this will be a powerful night of nostalgia. Catch Recent History’s tribute to Rivers Cuomo’s masterpiece at The Press Room in Portsmouth, NH, on February 7, 2026. Get your tickets now for a perfect mix of power-pop energy and heartfelt rock.

Way of the Headband consists of a group of friends making music out of the Mountains of New Hampshire. They call their style “Lava Rock”, an ever-changing flow of everything they love in musical form. Their fans, affectionately known as “Headbandits”, have compared WOTH to a mix of Talking Heads, Pixies, Primus, and Nirvana. Any way you look at it (or listen), WOTH will make its way into your head.

Frank Viele’s brand of New England blues rock tugs at the heartstrings, pulling the listener on a surprise journey that transcends genre.

Frank Viele’s brand of New England blues rock tugs at the heartstrings, pulling the listener on a surprise journey that transcends genre. The Silo EP, being released on Frank’s own Bigger Beast records (a label started to support and highlight some of Frank’s favorite artists, collaborators, and friends), serves as the next step in this artist’s journey. Over the past decade, Frank has racked up accolades — including New England Music Awards for Independent Artist of the Year, Album of the Year, Song of the Year, Male Performer of the Year, Songwriter of The Year (twice), and Live Act of The Year for gutsy, gritty tracks like “Broken Love Song” and “‘Til The Bourbon’s All Gone” — and he has rarely paused to savor the moment before moving on to yet another tour, album, or collaboration. It wasn’t until the pandemic hit in early 2020 and he was forced to hunker down that Viele realized that time itself was the world’s most precarious, yet precious, resource.

Viele’s music is characterized not only by his powerful vocals, soulful guitar playing, and poignant lyrics, but also its deep honesty, and this EP is no different.  “After opening for Lee DeWyze on over 100 shows across 10 years, I had the opportunity to collaborate with him and his long-time producer Nico on this project, bringing a deep connection and understanding to the production process,” Viele says.

This project was intentionally produced to be a sonic departure and to be more cinematic and less rock-driven than Frank’s previous work. The Silo aims to showcase a different artistic side from the brand of heartland rock for which he is traditionally known, and the freedom and support of being in the studio with a friend and collaborator allowed Frank to try some new things. “I took full control of building the sound, playing most of the instruments, writing every song except the Bob Seger cover, and shaping the overall sonic direction,” he explains. “It was my first time layering instruments in the studio and doing things like playing slide guitar on my own record, singing lots of my own backing vocals, and moving away from the live band recording setting I’ve been used to in the past.”

Viele is an artist who is not afraid of wearing his heart on his sleeve, and he digs deep into the joys and struggles of life. He has been praised for his ability to blend elements of folk, blues, and rock into a unique sound that is both timeless and contemporary, and yet The Silo brings a new perspective to his music. “While this is my darkest release sonically, it carries a lot of hope,” Viele says. “The songs were captured during a six-month period of personal change and unexpected realities. After releasing a full-length album with a long cycle, I often write more experimental music in a condensed timeframe—this EP feels like that kind of special, introspective project, born from creative weariness after nonstop touring and recording.” The Silo serves as a timestamp of that period, and even while it is darker than his normal songwriting, this five-song package still comes brimming with the hope that underpins so much of Frank’s songwriting.

Over the years, Viele has built a dedicated fanbase thanks to his dynamic live performances and his ability to connect with his audience on a deeply personal level. With The Silo and several albums under his belt, along with a growing reputation as one of the most exciting voices in folk/Americana music, Frank Viele continues to push the boundaries of what it means to be a modern singer-songwriter. Whether he’s performing on stage or in the studio, he approaches his music with a passion and intensity that is infectious, making more and more folks take notice… one stage at a time.

Grab your broken heart & your black jeans—it’s gonna be a very emo Galentine’s Day.

A pretty seductive double-header for your Valentine’s Day evening.

Vanna Pacella is an ethereal contemporary rock singer-songwriter and multi-instrumentalist from Cape Cod, MA who performs a mix of original material and well-known pop & rock covers – and some deep cuts! Her original music is a masterful blend of raw intensity and powerful emotion, built on haunting vocals and profound lyricism. With a primarily keyboard-led sound, Vanna’s expressive solos are all underpinned by dynamic synth bass lines and intricate lead guitar. She draws influence from the classic rock legacies of Fleetwood Mac, Pink Floyd, and The Police, while infusing her work with the modern pop sensibilities and hooks of artists like Vanessa Carlton and HAIM. This genre-blending style is fully showcased on her debut album, “Listen,” which was released on July 25, 2025. As a three-time winner of the notable 2025 New England Songwriting Competition, Vanna Pacella is celebrated for her unique personal expression, commanding artistic talent, and profound skill as a songwriter. She has also opened for notable nationally touring acts Jax Hallow, John McEuen (Nitty Gritty Dirt Band), and viral Canadian pop/soul duo YASSiN & Sean Terrio.

Savoir Faire is a Boston-based Indie alt-noir rock artist who weaves together dramatic ’60s noir (think James Bond themes), pointed ’90s rock (Fiona Apple, The Cranberries, Portishead), and classic jazz (Ella Fitzgerald, Billie Holiday). Also taking influence from modern chamber pop like Lana Del Ray and Zella Day, Savoir Faire’s sultry vocals deliver a powerfully seductive performance. As a skilled rhythm and lead guitarist, she builds complex arrangements with a dynamic sound, and her razor-sharp lyricism cuts to the insidious core of modern issues like misogynistic language, America’s under-appreciated workforce, and reproductive rights. Her 2025 album “Hopeless Nostalgic” explores the comforting allure of nostalgia while confronting the problematic aspects of past eras. An acclaimed artist, Savoir Faire has opened for nationally touring acts such as M. Ward (of She and Him) and DeVotchKa (of Little Miss Sunshine soundtrack fame). She has also received multiple awards nominations for Best Songwriter at the Boston Music Awards and Best Jazz Act at the New England Music Awards.

Nobody celebrates President’s Day. Let’s rock instead.

“Not ur average garage band.” Cozy Throne are perhaps best known for the spectacle of their refreshing, high-energy live show riddled with laughter. Bound to keep even the band on their toes as it flows seamlessly through a variety of moods & genres, their performance is dead set on always delivering a delight you’ve not yet experienced; & never ever compromising who they are for it.

Trading Tombstones isa rock duo from Manchester, New Hampshire, known for their stripped-down setup and hard-hitting sound. They blend classic rock with a modern alternative edge, delivering dynamic songwriting and a commanding stage presence.

Isaac Raven and his band are from the desolated area of central Maine. Combing 50’s swing, indie Rock and surf rock with some electronic elements here and there, the group’s efforts to stay inconsistent keep audiences engaged and wondering what might happen next!

If you were here when we did this last year, you already know this is gonna be one helluva night.

Join us for a very special night of New Orleans-inspired jazz, food, & cocktails! Second line starts here!

Dance rock for mental breakdowns that can only be resolved with a raging party or a cathartic singalong.

