UPCOMING SHOWS

The (World Famous) Jazz Jam

FEBRUARY 7 @ 6PM | DOORS 5:30PM | UPSTAIRS

Garcia Peoples

FEBRUARY 9 @ 8PM | DOORS 7PM | UPSTAIRS

Get on the bus.

21+

Formed in New Jersey by guitarists Tom Malach and Danny Arakaki, the band took a few years to find their flying shape, solidifying into a lineup with Danny’s brother Cesar on drums and Derek Spaldo on bass by mid-2016. Ramping up their acceleration around the time of their 2018 Cosmic Cash debut on Beyond Beyond Is Beyond Records, they’ve blasted through residencies and new songs and sessions and collaborations, relocating to New York, picking up two new members in keyboardist/multi-instrumentalist Pat Gubler and bassist Andy Cush, and leaving a trail of live tapes in their wake. This year, they’ve delivered not one but two new albums for BBiB: the sleek and song-oriented Natural Facts and the sprawling improvisatory opus of One Step Behind. 2019 also saw the first performances by the full Garcia Peoples lineup, a six-person behemoth with Spaldo on third guitar.

With a stash of live recordings accumulating at the Live Music Archive, Garcia Peoples’ music is very much a living entity. Since the release of their previous two albums, songs have started to expand, jam suites have grown, and experiments have been undertaken. The first part of 2019 has seen Garcia Peoples back Philadelphia guitarist Chris Forsyth (an expanded Solar Peoples Band has hit double-drummer overdrive several times now), and joined with guitarist Ryley Walker. They’ve improvised on WFMU, and jammed with the sounds of ocean waves and falling rain at strange late night happenings. Probably something else new and wonderful and weird has happened in the Garciaverse since I wrote this.

Whether or not you thought you knew Garcia Peoples’ music, One Step Behind is something new and beautiful, for new heads and old. No matter where you stand–behind, beyond, or another plane altogether–One Step Behind is ready. For those about to get on the Bus, we salute you.

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Heart Attack Ack Ack Ack Ack Ack (Billy Joel Cover Band)

FEBRUARY 10 @ 7PM | DOORS 6PM | UPSTAIRS

The Piano Man returns. Sort of.

21+

Seating is first come, first serve.

Heart Attack Ack Ack Ack Ack Ack is a Billy Joel cover band based in Boston, paying tribute to one of the most successful solo artists of all time. Anchored by a professional dueling pianist and lifelong Billy Joel fan, the band’s dynamic live shows focus largely on Billy’s more rocking mid-70s to early-80s output and have been converting ‘too cool for school’ Billy Joel doubters one by one, while giving lifelong fans a chance to sing along with their favorites at the top of their lungs.

SOLD OUT

EMO NIGHT PORTSMOUTH

FEBRUARY 11 @ 9PM | DOORS 8PM | UPSTAIRS

Come scream along.

First 25 tickets – $10

$15 advanced / $20 Day of Show

21+

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Crush: A Dave Matthews Tribute Brunch

FEBRUARY 12 @ 11AM | DOORS 1030AM | UPSTAIRS

Crash into brunch.

All ages

*All tickets are general admission. Seating is available on a first come, first serve basis.*

SOLD OUT

The (World Famous) Jazz Jam

FEBRUARY 14 @ 6PM | DOORS 5:30PM | UPSTAIRS

Press Room Unplugged feat. Happy Just to See you, Nap Time, Kill-Kennie Band

FEBRUARY 15 @ 8PM | DOORS 7PM | UPSTAIRS

Like they did on the MTV.

21+

On Wednesday, Feb. 15, The Press Room will take audience members back to a time before the Music Television was dominated by reality shows, and instead offered some of the most iconic and era-defining acoustic live performances from the world’s most beloved artists throughout the 1990s.

Inspired by the classic MTV Unplugged series, the first-ever Press Room Unplugged will see the venue’s upstairs transform into an intimate, candle-lit soundstage where three rising local bands will deliver stripped-back acoustic performances, showcasing their raw songwriting without the cover of loud amplifiers or distortion.

The evening’s performers include Happy Just to See You, Nap Time and Kill-Kennie.

Happy Just to See You is a Manchester and Brighton, MA-based indie rock band that blends folk melodies with driving guitars and cinematic strings. Think Manchester Orchestra by way of the Weakerthans.

Nap Time is a Seacoast-based emo band that meshes intimate, vulnerable songwriting with more aggressive and technical instrumentation. Unlike most bands within their genre, Nap Time’s four-piece lineup uniquely sports a saxophonist.

Kill-Kennie is the solo project of local musician Austin Kennie, who draws inspiration from ‘80s post punk, ‘90s indie rock and bedroom pop. Featuring Ian Child on drums, and Sam Salvati on bass and guitar, the Kill-Kennie band plays songs that will “make you dance and make you cry.”

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GIFT & Hooveriii

FEBRUARY 17 @ 9PM | DOORS 8PM | UPSTAIRS

A psychedelic night in February.

18+

GIFT is a psychedelic rock band from Brooklyn, NY. GIFT’s sonic vibrations nod to echo-heavy ’90s psychedelic icons like Brian Jonestown Massacre and Spiritualized. Started in January 2020, GIFT quickly became one of Brooklyn’s favorite psych outfits with their kaleidoscopic live shows. Blending heavy pop sensibilities with pysch filled improvisational jams. Inspired by Ram Dass’ legendary book Be Here Now, the name GIFT is a play on words invoking the word “present,” as in “the present,” as in “it’s a gift to live and breathe in the present.”

GIFT’s debut album is expected to release in late 2022.

Los Angeles psych-rock band Hooveriii (pronounced “Hoover Three”) have announced the July 29 release of their new album A Round of Applause.

Today the band shares the first take of the album by way of A Round Of Appluase’s opening track, “See.” The band’s Bert Hoover notes, “‘See’ is about trying not to take life for granted. Some things are easier said than done. It’s our first song to feature Anna Wallace singing along with us and it came together rather seamlessly. It was a pretty bare bones jangle jam until the band filled it with ear candy.” The video was filmed on 16mm at the Trona Pinnacles in Trona CA. Conceived and co-directed by the mighty Nikki Houston and Owen Summers it features aliens stranded on earth try to find their way home until things go very wrong.

Hooverii have confirmed their first U.S. tour in support of A Round of Applause. The dates kick off July 23 in Oceanside, CA and conclude in Phoenix, CA on August 27.

Though created in large part by founder Bert Hoover, Hooveriii has grown to include Gabe Flores (lead guitar and vocals), Kaz Mirblouk (bass and synths), James Novick (synths), and Owen Barrett (drums).

Prior to delving into A Round of Applause — Hoveriii’s second album through The Reverberation Appreciation Society —the band had stuck to a routine of issuing about two releases a year (including singles, live albums, etc.). After the rise of a certain five-letter word that starts with a C, they realized that time really shouldn’t be taken for granted. Finding additional inspiration via Nick Cave, who once said that dabbling with new ideas continues to fuel his near-50-year career, the band decidedly took a different approach with their new album and gave themselves the freedom to explore in the studio.

The end result is A Round of Applause, an expansive and even, at times, experimental record. Whereas 2021’s Water for the Frogs was akin to a jam-band record — most of its seven songs are about five minutes long (including a closing track that lasts nearly 10) — A Round of Applause could be considered their “pop” album. Occasionally paying homage to the Canterbury scene, the band consider it to be a palette cleanser of sorts. “I am not really a playlist guy or a singles guy,” Hoover admits. “I’m really into the album experience. … So yeah, we made a pop record. But also, to me, this record is very progressive as well, and I think that that provides a nice balance.” HE previously referred to Water for the Frogs as the band’s equivalent of Iggy Pop’s The Idiot. Playing with that idea he says A Round of Applause is the kindred spirit of Lust For Life.

Hooveriii derived the album title from the late-‘80s Roky Erickson song “Click Your Fingers Applauding the Play.” “That’s too much of a mouthful,” Hoover qualified. “My title, A Round of Applause, just came one day, and we were like, ‘Yo, that sounds like a Gentle Giant record.’”

Reflecting the mostly lighthearted and uplifting record, A Round of Applause closes cheekily — but not sarcastically — with the sound of people clapping. Hoover adds graciously: “We’ve been lucky so far. I don’t think we really have a, you know, ‘bad song.’ ” Maybe one will, someday. But Hoover doesn’t dwell on that; after all, his band has more records to make — and time is of the essence.

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Feverslip w/ Rigometrics

FEBRUARY 18 @ 9PM | DOORS 8PM | UPSTAIRS

That old time rock and roll.

FEVERSLIP

Hailing from New England, Feverslip strives to re-energize the musical landscape of today. The pure passion with which they play not only showcases their distinct blend of modern roots-rock blues, it creates some major heat and momentum.

Inspired by scores of legacy influencers and brand-name rock bands – including Aerosmith, The Rolling Stones, The Black Crowes, and AC/DC to name a few – Feverslip is determined to establish themselves as a driving force in the music industry. Having shared the stage with bands such as; Buckcherry, Nita Strauss, and Blacktop Mojo, they have surely earned their stripes as performers. Armed with a repertoire of well-orchestrated, original rock songs complimented by their sophisticated blend of bluesy swagger and groove, feverslip tops their timeless talent with a stage performance that is sure to bring the house down.

 

RIGOMETRICS

Rigometrics is a young up-and-coming original rock & roll band out of Portland, Maine, formed in May 2021. Heavily influenced by classic rock bands, Rigometrics provides original raw high-energy rock & roll music. Lyrically they bring a message of inspiration, self-reflection & acceptance, and creating a positive change, all while packaging it in a joyous musical experience. Stylistically, they experiment with multiple genres of rock and expand your view of what modern rock can be.

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The (World Famous) Jazz Jam

FEBRUARY 21 @ 6PM | DOORS 5:30PM | UPSTAIRS

Diaspora Radio: Sgt. Pepper's Lonely Hearts Club Band

FEBRUARY 23 @ 9PM | DOORS 8PM | UPSTAIRS

Stu and the gang take on The Beatles.

21+

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DJ Chad Banks & DJ Hat

FEBRUARY 24 @ 10PM | DOORS 10PM | UPSTAIRS

Club d'Elf 25th Anniversary Tour

FEBRUARY 25 @ 9PM | DOORS 8PM | UPSTAIRS

The Moroccan Dub Funk maestros turn 25.

21+

Club d’Elf is a collective of musicians fiercely dedicated to “the groove”, consisting of some of the most sought-after players from the jazz, world music, rock, and DJ scenes of Boston, New York City & beyond. The band’s music draws from a startlingly wide spectrum of styles, including jazz, hip hop, electronica, avant garde, prog-rock and dub. Under the tutelage of member Brahim Fribgane (who hails from Casablanca) the band has absorbed Moroccan trance music, which is now an essential part of the mix. Diverse audiences are drawn to Fribgane’s mesmerizing oud stylings, and leader/bassist Mike Rivard’s commanding playing of the Moroccan sintir. Trance forms the central core of the Club d’Elf aesthetic, weaving together the band’s various influences.

The band’s new album, You Never Know, is a trance-heavy meditation on finding light amidst the shadows. The band pay tribute to the music and musicians who have been primary influences, with half the album being covers of Gnawa, Miles Davis, Joe Zawinul, Moroccan band Nass el-Ghiwane, and Frank Zappa. The other half consists of original music inspired by leader Mike Rivard’s personal journey into darkness following a near death experience in the remote jungle of the Peruvian Amazon.

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MARC RIBOT: THE JAZZ BINS (EARLY SHOW)

FEBRUARY 26 @ 4PM | DOORS 3PM | UPSTAIRS

Virtuoso city.

All Ages

Marc Ribot’s four months with jazz organ legend Brother Jack McDuff were his first ever with an internationally touring artist. Their 1979 itinerary included Ribot’s first concerts in Europe, and his only to date in Gary, Indiana and Rochester, NY. Although the two never recorded together (due to artistic differences that became apparent in Ribot’s later work…Brother Jack reportedly spent much of their stage time fixing Ribot with what sidemusicians referred to as his “death ray”), Ribot never lost his affection for McDuff’s music and the Hammond organ dominated Soul Jazz scene from which it emerged. Says Ribot: “McDuff’s US audiences—the so-called ‘Chitlin Circuit— were just the hippest in the world: sophisticated about the music, definitely…but also demanding the deepest soul while rewarding restraint in its expression. What this brought out in the musicians was every bit as intense as the music taking shape at CBGBs at the time. In fact, I always felt the two scenes had something in common, and I’ve been trying to express exactly what ever since.”

Fellow Jazz-Bin, Greg Lewis, is not only one of the greatest virtuosos of the Hammond b3 organ alive, but perhaps the only one willing and able to haul a real Hammond b3 and Leslie speaker cabinet to live gigs in NYC! Says Ribot: “Greg is NYC’s best kept secret. He can tell a story on the Hammond like nobody else.” Rounded out with a TBA guest drummer, The Jazz-Bins use deep grooves and over the top improvisation to channel the spirits of Newark’s Key Club Sparky J’s Lounge, and NYC’s CBGB’s c/a 1977 into a quest for punk/soul salvation. The Jazz-Bins go— not exactly ‘ancient’, but ‘back’— to the future, to tap into a scene that never really existed (but should have, will, and does whenever people drop their preconceptions about ‘genre’ long enough to feel the groove), and a vibe that never really stopped. Dig it!

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MARC RIBOT: THE JAZZ BINS (LATE SHOW)

FEBRUARY 26 @ 7PM | DOORS 6:30PM | UPSTAIRS

Virtuoso city.

All Ages

Marc Ribot’s four months with jazz organ legend Brother Jack McDuff were his first ever with an internationally touring artist. Their 1979 itinerary included Ribot’s first concerts in Europe, and his only to date in Gary, Indiana and Rochester, NY. Although the two never recorded together (due to artistic differences that became apparent in Ribot’s later work…Brother Jack reportedly spent much of their stage time fixing Ribot with what sidemusicians referred to as his “death ray”), Ribot never lost his affection for McDuff’s music and the Hammond organ dominated Soul Jazz scene from which it emerged. Says Ribot: “McDuff’s US audiences—the so-called ‘Chitlin Circuit— were just the hippest in the world: sophisticated about the music, definitely…but also demanding the deepest soul while rewarding restraint in its expression. What this brought out in the musicians was every bit as intense as the music taking shape at CBGBs at the time. In fact, I always felt the two scenes had something in common, and I’ve been trying to express exactly what ever since.”