Victor Jones is a dance rock singer/songwriter based in Brooklyn, NY. He plays music for mental breakdowns that can only be resolved with a raging party or a cathartic singalong. Victor gained success with his concept album “Zookeeper” and singles like “Mother Teresa” and “I Get Hurt,” the latter reaching millions of people on social media. He is 6’3” if that’s important to you.

A hard-edged mashup of the Grateful Dead, Led Zeppelin, and other rock legends.

Not Fade Away Band plays “Dead-Zeppelin” at The Press Room – A hard-edged mashup of the Grateful Dead, Led Zeppelin, and other rock legends!

Get ready for a high-energy night where psychedelic jams meet classic rock thunder. NFAB reimagines the Dead’s spirit through the power of Zeppelin, and other Legends of Rock! The Grateful Dead meets rock’s heaviest hitters – psychedelic, soulful, and totally unpredictable.

Not Fade Away Band (NFAB) isn’t your typical tribute act — they’re a full-throttle celebration of rock’s most legendary eras, blending the spirit of the Grateful Dead with the raw power of icons like Led Zeppelin, The Who, The Rolling Stones, The Beatles, Black Sabbath, and beyond.

Known for their hard-edged style, psychedelic improvisations, and soulful, commanding vocals, NFAB weaves together unexpected mashups that turn each performance into a high-energy, immersive experience.

Fueled by the improvisational freedom of the Dead and the electrifying punch of rock’s greatest pioneers, Not Fade Away Band delivers a sound that’s both familiar and refreshingly unpredictable. Whether it’s reimagining a Dead tune with a hard rock edge, fusing Who classics with swirling psychedelia, or colliding Zeppelin anthems with soaring jams, NFAB takes audiences on a ride where no two shows are ever the same – but the energy, passion, and musical adventure never fade away.

Come show some love for live hip hop (& rock) in Portsmouth.

Art work by LEE GILES

C0NFID3 is a versatile artist from Dover, New Hampshire, known for his genre-blending sound and hands-on approach to music creation. A producer, engineer, and songwriter, he crafts his music from the ground up, allowing him full creative control over every track he releases. His style moves fluidly across melodic rap, hyperpop, alternative, rock, and R&B, reflecting both emotional depth and experimentation.
Active across all major platforms under the name C0NFID3 (Instagram: @its_c0nfid3_), he has steadily built a presence in the New Hampshire music scene. His personal favorite track, “allnightlong,” captures his artistic vision and evolving sound. Beyond solo work, C0NFID3 has collaborated with fellow New Hampshire artist KCK, a partnership that has helped push both artists forward locally. He has also taken part in donation-based shows alongside his father, Joey Painter—who is also active on all platforms—highlighting C0NFID3’s commitment to community, family, and using music for a greater purpose.

Ghost and Bones is an acoustic project from the seacoast area playing cool covers and originals from yesterday and today

Marc G is a Hiphop based Singer/Songwriter   here on the NH Seacoast. He specializes in album creation and bringing his work to live audiences in hopes to build more community and share environments that bring good energy and a satisfying experience.
He hosts a quarterly Hiphop Night at Auspicious Brew, collaborates with a wide variety of musicians and bands, as well as finds himself performing at several showcases and open mics around the area.
His newest albums “Still Dreaming” Parts 1 and 2 showcase his wide variety of songwriting and are available to listen to anywhere music is streamed.
Follow him on Instagram (@marc_g_music) and Facebook (Marc G) or visit his website (marcgmusic.com) to keep up to date with his music and events!

Austin Ridlon is a local singer who expresses his autism through performing rock n  roll covers. Austins influences include Steven Tyler Jon Jon Bon Jovi and Ozzy Osbourne. Austin’s always looking to express his autism and try  to spread positivity in the world. Austin Dreams until his Dreams come true

Sativa $teve is a lyrical force from Maine. He blends in depth thoughts and emotions into his rhyme schemes. His stage presence and freestyling abilities are unmatched. He is the true definition of an EMCEE.

The Nathan Hill trio is a three piece modern acid rock band.   Nathan Hill has a mix of complex heavy riffs and rhythmic clean guitar riffs.   Nate’s solos will send you to a different dimension.  Shawn fletcher is a hard hitting drummer with impeccable timing and solid drum fills. This band also occasionally features the great Joey Painter with a hard hitting rock/ rap set.  All local seacoast musicians.  The passion and love these guys put into this band is worth venturing out for.

HOSTED BY JOEY PAINTER
AN EMCEE/HIP HOP ARTIST / PROMOTE FROM DOVER NH THAT LOVES TO DO COMMUNITY SHOWS AND RAISE DONATIONS FOR GREAT CAUSES EXAMPLES BOSTON CHILDREN’S HOSPITAL CMN, PLANNED PARENTHOOD, COMMUNITY PARTNERS, SOS RECOVERY, THE CHASE HOME AND MORE
THIS PAST NOVEMBER HE AND A WHOLE TEAM OF ARTISTS ROCKED A FOOD DRIVE AT BOGEY’S IN HAMPTON AND RAISED OVER 500 LBS FOR GATHER
ALL OF HIS SOCIAL MEDIAS ARE EASY TO FIND UNDER HIS REAL NAME JOEY PAINTER

Ice age comin’, ice age comin’…

Great triple bill of indie rock and power pop.

Lesser Birds is a Boston-based band crafting restless, guitar-forward songs that balance melody with motion. Drawing from indie rock, psych, and jangly post-punk instincts, their music feels lived-in but never complacent—songs that drift, lock into a groove, then quietly detonate. Equal parts atmosphere and urgency, Lesser Birds make music for late nights, long drives, and anyone who likes their hooks wrapped in a little noise.

Built around songwriter Aaron Spransy, Sinnet is a Boston-based band blending indie rock and soul into bright, human-scale songs—sweet melodies, a little grit at the edges, and arrangements that feel like old friends showing up right on time. Whether it’s bedroom-born intimacy or full-band lift, Sinnet’s sound is heartfelt and unpretentious: craft-forward pop instincts with just enough fuzz and atmosphere to keep it interesting.

Watson Park is an indie rock band based in Somerville, Massachusetts, blending indie rock + folk (and etc.) into warm, melody-forward songs with a DIY pulse.  Formed from a pair of friends recording together before growing into a full band, Watson Park has been active since 2017 and has released multiple full-length records.  The current lineup is Evan Joseph Ringle (lead vocals/rhythm guitar), Troy Hartmann (vocals/lead guitar), Ryan Sinclair (percussion), and Mik Jeromineck (bass).

Standing at the intersection of folk, rock, and pop, Amelia Day blends heartfelt storytelling, raw delivery, and unforgettable melodies into music that feels both fresh and familiar — like rediscovering an old favorite.

Amelia Day is a musical jack-of-all-trades. Standing at the intersection of folk, rock, and pop, Day blends heartfelt storytelling, raw delivery, and unforgettable melodies into music that feels both fresh and familiar — like rediscovering an old favorite. A self-described writer before anything else, her perceptive lyricism extends far beyond her 23 years, with lines reminiscent of songwriting greats like Joni Mitchell and Paul Simon. As the Spokesman-Review notes, Day has a signature style that features “wordplay, double-meanings and rhythmic variations,” with themes ranging from journeying into adulthood to climate change. Many of Day’s songs are also shaped by her intimate relationships, where her queerness and candor take center stage.