Fellow Jazz-Bin, Greg Lewis, is not only one of the greatest virtuosos of the Hammond b3 organ alive, but perhaps the only one willing and able to haul a real Hammond b3 and Leslie speaker cabinet to live gigs in NYC! Says Ribot: “Greg is NYC’s best kept secret. He can tell a story on the Hammond like nobody else.” Rounded out with a TBA guest drummer, The Jazz-Bins use deep grooves and over the top improvisation to channel the spirits of Newark’s Key Club Sparky J’s Lounge, and NYC’s CBGB’s c/a 1977 into a quest for punk/soul salvation. The Jazz-Bins go— not exactly ‘ancient’, but ‘back’— to the future, to tap into a scene that never really existed (but should have, will, and does whenever people drop their preconceptions about ‘genre’ long enough to feel the groove), and a vibe that never really stopped. Dig it!

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SUNNY WAR

FEBRUARY 28 @ 8PM | DOORS 7PM | UPSTAIRS

Does folk musician play punk or the punk musician play folk?

18+

$15

It’s no secret that great art comes from the margins. From those who are either pushed to create from inner forces, or who create to show they deserve to be recognized. Los Angeles-based street singer, guitarist, and roots music revolutionary Sunny War has always been an outsider, always felt the drive to define her place in the world through music and songwriting. Her restless spirit, a byproduct of growing up semi-nomadic with a single mother, led her to Venice Beach, California, where she’s been grinding the pavement for some years now, making a name for her prodigious guitar work and incisive songwriting, which touches on everything from police violence to alcoholism to love found and lost.

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Continuum Arts Collective & The Press Room Present: The Last Waltz (NIGHT ONE)

MARCH 4 @ 9PM | DOORS 8PM | UPSTAIRS

The Seacoast’s finest perform the all-time greatest concert in its entirety.

21+

A recreation of The Last Waltz to help benefit CONTINUUM ARTS COLLECTIVE.

Featuring: Martin England, Jim Rudolf, Daniel King, Gregory Glasson, Duncan Watt, Mike Effenberger, Tristan Omand, Joe Young, Stu Dias, Courtney Dold, Eric Klaxton, Bryan Killough, Kate Redgate, Craig Roy, Mary Dellea, Amanda Kowalski, Cecil Ables, Brian McGrath, Barry Saunders.

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Continuum Arts Collective & The Press Room Present: The Last Waltz (NIGHT TWO)

MARCH 5 @ 2PM | DOORS 1PM | UPSTAIRS

The Seacoast’s finest perform the all-time greatest concert in its entirety.

21+

A recreation of The Last Waltz to help benefit CONTINUUM ARTS COLLECTIVE.

Featuring: Martin England, Jim Rudolf, Daniel King, Gregory Glasson, Duncan Watt, Mike Effenberger, Tristan Omand, Joe Young, Stu Dias, Courtney Dold, Eric Klaxton, Bryan Killough, Kate Redgate, Craig Roy, Mary Dellea, Amanda Kowalski, Cecil Ables, Brian McGrath, Barry Saunders.

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Squirrel Flower & Horse Jumper of Love

MARCH 7 @ 8PM | DOORS 7PM | UPSTAIRS

The Slowcore is strong with these two.

All ages

quirrel Flower’s heart-rending sophomore album Planet (i), following her 2020 debut I Was Born Swimming, is exactly that. A singular planet, a world entirely of artist Ella Williams’ making. The title came first to her as a joke: it’s her made-up name for the new planet people will inevitably settle and destroy after leaving Earth, as well as the universe imagined within her music. “Planet (i) is my body and mind,” Williams says, “and it’s the physical and emotional world of our planet. It’s both.” Buoyed by her steadfast vision and propelled by her burning comet of a voice, the record is a love letter to disaster in every form imaginable. Tornadoes, flooding, gaslighting assholes, cars on fire—these songs fully embrace a planet in ruin. As Williams rides from melancholy to jubilance to complete emotional devastation over the course of twelve songs, she carves out a future for herself and those she loves. Planet (i), out June 25, 2021 on Polyvinyl and Full Time Hobby, is at once a refuge, an act of self-healing, and a musical reflection of Squirrel Flower’s inner and outer worlds.

Williams wrote most of the songs on Planet (i) before the COVID-19 pandemic, but disaster looms large in its DNA. Susceptible to head injuries having played a lot of sports in her youth, Williams received three concussions from 2019-2020; two at cafe jobs in her home state of Massachusetts, and a third, funnily enough, while making out with someone in a sloped attic at a house show. Amidst the chaos of touring internationally during her own healing process, she began weaving threads between her physical and personal sense of ruin and her lifelong fear of the elements: of being swept up by storms, floods, and the deep ocean. “To overcome my fear of disasters,” Williams says, “I had to embody them, to stare them down.” This journey of decay and healing is the lifeblood of Planet (i). “I’m not scared of the storm,” she insists on “Desert Wildflowers.” “I’ll be lying on the roof when the tornado turns.”

Once quarantine set in, Williams, known for her magnetic live concerts, began to produce demos in her room, amassing a collection of more than 30 recordings. “I constantly write,” she says, “but because of the pandemic and the unemployment checks I received, I was able to spend every day recording what became the skeleton of this album.” Feeling a sense of artistic synchronicity over international phone calls with producer Ali Chant (PJ Harvey, Perfume Genius), and with newfound covid antibodies, Williams flew to Bristol, UK in the fall of 2020 to record Planet (i) at Chant’s studio, The Playpen. “We had this shared creative language,” she recalls, “and the recording process was, like my demo process, very sculptural. Instead of recording live with a full band, we built this record layer by layer, experimenting, taking risks.” Williams dedicated her time in Bristol to exploration, both in the studio and outside of it. As she roamed the city in her beloved green garden mucks, the same boots featured on Planet (i)’s album art, Squirrel Flower unlocked a new creative alchemy.

While Williams and Chant played most of the instruments on the record, Bristol drummer Matt Brown and Portishead’s Adrian Utley also joined their sessions. “Adrian brought such stunning textures to the arrangements,” Williams says. “I was starstruck watching him play guitar with a pair of pliers.” And when Chant suggested the idea of backup vocals, Williams, whose voice had until now stood alone in her songs, enthusiastically enlisted friends and family to join her remotely with their voices and instruments. Around Squirrel Flower’s voice and vision dance the contributions of Jess Shoman (Tenci), Tomberlin, Katy J. Pearson, Jemima Coulter, Brooke Bentham, and her brothers Nate and Jameson Williams, as well as her father Jesse.

The songs on Planet (i) are Squirrel Flower’s instruments for connection: with the people in her life, her collaborators, audiences, and ancestors; a lineage of artists whose spirits continue to inform her art. At the heart of this record is an insistence on connection and healing in the face of catastrophe. Williams treats her songs like well-loved cars, vehicles with busted exteriors and flame-kissed engines. These songs hurtle down a freeway wracked by firestorms and flash floods, their drivers in search of human connection, no matter how tenuous, no matter how painful. In this search for communion, Squirrel Flower sings with the clarity of an artist who has discovered not only the precise power of her voice, but all the devastating shapes it can take.

On the explosive lead single “Hurt A Fly,” Williams is a volatile, relentless presence. She takes the persona of a manipulative lover as she lurches from guilt to sorrow to renewed fury, backed by whirring, frenetic guitars. And in “I’ll Go Running,” Williams begins on a haunting simmer, pitching her voice over languid, slow-burning guitars from quiet resistance to full-on emotional rebellion by the song’s end: “I’ll be newer than before / I’ll be something that you’ve never seen.” It’s the mantra of an artist in flux, obsessed with motion and change, but determined to move and change on her own terms. On “Flames and Flat Tires,” the third single, Williams rides this motion onward in a bright wave of sound, comparing her body to a burning car on a 4am joyride, the city crumbling behind her.

On Planet (i), Squirrel Flower reveals a bright and uncompromising vision, confident in her powers of self-healing and growth. No matter what the disaster ahead of or within her looks like, and no matter how she shape-shifts to meet it, Squirrel Flower will always be a world of her own, a space-rock flying down the road in flames and flat tires. As Planet (i) wheels to a close from the cartop lovesickness of “Iowa 146,” the floodwaters of “Deluge in the South,” and the tornado fury of “Pass,” to the hushed climax and acceptance of “Starshine,” she leaves us to face down disaster with hope in hand:

Don’t let it pass.

Don’t let it wither.

 

There’s a space between literal and abstract where art often resides, and few bands excel at navigating that surreal territory more deftly than Horse Jumper of Love. On their third full-length, Natural Part, the Boston-based three-piece revels in the act of grasping at something that can’t be held, smudging the lines between rich details, hazy memories, vivid moments, and intangible feelings to create their most captivating record to date.

Horse Jumper of Love–guitarist/vocalist Dimitri Giannopoulos, bassist John Margaris, and drummer Jamie Vadala-Doran–have steadily evolved since their formation in 2014, honing a mix of sprawling slowcore and raw indie rock across their 2016 self-titled debut and 2019’s So Divine. Now, Natural Part feels like the band’s biggest step forward yet. The group teamed once again with engineer Bradford Krieger and convened at his Rhode Island studio, Big Nice, to record. “I definitely don’t write the same way I did for the other records anymore,” Giannopoulos explains. “I never want to force anything or try to stick to a formula, and for this record I really felt like I could do whatever I wanted. I feel like I know myself a little more, like I’m a little more tapped into who I am and the songs feel more personal because of it.”

Sonically, Natural Part feels even more expansive than anything Horse Jumper of Love have done before, which is no small feat for a band whose music has often hinged on billowing guitars and roomy drums. Mixed by Danny Reisch (Sun June, Shearwater, White Denim), the album features a noticeable leap in fidelity, allowing the detailed songwriting to shine through without losing the tactile edges that imbue Horse Jumper of Love’s music with so much personality. Opener “Snakeskin” gently welcomes the listener with an enveloping atmosphere, before a sharply angled guitar riff in the towering second track “Ding Dong Ditch” fractures the aura. Familiar influences like Duster and David Berman can still be heard throughout, but new elements like cello—performed by Emily Dix Thomas and inspired by both Nirvana’s unplugged album and listening to Oasis’ “Wonderwall” in preparation for a Halloween cover set)—add different textures to the band’s reverberating sound. On “Chariots,” the new instrumentation blends effortlessly with Vadala-Doran and Margaris’ taut but roaming rhythm section, and adds an otherworldly mood to Giannopoulos’ lyrics.

A sense of mystery and the inevitability of change permeates much of Natural Part, with Giannapoulos often capturing snapshots that take note of a flickering feeling in the mundane, and then letting his imagination expand it into something profound. The title track encapsulates this approach as well as some of the recurring sentiments of the record: “I was thinking about the natural distancing that can happen between people,” Giannapoulos says. “They can just go their separate ways or grow apart, or it can even be people passing away. But that thought also started with me literally combing my hair,” he adds with a laugh. “The line between figurative and not gets pretty blurry. Sometimes weird shit happens but there’s some meaning there. Something will just stand out, you get immersed in it, and a song sort of flows out. It all feels like a collage of a certain time in my life.”

On songs like the poppy “I Poured Sugar In Your Shoes,” the hypnotic “Under The House (Skunks),” or the off-kilter “Sitting On The Porch At Night,” Giannopoulos’ molds the very specific experiences noted in the titles into meditations on life’s intricacies. Late in the album, the sub-two-minute standouts “I Put A Crown On You” and “Mask” highlight Horse Jumper of Love’s ability to economically communicate larger ideas; the former is a shining acoustic missive on appreciation blurring dependency, while the latter is a slowly unfurling plume of guitars that contemplates the physical and invisible barriers between us. “I was thinking about someone driving their car, wearing a mask–literal or not literal–and having that layer in front of their face,” Giannopoulos explains. “Then the windshield is another layer, and it’s a foggy night, so that’s another layer. You’re passing by them and there’s just all of these real and not real things between you and another person.”

It’s those kinds of details that makes Natural Part such a compelling listen. It’s an album planted firmly in small moments that feel big: the unexpected flashes that somehow feel authentic and esoteric all at once, and cut through our busy lives to ground us in something that seems meaningful—even if we can’t fully articulate why. “I love when those moments happen and it inspires something,” Giannopoulos reflects. “It makes me feel connected to the world. When something sparks my interest like that, it just feels like this is what it’s all about.”

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Jacob McCurdy & His Large Adult Sons w/ Steve Dennis & George Woods

MARCH 9 @ 8PM | DOORS 7PM | UPSTAIRS

RIYL: Angelic voices. Maine. Bourbon. Folk, rock, and dancing late at night.

21+

Mustachioed Mainer, Jacob McCurdy, blends Folk, Rock, and Roots into his very own brand of Indie-Americana. Love, heartbreak, joy, and the perfect moment all pitched against the lush backdrop of honest harmony. McCurdy wears his heart on his sleeve, sharing past traumas with the hope that they and anyone else experiencing them can begin to heal.

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Highway Kind: A celebration of Townes Van Zandt

MARCH 10 @ 7PM | DOORS 6PM | UPSTAIRS

They’re not all sad songs.

18+

While finding success as a performing singer-songwriter was elusive and fraught with challenges, many of which were his own making – Townes Van Zandt’s songs touched and influenced many and still do to this day. Emmylou Harris, The Cowboy Junkies, Guy Clark, Willie Nelson, Nanci Griffiths, Steve Earle are just a few of countless artists that have covered Van Zandt’s songs and specifically pointed to him as an inspiration. While not being exactly auto-biographical, Van Zandt’s better-known songs often deal with darkness and feature lonely, troubled characters infused with themes of leaving, life on the road and love left behind. Having toured as a soloist nearly constantly during his career and preferring dive bars to concert halls, Townes was a gifted and able performer, mixing in talking blues, choice upbeat covers and practicing his jokes and one liners with the audiences all along the way. Joining Seth Warner at The Press Room will be Andy Argondizza – electric & acoustic guitar, Dan Beller-McKenna – pedal steel, Jim Lamond – bass, Chris Marro – drums & percussion and Lindsay Lassonde – voice & acoustic guitar

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THE SUITCASE JUNKET

MARCH 11 @ 8PM | DOORS 7PM | UPSTAIRS

A master of musical imagination.

18+

Matt Lorenz’s vision, manifest in The Suitcase Junket, developed in the tension between the grand and the solitary. Grand in its imagery, sound, and staging. Solitary in its thrift and self-reliance. What instruments he requires, Lorenz builds from scratch and salvage. What parts five players would perform, he performs alone. The spectacle of his one-man set bears constant comparison to legends of showmanship, brilliance, madness, and invention.