Day’s upcoming EP EGO TRIP is her most personal project yet. Lead single “Lady Los Angeles” traces the sting of betrayal after discovering infidelity, while the rest of the EP takes listeners on an intimate journey through her grieving process. “The character of ‘Lady Los Angeles’ is representative of my ex’s obsession with attention and fame at all costs and my own fear of being seduced by those same temptations,” Day explains. “It felt like she was having an affair, not only with another person, but with the often-self-aggrandizing culture of Los Angeles itself.”

Born and raised in the small town of Sumner, Washington — the self-proclaimed “Rhubarb Pie Capital of the World” — Day has been drawn to music-making since she could walk. “I had no idea what I was doing, but I had a toy ukulele and drum, and my parents had an upright piano that I would mess around on,” she recalls. “I could spend hours just playing around on the keys, making up little songs, which my piano teacher recognized and encouraged.” By middle school, Day was already writing her own songs “about myself and my (very angsty) preteen feelings.”

Once Day got to college, she began performing her originals publicly, though not without roadblocks. “I had horrible stage fright up until mid-college,” she admits. Starting with farmers markets and local restaurants, Day gradually built up the confidence and the following that would lead to sold-out shows in Seattle, Boston, and D.C., as well as festival appearances at Bumbershoot (“one of my favorite sets I’ve ever played…there was a line of people outside waiting to get in!”), Capitol Hill Block Party, Folklife Festival, and Seattle PrideFest — all on her own. “I’m proud of getting to this point as an artist completely solo,” Day says.

Day is proficient on guitar, keys, bass, and drums, often switching between instruments during her live performances. At other times, she lets the music take over — stepping away from the instruments to simply sing and dance with mic in hand. She says she aims to “create an environment of complete presence and joy, but also healthy catharsis of all the worst emotions.”

As the Vanderbilt Hustler highlights, her set is “energetic, emotional and full of fun, just like all of her music.” Fans often leave Day’s shows on a high, blown away by her powerhouse vocals (drawing comparisons to Brandi Carlile, Norah Jones, Alanis Morissette, and others), and charmed by the joy she exudes while onstage.

Already boasting over a million streams on a number of songs, Amelia Day continues to prove herself as both a songwriter and performer, emerging as a voice destined to resonate for years to come.

If you love indie rock with real heart & zero nostalgia-bait, this one’s for you—Some Velvet Sidewalk is a living piece of underground pre-grunge, post-punk music history. Come witness them at the Press Room in all their glory.

Some Velvet Sidewalk emerged from Eugene, Oregon in the late ’80s as a fiercely independent force in American underground rock. Led by songwriter Al Larsen, the band carved out a raw, melodic, and emotionally charged sound that sat somewhere between indie pop, punk, and noise—earning them a cult following as they released early tapes and albums like From Playground ’Til Now and Appetite for Extinction. Along the way, SVS crossed paths with (and shared members and collaborators from) pivotal bands of the era, including Bikini Kill, Team Dresch, Dinosaur Jr., and Mecca Normal—placing them squarely in the connective tissue of the Pacific Northwest’s pre-grunge and riot grrrl-adjacent underground.

Through the early-to-mid ’90s, Some Velvet Sidewalk released a string of critically loved records (Avalanche, Whirlpool, Generate!) while touring relentlessly and evolving their lineup and sound—adding guitars, keys, and texture without losing their restless core. Though the band quietly disbanded in the late ’90s, their legacy lives on through compilations, reissues, and the enduring influence of their members across multiple scenes. SVS remains one of those rare bands whose story rewards discovery: inventive, unpretentious, and deeply human.

Plant Fight is a New Hampshire–based indie rock band blending sharp hooks, driving rhythms, and a scrappy DIY edge. Rooted in post-punk tension and classic college-rock melody, their songs move fast, hit hard, and stay memorable without overthinking it—making them a standout live band with an unpretentious, high-energy presence that feels built for the room.

Dummy Ache’s music shimmers, swells, and explodes, building epic soundscapes where fragile melodies crash headlong into walls of reverb and noise. Part shoegaze, part dreamy indie rock, part fuzz-ravaged chaos, Dummy Ache takes cues from Yo La Tengo, Galaxie 500, Slowdive, and Dinosaur Jr. while carving out something raw, massive, and mesmerizing.

Please join us for this very special show with two illustrious visiting jazz artists: internationally prominent, multi-Grammy Trumpeter RANDY BRECKER and worldwide acclaimed Saxophonist ADA ROVATTI. These outstanding artists are visiting as part of the University of New Hampshire’s annual Clark Terry Jazz Festival for UNH students and have graciously agreed to also perform for the public. 

Please join us for this very special show with two illustrious visiting jazz artists: internationally prominent, multi-Grammy Trumpeter RANDY BRECKER and worldwide acclaimed Saxophonist ADA ROVATTI. These outstanding artists are visiting as part of the University of New Hampshire’s annual Clark Terry Jazz Festival for UNH students and have graciously agreed to also perform for the public. You will hear a mix of original compositions from their voluminous repertoire.

On stage with them will be members of the UNH Faculty Jazz Band:

Mark Shilansky, piano; Nick Grondin, guitar; Austin McMahon, drums; and Bronek Suchanek, bass. Two showtimes are offered.

Read About These Outstanding Musicians…

Randy Brecker, trumpeter and composer

Randy Brecker is a seasoned jazz veteran, a virtuosic trumpeter, and a prolific composer. His horn playing has graced the bandstands and recordings of the greatest jazz artists of our time: Horace Silver, Art Blakey’s Jazz Messengers, Charles Mingus, Clark Terry, Joe Henderson, Duke Pearson, Frank Foster, the Thad Jones/Mel Lewis Orchestra, and more. He is known to be a “first call” studio musician because of his talent and his versatility in jazz, rock, and R&B. His trumpeting has energized innumerable studio sessions of artists ranging from James Taylor, Bruce Springsteen and Parliament-Funkadelic to David Sanborn, Jaco Pastorius, and Frank Zappa.

In 1967, Brecker ventured into jazz-rock with the band Blood, Sweat & Tears, recording on their first album “Child Is Father to the Man.” After leaving the band in 1969, Randy appeared with Horace Silver and many other jazz acts feeling a need to fulfill his desire to improvise freely. By 1973, Randy and his sax playing brother, Michael, had become the most in-demand studio players in New York City.

In 1975 they decided to form their own band, “The Brecker Brothers,” becoming a band of immeasurable influence and impact. Hailed by pop and jazz critics alike, their first album, which Randy produced, was nominated for four Grammy awards. The brothers went on to record a total of six albums and receive seven Grammy nominations between 1975 and 1981. They reunited ten years later in 1992 releasing “Return of the Brecker Brothers” and “Out of The Loop” (GRP Records), receiving two Grammy awards, and resulting in tours in the U.S. and Europe.