While audiences are captivated by his solitary form and the show itself, Lorenz, who homesteads with rescue dogs and chickens in rural Western Massachusetts, is most serious about the songs. He has been building a catalog, writing a world into existence. Solitary on stage and on the road, his mind is crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet’s destruction and salvage. With this 2020 release, The End is New, Lorenz’s grand vision for the song overrides the how of it.

“The things I value are under attack,” Lorenz writes. “And writing songs and making art are the methods I have for responding. I have tried to use my observations and reflections of the world bent through my fun-house-mirror mind to show what I see; a planet stressed. … We can do better.”

The End is New was produced by trusted friend, producer Steve Berlin of Los Lobos, who produced The Suitcase Junket’s acclaimed 2018 release, Mean Dog Trampoline.

“Most of the time making records for a living is both fun and edifying,” says Berlin “But every once and a while I get rewarded with a simply superlative experience, and making The End Is New was certainly one of those.” He adds, “We had a blast building these ideas into songs, and Matt’s endless inventiveness made each workday a genuine pleasure. His talent is a unique gift.”

“I told Steve I wanted to make a doom-folk record,” says Lorenz. “That’s what I’d started calling my music when people asked. He was game. Neither of us knew quite what that meant at the time, but I think we found out with The End is New. There’s a heavy mix of hope and desperation in the sound and lyrically I was trying to be a mirror to society using truth, myth, confessions and stories.”

In the strangest of ironies, the production of this album, an artist moving from solitude to collaboration, went forward in a time when Lorenz, Berlin, all their studio musicians, and the entire world were in isolation for the lockdown of pandemic.

“We had done some tracking in February and felt that we had a good start,” says Lorenz, “but things had gotten a bit strange. Steve Berlin, producer extraordinaire, was stuck at home on the West Coast under a newly imposed lockdown and here in Massachusetts the virus was starting to heat up. The bicoastal, remotely produced recording process was bizarre and frustrating but fruitful. We plugged along, track by track, occasionally commenting on how crazy everything was feeling. Justin, the sound engineer and co-owner of Sonelab, and I had spent time together in the same studio so we figured if one of us had The Virus we probably both did so why not finish the record as safely as we could? So we watched as the world drastically changed around our little musical haven, unsure of what lay ahead. We polished off the record bit by bit in the following months, recording overdubs from home with no more studio time to be had. J Mascis made a ripping appearance on ‘Light a Candle’ and Steve Berlin slipped off his producer shoes and laid down some horn parts. I’m so very excited to share these new songs. I think the writing on this album is some of the best I’ve ever done and the production has them sounding huge and cinematic.”

The End is New is an artist expanding his possibilities, collaborating, matching his lyrical power over eleven tracks with the epic sounds and narratives of his imagination. “Black Holes and Overdoses” riffs off the unrelenting news cycle, the numbness that wants for oblivion. “And Then There Was Fire” finds Lorenz reflecting on current events, inspired by the destructive wildfire in Australia, which seems like three years ago at this point, but took place right at the end of last year and beginning of this year. “Light a Candle” is the simmering doom of lost love. “Can’t Look Away” protests the overuse of a planet. “Jesus! King of the Dinosaurs” is a romp poking fun at extremists and biblical timelines.

Growing up in Cavendish, Vermont, Matt Lorenz began playing piano at age five, and later took up violin, saxophone, and guitar. During his years at Hampshire College in Amherst, Massachusetts, he studied music and adaptive instrument design, a pursuit that included building a prototype for a drummer who couldn’t use their legs, where they’d be able to play the bass drum and hi-hat through a system of pulleys. After college, he headed to Europe on a $150 plane ticket, ran out of money in Barcelona, and spent a year playing music in the streets. “That’s where I learned how to sing loud, which got me figuring out what my voice could do,” Lorenz notes. Once he’d returned to Amherst, he formed the band Rusty Belle with his sister Kate and, several years later, started The Suitcase Junket with the aid of a guitar he’d found in a dumpster. ‘The Suitcase Junket’ is a nod to Lorenz’s longtime love of collecting old suitcases, including an antique that he’s refurbished into a bass drum, and to a secondary definition of junket, i.e. “a pleasure excursion.”

The End is New is Lorenz’s sixth full-length album as The Suitcase Junket, his first for Renew Records/BMG. The sound has become more refined and deeper with each release. Lorenz tours extensively and plans to be back on the road for a waylaid release tour for The End is New in 2021. Lorenz is also a visual artist. In the early years he designed all The Suitcase Junket album art and merchandise and made the music videos generated with his songs. He continues to create the visuals for merchandise, and to produce some of his videos, now with collaborators. He gets very excited about coffee, gardening, bees, dogs, birds, mushrooms, tinctures, making his own wine and maple sugaring season.

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Jazz Brunch: Annie and the Fur Trappers

MARCH 12 @ 11AM | DOORS 10AM | UPSTAIRS

Swinging jazz brunch!

Free

All ages

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Bit Brigade performs "Mega Man II" + "DuckTales" LIVE w/ Arcantica

MARCH 22 @ 8PM | DOORS 7PM | UPSTAIRS

Bit Brigade performs rock covers of full NES game soundtracks as their gamer speedruns the game live on stage.

All Ages

“When was the last time you attended a live music performance with a genuine element of risk involved? And no, going to a Gwar show with a white t-shirt on doesn’t count. When Bit Brigade takes the stage your mind will frantically oscillate between “Oh! Agh!! Please don’t die!!” and “YES! He’s doing it!!” Combining the dread and daring of a live video game speed run with the spot-on technique of a live band covering the musical accompaniment to everything you’re seeing on-screen in real time, Bit Brigade will have you swinging between the two mediums. From thrashing about to live renditions of your favorite stage themes, fingers yearning to the sky in a rock ‘n roll parody of sea anemones seeming to silently plead, “Please, feed us more fretboard pyrotechnics!,” to being locked in stock-still rapture as the infallible maestro of the d-pad, Noah McCarthy, takes on the final boss and risks his video game life under the threat of intense peer scorn (or the reward of night-long glory and a credits score). No matter the outcome, Bit Brigade must play on until the deed is done – which it always is – on the first (and last) try. Once Noah’s NES buzzes on, there’s no turning back.” – Metalhead Mike of The Shizz, summer 2011

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Comedy: Cindy Foster

MARCH 23 @ 7PM | DOORS 6PM | UPSTAIRS

Come for an evening of laughs with the great Cindy Foster!

21+

Cindy Foster has been making people laugh across the world performing her live stand-up show. Cindy’s acclaimed video shorts on social media have a whopping 65 million views and climbing! Extraordinary numbers representing the strength of her popularity that stretches beyond her beloved LBGTQ + community.

From her living room couch in Massachusetts, Cindy had what her friends and family thought was, ‘an impossible dream,’ to perform on stage. With nothing more than her cell phone and ‘impossible dreams,’ she started creating videos that have now reached 65 million views making Cindy a social media sensation! Welcome to our community.

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Crush: Dave Matthews Tribute Band

MARCH 24 @ 9PM | DOORS 8PM | UPSTAIRS

Crash into me.