And the Grammys kept coming!

With Randy as bandleader, their album “34th N Lex” (ESC label) featuring Michael Brecker, David Sanborn, Fred Wesley, and Ronnie Cuber, and his regular working band won a Grammy in 2004 for “Best Contemporary Jazz Album.” And the recently released album “Some Skunk Funk” featuring Michael Brecker and the WDR Big Band won another Grammy in February 2025 for “Best Large Ensemble CD.”

Randy Brecker is a true musical pioneer who continues to perform extensively around the world in a variety of settings. His quest for musical excellence while constantly expanding his trumpet style and encyclopedic catalogue of compositions are unparalleled.

We are fortunate that Randy and Ada are part of this year’s Clark Terry Festival at UNH and delighted they will perform two public shows at The Press Room.

Ada Rovatti, saxophonist

Italian native Ada Rovatti started playing saxophone in high school after years of classical piano training. After winning a scholarship from Berklee College of Music she divided herself between Boston and Italy. In Boston she studied with Joe Viola, George Garzone and Fred Lipsius. In Italy she regularly performed in WDR Big Band with guest artists such as Phil Woods, Lee Konitz, and many more.

After spending a year in Paris touring Europe and Africa, Ada moved to New York City. She has performed in important festivals such as NYC’s JVC Festival, as well as festivals in Rochester, Detroit, Montreal, San Francisco, NorthSea, the International Assn. of Jazz Educators annual event, and more. She is a regular on the ever-popular JazzCruise, performing with an impressive and diverse list of artists and bands such as: Aretha Franklin, Herbie Hancock, Jimmy Heath, Patti Austin, Mike Stern, Anne Ducros, and many others.

In 2003 she released her first 2 CDs as a bandleader with the Elephunk Band and with her quartet with guests Randy Brecker, Mike Stern and Don Alias. Ada was part of two Grammy-winning CDs by Randy Brecker, “34th N Lex” and “Rocks” with NDR Big Band along with David Sanborn, and on the acclaimed CD of John McLaughlin “Industrial Zen.” She also appeared in the movie ‘Mona Lisa Smile’ featuring Julia Roberts.

As a band leader she has released six CDs: “Ada Rovatti & The Elephunk Band,” “Under The Hat,” “Airbop,” “Green Factor,” “Disguise” and “Brecker Plays Rovatti -Sacred Bond.” She has toured with the Brecker Brothers Band Reunion, recording a live double DVD/CD from NY’s Bluenote Jazz Club.

In 2021 she was invited as a guest to perform with the WDR Big Band of Cologne, Germany, in a special concert titled “4 Tenors” along with Bob Mintzer, Bob Malach and Paul Heller. In recent years Ada has been touring and recording for various artists, arranging, producing, and working on her brand-new released project “The Hidden World of Piloo” introducing her also as songwriter and string orchestrator with special guests Fay Claassen, Niki Haris, Kurt Elling, and others.

Mark Shilansky, piano

Jon Garelick of the Boston Globe called Mark Shilansky an “inventive, modern mainstream jazz pianist.”

Mark provides melodic improvisation and infectious compositions whether performing solo, with jazz luminaries, in his classrooms as professor at Berklee College of Music or University of New Hampshire. Shilansky has six recordings as a leader including his 2007 “Join the Club,” a mostly Latin Jazz affair featuring David Bowie and saxist Donny McCaslin, and his 2013 “Fugue Mill,” the debut of his Jazz/Bluegrass/Celtic project featuring violin phenom Sara Caswell. Mark is also featured on over 60 recordings as a keyboardist, vocalist, composer/arranger, or producer, and in performance as band member for such artists as the New York Voices, Luciana Souza, and David Thorne Scott.

As an artist he embraces the history of the styles in which he works, while seeking connections between them as a way of expressing a personal musical vision, characterized by lush harmonies, the exploration of the line between composition and improvisation, and an ever-present sense of humor. His works have been recorded by Robin McKelle, Kim Nazarian, and by Jazz All-State and College ensembles around the world.

Nick Grondin, guitar

An experienced performer and award-winning composer, Nick Grondin has presented his music to audiences throughout the U.S. and Europe, including France, Italy, Germany and at the Panama Jazz Festival. On guitar, he leads the Nick Grondin Group, which performs in the Boston area and New York. He presents his music as modern musical storytelling—inspired by rock, folk and contemporary jazz styles.  The group’s recent album, “A View of Earth,” features pianists Jon Cowherd and Michel Reis and vocalist Aubrey Johnson, and can be heard on streaming platforms.

Nick also is Associate Professor of Ear Training at Berklee College of Music, as well as Artist Faculty in Guitar at University of New Hampshire and at MIT.  His teaching methods focus on building musicianship and applying it to real-world applications such as improvisation, songwriting and internalizing repertoire. He holds a Doctor of Musical Arts degree in Jazz Performance from the New England Conservatory in Boston, where he also received his Master of Music in Jazz Studies/Composition. He has studied with Miguel Zenon, Billy Hart, Donny McCaslin, Jerry Bergonzi, Frank Carlberg, Allan Chase, Dominique Eade, Dave Holland, and Ken Schaphorst.

Austin McMahon, drums

Austin McMahon performs regularly with Jerry Bergonzi and has recently performed and/or recorded with Sean Jones, George Garzone, Marquis Hill, Lionel Loueke, Ben Monder, Lage Lund, Kate McGarry, Noah Preminger, Jason Palmer and Alexa Tarantino. He has appeared as an opening act for Grammy award-winners Dianne Reeves and Esperanza Spalding. On tour, Austin has performed at Carnegie Hall, The Kennedy Center, at several jazz festivals around the world, and at jazz clubs, concert halls and theaters throughout the US, Italy, Germany, Finland, France, China and India.

Austin is the winner of the 9th annual Independent Music Awards (IMA) for Best Jazz Song and Nominee for Best Jazz Album in the 11th annual IMA. His debut CD, “Many Muses,” was selected as a CD Baby’s “Editor’s Pick” and described as “subtle, reverential to tradition, and thoroughly new.” He was recently featured on NPR’s JazzSet with Dee Dee Bridgewater, NPR’s WLRN station in Miami, and on WGBH radio in Boston.

A dedicated educator, Austin currently teaches at Berklee College of Music, New England Conservatory, and UNH. He was also a Teaching Assistant for Jazz Improvisation at Harvard University for six years, receiving the “Certificate of Distinction in Teaching.”

Bronek Suchanek, bass

Bronek Suchanek was trained at a conservatory in his native country of Poland. He subsequently performed throughout Europe, including such venues as the Montreux and North Sea (Holland) jazz festivals. He moved to Sweden in 1975 and became a citizen in 1982. In 1990 he moved to the USA and became a citizen in 2004. Since his arrival in Boston, he has become one of the most sought-after bassists in New England. Bronek has been artist faculty in double bass at the University of Southern Maine since 1994, and at the University of New Hampshire since 2016. Other teaching includes a master class for Bednarska School of Music in Poland; jazz courses at the Summer Jazz Academy in Kraków and Pulawy, Poland; and more.

Equally at home with classical music as with jazz, Bronek has performed with several symphony orchestras as well as many prominent artists such as Yo-Yo Ma, Pinchas Zukerman, Simone Porter, Alexander Schimpf, Lauri Pora, Dimitri Berlinsky, Joyce Yang, and Mark Kaplan. His jazz performances have included performing with the Artie Shaw Orchestra, the Woody Herman big band, the Benny Goodman Tribute Band, and more. He has also performed with artists Rebecca Paris, Amanda Carr, James Williams, Alan Dawson, Herb Pomeroy, Joe Puma, and Chris Potter. In addition, he has performed at many notable jazz festivals, including Newport, Montreal, Krakow, Wroclaw, Poland, and Germany. He has toured in Taiwan, Brazil, Argentina, Canada, Turkey, and the U.S.

 About UNH’s Annual Clark Terry Jazz Festival and This Show

Each year, the University of New Hampshire Music Department has presented the Clark Terry/UNH Jazz Festival. School jazz ensembles from New England and beyond have come to campus to showcase their talents and be evaluated and coached by top-notch jazz performers and educators. At its inception, originally curated by Professor David Seiler, students and their teachers were also treated to performances and clinics by legendary jazz trumpeter Clark Terry and some of his musical peers, along with the UNH Jazz Band and Faculty Jazz Group.

Clark Terry’s and Dave Seiler’s legacies of improvisation and education continue, now under the reigns of Nathan Jorgensen, Director of Jazz Studies at UNH. He continues to bring a wide range of jazz luminaries to the region for the annual Clark Terry Festival, most recently Sean Jones, Camille Thurman Green, Alexa Tarantino, Chris Potter, Marshall Gilkes, Christine Jensen, and, this year, Randy Brecker and Ada Rovatti.

The two public shows held on March 15 this year at The Press Room are cosponsored by the UNH Music Department and the Seacoast Jazz Society.

These shows continue the tradition where musicians participating in the Clark Terry Festival at UNH also perform a concert open to the public. We are grateful to The Press Room for hosting this event at their venue in Portsmouth.

About the Seacoast Jazz Society

The Seacoast Jazz Society founded in 1990 as a 501(c)3 nonprofit organization to spearhead the Seacoast’s annual jazz festival that was first held in 1983 and every year since except 2020. The mission of the Society expanded beyond the annual festival to focus on three areas: fostering a love and appreciation of jazz in the community, supporting local musicians, and helping aspiring young artists to pursue jazz through scholarships and education. To become a member, add your name to our mailing list, or obtain more information about jazz, visit our website at https://www.seacoastjazz.org.

(The ticket link below is for the 5:45 pm show. To reserve seats for the 8:30 show see the next listing below.)

Please join us for this very special show with two illustrious visiting jazz artists: internationally prominent, multi-Grammy Trumpeter RANDY BRECKER and worldwide acclaimed Saxophonist ADA ROVATTI. These outstanding artists are visiting as part of the University of New Hampshire’s annual Clark Terry Jazz Festival for UNH students and have graciously agreed to also perform for the public. 

Please join us for this very special show with two illustrious visiting jazz artists: internationally prominent, multi-Grammy Trumpeter RANDY BRECKER and worldwide acclaimed Saxophonist ADA ROVATTI. These outstanding artists are visiting as part of the University of New Hampshire’s annual Clark Terry Jazz Festival for UNH students and have graciously agreed to also perform for the public. You will hear a mix of original compositions from their voluminous repertoire.

On stage with them will be members of the UNH Faculty Jazz Band:

Mark Shilansky, piano; Nick Grondin, guitar; Austin McMahon, drums; and Bronek Suchanek, bass. Two showtimes are offered.

Read About These Outstanding Musicians…

Randy Brecker, trumpeter and composer

Randy Brecker is a seasoned jazz veteran, a virtuosic trumpeter, and a prolific composer. His horn playing has graced the bandstands and recordings of the greatest jazz artists of our time: Horace Silver, Art Blakey’s Jazz Messengers, Charles Mingus, Clark Terry, Joe Henderson, Duke Pearson, Frank Foster, the Thad Jones/Mel Lewis Orchestra, and more. He is known to be a “first call” studio musician because of his talent and his versatility in jazz, rock, and R&B. His trumpeting has energized innumerable studio sessions of artists ranging from James Taylor, Bruce Springsteen and Parliament-Funkadelic to David Sanborn, Jaco Pastorius, and Frank Zappa.

In 1967, Brecker ventured into jazz-rock with the band Blood, Sweat & Tears, recording on their first album “Child Is Father to the Man.” After leaving the band in 1969, Randy appeared with Horace Silver and many other jazz acts feeling a need to fulfill his desire to improvise freely. By 1973, Randy and his sax playing brother, Michael, had become the most in-demand studio players in New York City.

In 1975 they decided to form their own band, “The Brecker Brothers,” becoming a band of immeasurable influence and impact. Hailed by pop and jazz critics alike, their first album, which Randy produced, was nominated for four Grammy awards. The brothers went on to record a total of six albums and receive seven Grammy nominations between 1975 and 1981. They reunited ten years later in 1992 releasing “Return of the Brecker Brothers” and “Out of The Loop” (GRP Records), receiving two Grammy awards, and resulting in tours in the U.S. and Europe.

And the Grammys kept coming!

With Randy as bandleader, their album “34th N Lex” (ESC label) featuring Michael Brecker, David Sanborn, Fred Wesley, and Ronnie Cuber, and his regular working band won a Grammy in 2004 for “Best Contemporary Jazz Album.” And the recently released album “Some Skunk Funk” featuring Michael Brecker and the WDR Big Band won another Grammy in February 2025 for “Best Large Ensemble CD.”

Randy Brecker is a true musical pioneer who continues to perform extensively around the world in a variety of settings. His quest for musical excellence while constantly expanding his trumpet style and encyclopedic catalogue of compositions are unparalleled.

We are fortunate that Randy and Ada are part of this year’s Clark Terry Festival at UNH and delighted they will perform two public shows at The Press Room.

Ada Rovatti, saxophonist

Italian native Ada Rovatti started playing saxophone in high school after years of classical piano training. After winning a scholarship from Berklee College of Music she divided herself between Boston and Italy. In Boston she studied with Joe Viola, George Garzone and Fred Lipsius. In Italy she regularly performed in WDR Big Band with guest artists such as Phil Woods, Lee Konitz, and many more.

After spending a year in Paris touring Europe and Africa, Ada moved to New York City. She has performed in important festivals such as NYC’s JVC Festival, as well as festivals in Rochester, Detroit, Montreal, San Francisco, NorthSea, the International Assn. of Jazz Educators annual event, and more. She is a regular on the ever-popular JazzCruise, performing with an impressive and diverse list of artists and bands such as: Aretha Franklin, Herbie Hancock, Jimmy Heath, Patti Austin, Mike Stern, Anne Ducros, and many others.