21+

Based in Boston, MA since June 2011, “Crush” is New England’s premier tribute to the Dave Matthews Band. Drawing heavily from DMB’s “Big 3” albums (i.e., Under the Table and Dreaming, Crash, and Before These Crowded Streets), “Crush” brings the classic 90’s sound of DMB while including several of their hits from post-2000. The band prides themselves in producing the sound and energy which DMB has been providing to fans for over 30 years.​

Given experience with a variety of stage types and sound engineering requirements, “Crush” is certain to meet your live entertainment needs. From bar gigs, to college social events, to special occasions such as birthdays, graduations, wedding ceremonies and cocktail hours, this group of musicians will be sure to draw young and older crowds alike and leave them wanting more at the end of a show.

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Truffle

MARCH 25 @ 6PM | DOORS 5PM | UPSTAIRS

The local legends are back.

Five guys who love to play music together. Over thirty-five years of playing for the best fans in the universe. We’ll get together in any combination that suits the room, the vibe, the crowd, or our fancy. Solo, duo, and trio acoustic shows; hybrid or fully electric trios; electric four and five piece madness.

David Bailey plays bass, has contributed some original songs,and occasionally vocalizes (we hesitate to call it “singing”). At live shows he tries to keep the technical side of things from falling apart.

Ned Chase is a multi-instrumentalist, principal songwriter, and singer. He plays electric and acoustic guitars using frets and slides. Mandolin and lap steel.

Mike Gendron plays the drum kit. Laying it down solid, or mixing it up with more impressionistic split stick stuff, using his whole body, his stylistic versatility makes it happen.

Dave Gerard plays acoustic and electric guitars. Sometimes with a slide, sometimes an acoustico-electric resonator thing. A principal songwriter, and undoubtedly the voice of Truffle. He works hard to represent the band to the public and keep the calendar filled so we can play for you good people.

Pete Kowalski plays hand percussion and sometimes a very cool hybrid drum set/percussion contraption. At a given show you may see any of his seemingly infinite, funky, vintage, interesting sets of congas and bongos.

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Tired of Sex (Weezer Tribute)

MARCH 31 @ 7PM | DOORS 6PM | UPSTAIRS

My Name Is Jonas.

21+

Playing Blue Album!

Playing Pinkerton!

Probably playing Island In The Sun too!

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An Evening with: Hiss Golden Messenger

APRIL 11 @ 8PM | DOORS 7PM | UPSTAIRS

Nothing quite like it.

“I went looking for peace,” says songwriter M.C. Taylor of Hiss Golden Messenger about his new album Quietly Blowing It, out June 25, 2021, on Merge Records. “It’s not exactly a record about the state of the world—or my world—in 2020, but more a retrospective of the past fi ve years of my life, painted in sort of impressionistic hues. Maybe I had the presence of mind when I was writing Quietly Blowing It to know that this was the time to go as deep as I needed to in order to make a record like this. And I got the time required in order to do that.” He pauses and laughs ruefully. “I got way more time than I needed, actually.” Quietly Blowing It was written and arranged by Taylor in his home studio—his 8’ × 10’ sanctuary packed fl oor to ceiling with books, records, and old guitars—as he watched the chaotic world spin outside his window. “Writing became a daily routine,” he explains, “and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of fl ow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs.”

Between March and June, Taylor wrote and recorded upwards of two dozen songs—in most cases playing all of the instruments himself—before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. “We all needed to be making that music together,” he recalls. “We’ve all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometow n.”Throughout Quietly Blowing It, Taylor brings his keen eye to our “broken American moment”—as he first sang on Hiss Golden Messenger’s critically acclaimed, GR AMMY®-nominated Terms of Surrender—in ways that feel devastatingly intimate and human. Beginning with the wanderer’s lament of “Way Back in the Way Back,” with its rallying cry of “Up with the mountains, down with the system,” Taylor carries the listener on a musical journey that continually returns to themes of growing up, loss, obligation, and labor with piercing clarity, and his musical infl uences—including classic Southern soul and gospel, renegade country, and spiritual jazz—have never felt more genuine. Indeed, Quietly Blowing It is a distillation of the rolling Hiss Golden Messenger groove, from the rollicking, Allman-esque “The Great Mystifier” to the chiming falsetto soul of “It Will If We Let It,” to the smoky, shuffl ing title track with its bittersweet guitar assist from Nashville legend Buddy Miller. The album ends with soulful lead single “Sanctuary,” a song about trying to reconcile tragedy and joy, with references to John Prine (“Handsome Johnny had to go, child…”), economic disparity, and the redemptive quality of hope.

Indeed, when he sings, “Feeling bad, feeling blue, can’t get out of my own mind; but I know how to sing about it,” it feels like the album’s spiritual thesis. Throughout Quietly Blowing It, Taylor reckons with the tumultuous present in wholly personal terms, encouraging listeners to do the same. “These songs always circle back to the things that I feel like I have a handle on and the things that I’m not proud of about myself. When I think of the phrase ‘quietly blowing it,’ I think of all the ways that I’ve misstepped, misused my gifts, miscommunicated. ‘Born on the level, quietly blowing it.’ That’s what’s on my mind there. Always fuckin’ up in little ways.”Surrounding himself with a trusted cast of collaborators that includes Miller, songwriter Gregory Alan Isakov, songwriter and Tony Award–winning playwright Anaïs Mitchell, multi-instrumentalist Josh Kaufman, Dawes’ brothers Taylor and Griffin Goldsmith, and his oldest musical confidant Scott Hirsch, Taylor has made his most audacious and hopeful work yet with Quietly Blowing It; it’s an album that speaks personal truth to this moment in which the old models of being feel broken and everything feels at stake. “I don’t know that the peace that I crave when I’m far from home exists, actually,” says Taylor. “It’s more complicated. I still don’t know what peace means for me, because I can be sitting on the couch watching a movie with my family and be completely tangled up in my head. But if I keep on doing my own personal work on myself—writing records like Quietly Blowing It—I have to think that I’m getting closer.”

SOLD OUT

An Evening with: Hiss Golden Messenger

APRIL 12 @ 8PM | DOORS 7PM | UPSTAIRS

Nothing quite like it.

“I went looking for peace,” says songwriter M.C. Taylor of Hiss Golden Messenger about his new album Quietly Blowing It, out June 25, 2021, on Merge Records. “It’s not exactly a record about the state of the world—or my world—in 2020, but more a retrospective of the past fi ve years of my life, painted in sort of impressionistic hues. Maybe I had the presence of mind when I was writing Quietly Blowing It to know that this was the time to go as deep as I needed to in order to make a record like this. And I got the time required in order to do that.” He pauses and laughs ruefully. “I got way more time than I needed, actually.” Quietly Blowing It was written and arranged by Taylor in his home studio—his 8’ × 10’ sanctuary packed fl oor to ceiling with books, records, and old guitars—as he watched the chaotic world spin outside his window. “Writing became a daily routine,” he explains, “and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of fl ow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs.”