In 2003 she released her first 2 CDs as a bandleader with the Elephunk Band and with her quartet with guests Randy Brecker, Mike Stern and Don Alias. Ada was part of two Grammy-winning CDs by Randy Brecker, “34th N Lex” and “Rocks” with NDR Big Band along with David Sanborn, and on the acclaimed CD of John McLaughlin “Industrial Zen.” She also appeared in the movie ‘Mona Lisa Smile’ featuring Julia Roberts.

As a band leader she has released six CDs: “Ada Rovatti & The Elephunk Band,” “Under The Hat,” “Airbop,” “Green Factor,” “Disguise” and “Brecker Plays Rovatti -Sacred Bond.” She has toured with the Brecker Brothers Band Reunion, recording a live double DVD/CD from NY’s Bluenote Jazz Club.

In 2021 she was invited as a guest to perform with the WDR Big Band of Cologne, Germany, in a special concert titled “4 Tenors” along with Bob Mintzer, Bob Malach and Paul Heller. In recent years Ada has been touring and recording for various artists, arranging, producing, and working on her brand-new released project “The Hidden World of Piloo” introducing her also as songwriter and string orchestrator with special guests Fay Claassen, Niki Haris, Kurt Elling, and others.

Mark Shilansky, piano

Jon Garelick of the Boston Globe called Mark Shilansky an “inventive, modern mainstream jazz pianist.”

Mark provides melodic improvisation and infectious compositions whether performing solo, with jazz luminaries, in his classrooms as professor at Berklee College of Music or University of New Hampshire. Shilansky has six recordings as a leader including his 2007 “Join the Club,” a mostly Latin Jazz affair featuring David Bowie and saxist Donny McCaslin, and his 2013 “Fugue Mill,” the debut of his Jazz/Bluegrass/Celtic project featuring violin phenom Sara Caswell. Mark is also featured on over 60 recordings as a keyboardist, vocalist, composer/arranger, or producer, and in performance as band member for such artists as the New York Voices, Luciana Souza, and David Thorne Scott.

As an artist he embraces the history of the styles in which he works, while seeking connections between them as a way of expressing a personal musical vision, characterized by lush harmonies, the exploration of the line between composition and improvisation, and an ever-present sense of humor. His works have been recorded by Robin McKelle, Kim Nazarian, and by Jazz All-State and College ensembles around the world.

Nick Grondin, guitar

An experienced performer and award-winning composer, Nick Grondin has presented his music to audiences throughout the U.S. and Europe, including France, Italy, Germany and at the Panama Jazz Festival. On guitar, he leads the Nick Grondin Group, which performs in the Boston area and New York. He presents his music as modern musical storytelling—inspired by rock, folk and contemporary jazz styles.  The group’s recent album, “A View of Earth,” features pianists Jon Cowherd and Michel Reis and vocalist Aubrey Johnson, and can be heard on streaming platforms.

Nick also is Associate Professor of Ear Training at Berklee College of Music, as well as Artist Faculty in Guitar at University of New Hampshire and at MIT.  His teaching methods focus on building musicianship and applying it to real-world applications such as improvisation, songwriting and internalizing repertoire. He holds a Doctor of Musical Arts degree in Jazz Performance from the New England Conservatory in Boston, where he also received his Master of Music in Jazz Studies/Composition. He has studied with Miguel Zenon, Billy Hart, Donny McCaslin, Jerry Bergonzi, Frank Carlberg, Allan Chase, Dominique Eade, Dave Holland, and Ken Schaphorst.

Austin McMahon, drums

Austin McMahon performs regularly with Jerry Bergonzi and has recently performed and/or recorded with Sean Jones, George Garzone, Marquis Hill, Lionel Loueke, Ben Monder, Lage Lund, Kate McGarry, Noah Preminger, Jason Palmer and Alexa Tarantino. He has appeared as an opening act for Grammy award-winners Dianne Reeves and Esperanza Spalding. On tour, Austin has performed at Carnegie Hall, The Kennedy Center, at several jazz festivals around the world, and at jazz clubs, concert halls and theaters throughout the US, Italy, Germany, Finland, France, China and India.

Austin is the winner of the 9th annual Independent Music Awards (IMA) for Best Jazz Song and Nominee for Best Jazz Album in the 11th annual IMA. His debut CD, “Many Muses,” was selected as a CD Baby’s “Editor’s Pick” and described as “subtle, reverential to tradition, and thoroughly new.” He was recently featured on NPR’s JazzSet with Dee Dee Bridgewater, NPR’s WLRN station in Miami, and on WGBH radio in Boston.

A dedicated educator, Austin currently teaches at Berklee College of Music, New England Conservatory, and UNH. He was also a Teaching Assistant for Jazz Improvisation at Harvard University for six years, receiving the “Certificate of Distinction in Teaching.”

Bronek Suchanek, bass

Bronek Suchanek was trained at a conservatory in his native country of Poland. He subsequently performed throughout Europe, including such venues as the Montreux and North Sea (Holland) jazz festivals. He moved to Sweden in 1975 and became a citizen in 1982. In 1990 he moved to the USA and became a citizen in 2004. Since his arrival in Boston, he has become one of the most sought-after bassists in New England. Bronek has been artist faculty in double bass at the University of Southern Maine since 1994, and at the University of New Hampshire since 2016. Other teaching includes a master class for Bednarska School of Music in Poland; jazz courses at the Summer Jazz Academy in Kraków and Pulawy, Poland; and more.

Equally at home with classical music as with jazz, Bronek has performed with several symphony orchestras as well as many prominent artists such as Yo-Yo Ma, Pinchas Zukerman, Simone Porter, Alexander Schimpf, Lauri Pora, Dimitri Berlinsky, Joyce Yang, and Mark Kaplan. His jazz performances have included performing with the Artie Shaw Orchestra, the Woody Herman big band, the Benny Goodman Tribute Band, and more. He has also performed with artists Rebecca Paris, Amanda Carr, James Williams, Alan Dawson, Herb Pomeroy, Joe Puma, and Chris Potter. In addition, he has performed at many notable jazz festivals, including Newport, Montreal, Krakow, Wroclaw, Poland, and Germany. He has toured in Taiwan, Brazil, Argentina, Canada, Turkey, and the U.S.

 About UNH’s Annual Clark Terry Jazz Festival and This Show

Each year, the University of New Hampshire Music Department has presented the Clark Terry/UNH Jazz Festival. School jazz ensembles from New England and beyond have come to campus to showcase their talents and be evaluated and coached by top-notch jazz performers and educators. At its inception, originally curated by Professor David Seiler, students and their teachers were also treated to performances and clinics by legendary jazz trumpeter Clark Terry and some of his musical peers, along with the UNH Jazz Band and Faculty Jazz Group.

Clark Terry’s and Dave Seiler’s legacies of improvisation and education continue, now under the reigns of Nathan Jorgensen, Director of Jazz Studies at UNH. He continues to bring a wide range of jazz luminaries to the region for the annual Clark Terry Festival, most recently Sean Jones, Camille Thurman Green, Alexa Tarantino, Chris Potter, Marshall Gilkes, Christine Jensen, and, this year, Randy Brecker and Ada Rovatti.

The two public shows held on March 15 this year at The Press Room are cosponsored by the UNH Music Department and the Seacoast Jazz Society.

These shows continue the tradition where musicians participating in the Clark Terry Festival at UNH also perform a concert open to the public. We are grateful to The Press Room for hosting this event at their venue in Portsmouth.

About the Seacoast Jazz Society

The Seacoast Jazz Society founded in 1990 as a 501(c)3 nonprofit organization to spearhead the Seacoast’s annual jazz festival that was first held in 1983 and every year since except 2020. The mission of the Society expanded beyond the annual festival to focus on three areas: fostering a love and appreciation of jazz in the community, supporting local musicians, and helping aspiring young artists to pursue jazz through scholarships and education. To become a member, add your name to our mailing list, or obtain more information about jazz, visit our website at https://www.seacoastjazz.org.

(The ticket link below is for the 8:30 pm show. To reserve seats for the 8:30 show see the next listing below.)

Mondays are for moshing.

Sláinte! Join us on one of our favorite days of the year for the biggest St. Paddy’s party around.

The Pourmen is a New Bedford, MA based band that blends diverse Celtic, Folk, Country and Punk Rock influences to craft heartfelt songs from the “Cobblestone Streets and Salty Pubs of the Whaling City” and always delivers a rousing live performance.

The Pourmen was established in January 2013 and played their first hometown show on Saint Patrick’s Day 2013. The band has since performed more than 350 shows at festivals, breweries, Irish pubs and other venues across the New England states encouraging folks to sing along to their tall tales and Irish classics.

As one reviewer noted, “If there were a maritime saloon located near a port city in Ireland, The Pourmen would be the house band, never stopping except to fill or empty their drinks.” – Bobby Forand, Motif Magazine, Providence, RI

The Pourmen have also supported touring acts such as The Dropkick Murphys, Flogging Molly, Gaelic Storm, Derek Warfield & the Young Dubliners, Flatfoot 56, The Tossers, The Mahones, The Kilmaine Saints, The Rumjacks and The Real McKenzies. Songs performed by The Pourmen can also be heard in beer commercials (DOT Ale, Moby Dick Brewery) and in a movie (“Whaling City”).

The Pourmen recently announced that they will shipping off for an Ireland Tour in 2026 with stops in Dublin, Kilkenny, Cork and Galway! The Pourmen are Katie Cooke (Fiddle), John Curtin (Tin Whistle, Mandolin), Kris Motta (Bass), Alex
Platt (Guitars), Rick Bennett (Tenor Banjo) and Ed Cardenas (Drums).

Carol Coronis has been firing up audiences in the greater Seacoast area for over two decades and is known for her energetic performances in the regional area. Armed with her cittern, a 10-string “mandolin-on-steroids,” Carol will be featuring music ranging from the ethereal to traditional bellydance and urban songs via aural trips to Greece, Turkey, and the Middle East. There will be a couple of stories to share but expect mostly music and lots of good energy to warm hearts and souls.

Carol is a member of the NH State Council On the Arts Folklife Roster and hosts two radio shows on WUNH radio, Aegean Connection on Saturdays and The Ceili Show on Sundays.

Sláinte! Join us on one of our favorite days of the year for the biggest St. Paddy’s party around.

The Pourmen is a New Bedford, MA based band that blends diverse Celtic, Folk, Country and Punk Rock influences to craft heartfelt songs from the “Cobblestone Streets and Salty Pubs of the Whaling City” and always delivers a rousing live performance.

The Pourmen was established in January 2013 and played their first hometown show on Saint Patrick’s Day 2013. The band has since performed more than 350 shows at festivals, breweries, Irish pubs and other venues across the New England states encouraging folks to sing along to their tall tales and Irish classics.

As one reviewer noted, “If there were a maritime saloon located near a port city in Ireland, The Pourmen would be the house band, never stopping except to fill or empty their drinks.” – Bobby Forand, Motif Magazine, Providence, RI

The Pourmen have also supported touring acts such as The Dropkick Murphys, Flogging Molly, Gaelic Storm, Derek Warfield & the Young Dubliners, Flatfoot 56, The Tossers, The Mahones, The Kilmaine Saints, The Rumjacks and The Real McKenzies. Songs performed by The Pourmen can also be heard in beer commercials (DOT Ale, Moby Dick Brewery) and in a movie (“Whaling City”).

The Pourmen recently announced that they will shipping off for an Ireland Tour in 2026 with stops in Dublin, Kilkenny, Cork and Galway! The Pourmen are Katie Cooke (Fiddle), John Curtin (Tin Whistle, Mandolin), Kris Motta (Bass), Alex
Platt (Guitars), Rick Bennett (Tenor Banjo) and Ed Cardenas (Drums).

Carol Coronis has been firing up audiences in the greater Seacoast area for over two decades and is known for her energetic performances in the regional area. Armed with her cittern, a 10-string “mandolin-on-steroids,” Carol will be featuring music ranging from the ethereal to traditional bellydance and urban songs via aural trips to Greece, Turkey, and the Middle East. There will be a couple of stories to share but expect mostly music and lots of good energy to warm hearts and souls.

Carol is a member of the NH State Council On the Arts Folklife Roster and hosts two radio shows on WUNH radio, Aegean Connection on Saturdays and The Ceili Show on Sundays.

Imagine Mississippi John Hurt and Duane Eddy colliding with acoustic psychobilly at Sun Studio, with Sam Cooke  (via a Screamin’ Jay Hawkins night out) on vocals.

The Mercy Brothers are a roots-forward collaboration between vocalist Barrence Whitfield and guitarist/producer Michael Dinallo, pairing Whitfield’s powerhouse R&B/soul presence with stripped-down, song-driven grit. Their sound leans into traditional blues, country/honky-tonk flavors, and raw old-time roots music rather than the full-tilt “shout” attack Whitfield is often known for.  They released the album Strange Adventure and have documented the project in live recordings (including a 2003 set in Oslo), and more recently a digital release titled Live on Long Distance.

A lotta bang for very little buck.

Earthkit is an NH rock band blending weight, space, and restraint into songs that feel both grounded and crushing. Built on thick guitars and hypnotic grooves, their sound leans heavy without rushing, letting tension do the work.

For the last decade, multi-instrumentalist cousins Ryan Walters and Paul Justin Hollingsworth have written literal volumes of music, recording and performing as Cursed on Earth. While sharing both blood and instruments, the distinct fingerprints of their writing styles are evident in their prolific arsenal of songs. Rising from the Seacoast of New Hampshire, Cursed on Earth has built a home for their unique form of storytelling on the outskirts of traditional folk and bluegrass. Drawing unexpected texture from banjo, ukulele, and mandolin strings, Walters and Hollingsworth blend delicate melodies with intricate and driving guitar rhythms as they explore themes of fate, ghosts, wilderness, and the mysteries of time itself. With the addition of percussionist Sean Joseph Haney in 2017, Cursed on Earth solidified its reputation as a band of proper creative artists. Possessing an eclectic understanding of percussion, Haney brings a balance of talent and humility that stands out in the background and is worthy of moments in the spotlight. Propelling from this coalescence, in 2018 Cursed on Earth launched a Kickstarter campaign for the recording of Vol.2, one of four such volumes in the band’s catalog. With the support of a fan base a decade in the making, Cursed on Earth met their goal and entered the studio, enabling them to release Vol.2, both digitally and physically, in 2019.