Between March and June, Taylor wrote and recorded upwards of two dozen songs—in most cases playing all of the instruments himself—before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. “We all needed to be making that music together,” he recalls. “We’ve all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometow n.”Throughout Quietly Blowing It, Taylor brings his keen eye to our “broken American moment”—as he first sang on Hiss Golden Messenger’s critically acclaimed, GR AMMY®-nominated Terms of Surrender—in ways that feel devastatingly intimate and human. Beginning with the wanderer’s lament of “Way Back in the Way Back,” with its rallying cry of “Up with the mountains, down with the system,” Taylor carries the listener on a musical journey that continually returns to themes of growing up, loss, obligation, and labor with piercing clarity, and his musical infl uences—including classic Southern soul and gospel, renegade country, and spiritual jazz—have never felt more genuine. Indeed, Quietly Blowing It is a distillation of the rolling Hiss Golden Messenger groove, from the rollicking, Allman-esque “The Great Mystifier” to the chiming falsetto soul of “It Will If We Let It,” to the smoky, shuffl ing title track with its bittersweet guitar assist from Nashville legend Buddy Miller. The album ends with soulful lead single “Sanctuary,” a song about trying to reconcile tragedy and joy, with references to John Prine (“Handsome Johnny had to go, child…”), economic disparity, and the redemptive quality of hope.

Indeed, when he sings, “Feeling bad, feeling blue, can’t get out of my own mind; but I know how to sing about it,” it feels like the album’s spiritual thesis. Throughout Quietly Blowing It, Taylor reckons with the tumultuous present in wholly personal terms, encouraging listeners to do the same. “These songs always circle back to the things that I feel like I have a handle on and the things that I’m not proud of about myself. When I think of the phrase ‘quietly blowing it,’ I think of all the ways that I’ve misstepped, misused my gifts, miscommunicated. ‘Born on the level, quietly blowing it.’ That’s what’s on my mind there. Always fuckin’ up in little ways.”Surrounding himself with a trusted cast of collaborators that includes Miller, songwriter Gregory Alan Isakov, songwriter and Tony Award–winning playwright Anaïs Mitchell, multi-instrumentalist Josh Kaufman, Dawes’ brothers Taylor and Griffin Goldsmith, and his oldest musical confidant Scott Hirsch, Taylor has made his most audacious and hopeful work yet with Quietly Blowing It; it’s an album that speaks personal truth to this moment in which the old models of being feel broken and everything feels at stake. “I don’t know that the peace that I crave when I’m far from home exists, actually,” says Taylor. “It’s more complicated. I still don’t know what peace means for me, because I can be sitting on the couch watching a movie with my family and be completely tangled up in my head. But if I keep on doing my own personal work on myself—writing records like Quietly Blowing It—I have to think that I’m getting closer.”

SOLD OUT

Will Evans

APRIL 22 @ 7PM | DOORS 6PM | UPSTAIRS

Feel good roots music.

18+

*This is a general admission show. Seating is limited and available on a first come, first serve basis. *

Hailing from the Atlantic coastline of Rhode Island, Will Evans has spent the last decade as the frontman for the New England-based Roots Rock outfit Barefoot Truth. After four albums and 50+ million streams on Pandora & Spotify, he embarked on his solo journey—and has since released three additional full-length albums and traveled the U.S. & Europe several times over.

Showcasing his skills as a multi-instrumentalist, Evans displays technical mastery of live-looping in his shows that include the didgeridoo, steel drums, percussive beatboxing, acoustic guitar, and layers of soulful vocals.

His album “Rise” was nominated for three categories by the New England Music Awards: Album of the Year, Roots Act of the Year, and Video of the Year. The album features deeply personal topics of humanity, compassion, and a reflection of the current political times.

While promoting the album, he toured extensively with his friend, mentor, and fellow conscious-roots musician Trevor Hall, performing for sold-out crowds across North America and Europe. Shortly after returning to the U.S., he recorded a full-length live album for Sugarshack Sessions and also released ‘The Summer Swell,’ a 3-song live EP, as well as a new summer-vibed single: “Lean In.”

ENVIRONMENT, HOPE, AND INCLUSION

A lifelong surfer and environmentalist, Evans’ songs speak to the importance of connecting with—and protecting–the earth. At a time when so many are looking for words of inspiration and reassurance, his songs deliver messages of family, love, hope, and inclusion.

Will Evans has shared the stage with many top artists, including Crosby & Nash, Grace Potter, Bruce Hornsby, Rusted Root, Michael Franti & Spearhead, Trevor Hall, Xavier Rudd, Donavon Frankenreiter, Six60, Ryan Montbleau, Railroad Earth, and members of Dispatch.

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AJ Lee and & Blue Summit

APRIL 23 @ 7PM | DOORS 6PM | UPSTAIRS

Holy smokes.

All Ages

*All tickets are general admission, seating is available on a first come, first serve basis.*

AJ Lee and Blue Summit made their first appearance in Santa Cruz in 2015. Led by singer, songwriter, and mandolinist, AJ Lee, the bluegrass band has performed all over the world, but finds home in California’s Bay Area. In 2019, they released their debut album, Like I Used To. Their second full length project, I’ll Come Back, came out August 2021 – with national touring in support of the record ongoing.

Unlike their first record, which featured experimentation with session musicians and electric instruments, the new project is a pure reflection of the live sound of the group, hearkening back to their acoustic roots. Each band member performs at their peak, and the variety of songs on the record caters to their broad fanbase. Certain tracks (“Put Your Head Down,” and “Faithful,”) fall more in the classic bluegrass realm of songwriting, while others (“Lemons and Tangerines,” and “I’ll Come Back,”) fall into that hard-to-define realm of acoustic Americana that blends mesmerizing lyricism and acoustic mastery.

Although falling loosely under the bluegrass label, AJLBS generally plays sans banjo, with Sullivan Tuttle and Scott Gates on steel stringed acoustic guitars, AJ on mandolin, Jan Purat on fiddle, and Chad Bowen on upright bass – a configuration effectively used to create unique space and texture in the arrangements not as commonly found in the music of their peers. Drawing from influences such as country, soul, swing, rock, and jam music, the band uses the lens of bluegrass as a vessel through which to express and explore the thread that binds and unifies all great music.

Members:

AJ Lee, lead vocals, mandolin

Scott Gates, guitar

Sullivan Tuttle, guitar

Chad Bowen, bass

Jan Purat, fiddle

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Marco Benevento

APRIL 27 @ 9PM | DOORS 8PM | UPSTAIRS

Not your mother’s chopsticks.

21+

Over the course of seven studio albums and countless shows around the world, keyboardist Marco Benevento has amassed a devoted fanbase, while drawing praise from tastemakers far and wide. Los Angeles Times has written, “it’s safe to say that no one sees the keyboard quite like Marco Benevento’s genre-blind mashup of indie rock, jazz and skewed improvisation,” while NPR Music raves that Benevento combines “the thrust of rock, the questing of jazz and the experimental ecstasy of jam,” and Rolling Stone praises “the textures and colors available in his keyboards and arsenal of manipulated pedals and effects along with his deceptively rich, catchy melodies and straight-ahead grooves.”

Indeed, Marco Benevento’s music covers a wide swath of ground, seemingly connecting the dots in the vast space between LCD Soundsystem and Leon Russell, His songwriting is smart and earthy, yet simultaneously pulsating with dance rock energy. Benevento’s high energy live shows—fronting a three-piece band currently comprised by bassist Karina Rykman and drummer Chris Corsico—have led to numerous high profile appearances, ranging from Carnegie Hall to Pickathon. In the studio, he’s collaborated with the likes of Richard Swift (The Shins, Nathaniel Rateliff), Leon Michels (Lee Fields, Freddie Gibbs) and Simone Felice (The Felice Brothers, The Lumineers) among others.