Now a quartet including Eve McCarthy on cello, Cursed on Earth is in a constant state of development. Innovation and creativity are always front-of-mind.

“At its core, Kong Moon plays full-on rock and roll, but, there’s so much more. It’s steeped in the ’90s, touching on influences from late ’80s/early ’90s Sonic Youth, R.E.M., Quicksand, the fantastic jangles of Built to Spill, and, well, other things. But, at the core, Kong Moon, is Kong Moon – as vast as a giant skyscraper traversing gorilla, and as ethereal and essential as a full curiously glowing moon.” -Chris Hislop/Seacoastonline

Daniel George Murphy (DGM) is a singer songwriter with an edge. He created an original sound that is atypical and not what is expected of genre. He is based out of the New Hampshire seacoast and is originally from Boson, Massachusetts.

DGM began playing the bass/electric guitar at a very young age and is an ear trained musician. He found a sanctuary in the sounds of the electric bass which helped him to escape from the reality of a traumatic past. To this day, DGM uses music as his catharsis and believes that it is time to share his stories, thoughts, compositions, and music with the world.

Real country, no polish—Nick Bosse brings timeless songs, modern fire, and a full-room sound that proves country is a state of mind, not a zip code.

Nick Bosse is a New England-based, Nashville recording artist and songwriter whose distinctly authentic take on country music defiantly rejects the generic status quo of the genre pushed by the corporate music industry. With a unique sonic identity that builds on the groundwork laid by country icons with a modern approach, Nick is known for his ability to immerse his diverse and growing fanbase into a bygone world. Now, with a host of achievements under his belt, including hitting 2m streams on his single What Happened To Country, putting out his first Nashville album and winning a New England Music Award for Best Vocalist, Nick is traveling the Northeast to show that country music is not a “southern-only” genre of music, it is a state of mind that many share world-wide.

Named a top 10 emerging artist and songwriter by Tractor Supply and Grammy-winning and multi-ACM winning country artist, Lainey Wilson, New Hampshire native April is a vocal force in the Northeast.  April was recently named for two years running, the 2022 & 2023 Country Act of the Year by the New England Music Awards and continues to be sought-after artist who pulls in hearts and ears with every performance.  Commonly referred to as a “blend of Ashley McBryde with the story telling of Lori McKenna”, April finds inspiration in the every day to use as subjects for her music.

April’s passion and love for country music started at just the small age of five.  Growing up in church singing with the children’s choir, “Key of G”, she quickly picked up a sense of music, and it being where her heart felt the most comfortable. Through grade school, April played in concert band and honors jazz band, excelling at flute, alto saxophone and guitar. Her love for energetic, spirited country music has always been heavily influenced by some of her favorite artists including Terri Clark, Wynonna Judd, Ashley McBryde, Lainey Wilson and many more. She has supported artists like Kip Moore, Rodney Atkins, Scotty McCreery, Lonestar, Chase and more, while making appearances at shows for artists like Darius Rucker, Sugarland, Old Dominion and Lainey Wilson.

April is a New Hampshire native, residing in Swanzey, NH on her family farm (Highland Farm) with her husband Mike and daughter Maddison.  She has been writing songs with hit writers Marty Dodson, Blue Foley, Rob Snyder, Trick Savage and more in preparation for her next album which is set to release in 2024.  Her debut album, “The Long Haul” was released in November 2021 and reached #16 on the iTunes Country Album charts and  was produced by Nashville Grammy Nominated Producer, Colt Capperrune.

Jamie McLean Band creates a musical gumbo that incorporates New Orleans soul, middle Americana roots, Delta blues, & New York City swagger.

Jamie McLean Band creates a musical gumbo that incorporates New Orleans soul, middle Americana roots, Delta blues, and New York City swagger. Jamie McLean Band is a triplethreat. The group’s energetic and captivating live show is undeniable. McLean’s fiery guitar has joined theranks of Derek Trucks, Gregg Allman, Aaron Neville, Dr. John, and more on stages from from Madison Square Garden toJapan’s Fuji Rock. His blue eyed southern soul vocals ooze real emotion. And his top line songwriting chops have crafted profound, honest, and heartfelt songs that will keep you singing along, dancing along, and feeling like the song was written about you.

Jamie McLean Band is touring behinda fantastic new album “One Step Forward” on Harmonized Records. The album was recorded at the legendary Grand Street Studios in Brooklyn, NY and features the band’s strongest and most mainstream songwriting to date. It also marks the return of original JMB member Jon Solo on keyboards! “Summer of Who Knows When” is an immediate summer anthem. “Calendar Girl” and “New York Penny Lane” are musical love letters. And the band kicks into full gear on “Too Little Too Late” and “I Believe In Love”!

The live show is where Jamie McLean Band excels and the band has shared the stage with the likes of GreggAllman, Aaron Neville, Dr. John, Taj Mahal, Tedeschi Trucks Band, Trombone Shorty, Los Lobos, Blues Traveler, Marc Broussard, and many more. Jamie Mclean Band has appeared at festivals such as Bonnaroo, Mountain Jam, Targhee Fest, Okeechobee Fest, Ottawa Blues Fest, Quebec City Summer Fest, and Warren Haynes’ Christmas Jam to name a few. McLean has also enjoyed the sponsorship of Gibson Guitars, Fuchs Amplifiers, D’Addario Strings, Blue Microphones, John Varvatos, and Esquire Magazine.

Experience the primal. electrifying “Live Dead” era of The Grateful Dead.

Wolfman Jack is a live music project of veteran musicians from the New England area performing the psychedelic and electrifying Live Dead era of The Grateful Dead. A true dance band in the style of such legendary venues as The Fillmore West, Carousel Ballroom and Avalon Ballroom. They recreate those vintage sets from when the Grateful Dead were first cutting their teeth as a live music act. Don’t miss it!

Low Cut Connie boasts praise from Obama & Elton John, a Seth Meyers performance, & a spot on Rolling Stone’s Top 100 Albums of the Decade.

“The best live rock n roll band in America” – this is how NPR recently described Low Cut Connie. Since 2010, Philadelphia-based frontman / songwriter Adam Weiner has released 7 highly-acclaimed studio albums under that name and earned a devoted fanbase that includes President Barack Obama, Sir Elton John & Bruce Springsteen. In 2024, he released the award-winning documentary film ART DEALERS. He has received acclaim from The New Yorker (“Pandemic Person of the Year”), Rolling Stone, NPR’s Fresh Air and appeared on Late Night with Seth Meyers, The Late Show with Stephen Colbert and PBS Newshour. His writing has been published in SPIN, Billboard, and Talkhouse. In 2026, he is touring venues across the US, playing his “Livin in the USA” show solo at the piano.