On his latest album, simply titled, ‘Benevento,’ the Woodstock, NY-based artist dives deep down a psych funk rabbit hole, reimagining the current Zeitgeist of these troubled times through surrealistic optimism and the pure joy of an irresistible groove on tracks like “At The End Or The Beginning,” “Winter Rose” and “Do You Want Some Magic?”

“Benevento jams with a concentration on the textures and colors available in his keyboards and arsenal of manipulated pedals and effects. His songs feature deceptively rich, catchy melodies and straight-ahead grooves that expand with subtle mounting gestures.” – Rolling Stone

“A musician so original that he can ultimately only be judged against his own standard.” -All Music

“Reminiscent of Dr. John’s New Orleans psychedelia and piano chops with a hint of Father John Misty’s general coolness, Marco Benevento brings something very unique to the modern pop world.” – The Wild Honey Pie

“Benevento continues to straighten his twisted sound into the guise of an indie-rock singer-songwriter, harnessing his inventive sonic palette into rewardingly bite-size pop songs that touch on disco and soul.” – LA Times

“Marco Benevento is one of the most talented keys players of our time.” – CBS

“Benevento’s colorful, improvisational, piano-based compositions stretch so wide and cover so much sonic ground that the idea of genre seems quaint. Very quietly, he has been evolving into one of the most vital figures in jazz or rock or post-jazz or post-rock or—all of music.” –Kansas City Pitch

“Imaginative at heart, Benevento demands you to be too when engaging with his work. Otherwise, you probably are missing out on something special. Driven to experiment with chords and melodies with the intention of getting a little dirty along the way, Benevento’s collisional approach is refreshing and absolutely delightful.” – Consequence of Sound

“A vocalizing party-starter, Benevento extrudes sinister balladry and hustling disco beats.” – Village Voice

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Marco Benevento

APRIL 28 @ 9PM | DOORS 8PM | UPSTAIRS

Not your mother’s chopsticks.

21+

Over the course of seven studio albums and countless shows around the world, keyboardist Marco Benevento has amassed a devoted fanbase, while drawing praise from tastemakers far and wide. Los Angeles Times has written, “it’s safe to say that no one sees the keyboard quite like Marco Benevento’s genre-blind mashup of indie rock, jazz and skewed improvisation,” while NPR Music raves that Benevento combines “the thrust of rock, the questing of jazz and the experimental ecstasy of jam,” and Rolling Stone praises “the textures and colors available in his keyboards and arsenal of manipulated pedals and effects along with his deceptively rich, catchy melodies and straight-ahead grooves.”

Indeed, Marco Benevento’s music covers a wide swath of ground, seemingly connecting the dots in the vast space between LCD Soundsystem and Leon Russell, His songwriting is smart and earthy, yet simultaneously pulsating with dance rock energy. Benevento’s high energy live shows—fronting a three-piece band currently comprised by bassist Karina Rykman and drummer Chris Corsico—have led to numerous high profile appearances, ranging from Carnegie Hall to Pickathon. In the studio, he’s collaborated with the likes of Richard Swift (The Shins, Nathaniel Rateliff), Leon Michels (Lee Fields, Freddie Gibbs) and Simone Felice (The Felice Brothers, The Lumineers) among others.

On his latest album, simply titled, ‘Benevento,’ the Woodstock, NY-based artist dives deep down a psych funk rabbit hole, reimagining the current Zeitgeist of these troubled times through surrealistic optimism and the pure joy of an irresistible groove on tracks like “At The End Or The Beginning,” “Winter Rose” and “Do You Want Some Magic?”

“Benevento jams with a concentration on the textures and colors available in his keyboards and arsenal of manipulated pedals and effects. His songs feature deceptively rich, catchy melodies and straight-ahead grooves that expand with subtle mounting gestures.” – Rolling Stone

“A musician so original that he can ultimately only be judged against his own standard.” -All Music

“Reminiscent of Dr. John’s New Orleans psychedelia and piano chops with a hint of Father John Misty’s general coolness, Marco Benevento brings something very unique to the modern pop world.” – The Wild Honey Pie

“Benevento continues to straighten his twisted sound into the guise of an indie-rock singer-songwriter, harnessing his inventive sonic palette into rewardingly bite-size pop songs that touch on disco and soul.” – LA Times

“Marco Benevento is one of the most talented keys players of our time.” – CBS

“Benevento’s colorful, improvisational, piano-based compositions stretch so wide and cover so much sonic ground that the idea of genre seems quaint. Very quietly, he has been evolving into one of the most vital figures in jazz or rock or post-jazz or post-rock or—all of music.” –Kansas City Pitch

“Imaginative at heart, Benevento demands you to be too when engaging with his work. Otherwise, you probably are missing out on something special. Driven to experiment with chords and melodies with the intention of getting a little dirty along the way, Benevento’s collisional approach is refreshing and absolutely delightful.” – Consequence of Sound

“A vocalizing party-starter, Benevento extrudes sinister balladry and hustling disco beats.” – Village Voice

SOLD OUT

Marble Eyes

MAY 12 @ 9PM | DOORS 8PM | UPSTAIRS

Some soul lifting rock and roll.

21+

MARBLE EYES is a soulful, energetic rock band based out of the New Hampshire Seacoast. This group has multiple lead singers and vocal harmonies in the same spirit as The Band and Traveling Wilburys. The feel good, larger than life sound has been dubbed by its fanbase as “Rock & Roll For The Soul”.

Marble Eyes formed amidst the pandemic and features players from national touring acts such as Pink Talking Fish, Kung Fu, The Indobox and more. While this challenging time seemed to bring most of the world to a standstill, it was also the catalyst to create a burst of positive energy with the birth of this band.

Bassist, Eric Gould, and guitarist, Mike Carter, live close to each other but were always too busy to get together. With touring halted, they finally found the time to make some music. Carter invited keyboardist Max Chase to set up in Gould’s driveway with social distancing measures in place. From the first notes, it was evident that this was no ordinary jam session. There was something very special about this collection of voices. Gould invited drummer, Adrian Tramontano, to the next session and he added his virtuosic color, taking each song to new heights. The energy of this lineup made it clear that Marble Eyes was here to stay.

Over the course of the shutdown, the band penned over 50 songs together. All four band members have contributed songs to the Marble Eyes repertoire. Each character is defined and, together, they have created something positive and exciting in the midst of one of the most challenging times of this century.

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Scissorfight w/ Doug & Tree

MAY 20 @ 9PM | DOORS 8PM | UPSTAIRS

New Hampshire’s All Right.

21+

Scissorfight

2016 marked the reemergence of Scissorfight. The retooled version of the band features new members Doug Aubin on vocals and Rick Orcutt behind the drums, along with founding members Paul Jarvis and Jay Fortin. A new pair of scissors, same fight. Different yet familiar. Carrying on the traditional and forging a new chapter.

Tree

For the uninitiated, Tree formed in Westwood, MA in the late ’80s. By the mid-’90s, the group of school friends had cemented their status as one of Boston rock’s prime movers. Their sound was a mix of hard rock and hardcore punk. And frontman Dave Tree crafted lyrics that spoke to the political and social issues of the day.

If you were a rock fan in Boston in the ’90s, it’s a safe bet you had a copy of Plant A Tree Or Die or Downsizing The American Dream on CD or cassette tape. Tree was a fixture at the annual Boston Freedom Rally, which took place each year down on the Common back in the day. They were live, they were loud, and then–like most local acts, after a time–they were gone.

But now Tree is back. And the timing couldn’t be better.

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