And then there were 10. 10 tickets left for Modest Mouse April 19 - Today's the day!
Water Street Music Hall - Rochester, NY
with Bas, Cozz, Omen
16+ w/ ID
The Club @ Water Street - Rochester, NY
16+ w/ ID
The Dock - Ithaca, NY
Giant Panda Guerilla Dub Squad (GPGDS) is known for folding the aesthetics of the jamband scene into the structures of reggae. In the live setting, the band performs extended jams, while their previous studio albums have blended roots reggae with psychedelia (In These Times, 2012) or diverged from the genre completely, journeying into straight Americana (Country, 2012). On STEADY, the band’s fourth studio album (and first on Easy Star Records), GPGDS has synthesized their approach by weaving traditional folk instrumentation into a foundation of reggae, with arrangements that let the reggae breathe in a non-traditional way. While STEADY may not be the first record to find inspiration in both old time Appalachia and ‘70s Jamaica, it may be the best. Much of STEADY’s power comes from the attention put into the recording process. Craig Welsch (one of the key players in 10 Ft. Ganja Plant) invited the band to his Boston studio, with the intention of “capturing an aspect of Panda that no one had ever heard yet, something totally different.” This rings true on tracks like “Wolf At The Door” and “.45.” Bassist-singer James Searl jokes that the band “has always followed John Brown’s Body (JBB) into studios,” as each studio they’ve recorded in was previously used by the legendary Ithaca, New York-based band. This trend continues unabated here, as Welsch was formerly JBB’s dub engineer and producer on some of their finest sessions, while another song on STEADY – the herb-smoking gem “Mr. Cop” – was produced by Matt Saccuccimorano, who helmed the controls on the last JBB release. The only other track on the record not coming from Welsch – the title track – was co-produced by Danny Kalb, who has worked with The Green, Ben Harper, and Jack Johnson. Giant Panda formed in 2001 in Rochester, New York. A mysteriously fertile area for developing the U.S. reggae scene, the city has ties going back to 1981 when Lee “Scratch” Perry recruited his entire backing band from Rochester. The Upstate NY region became early supporters of GPGDS, while its members were in high school and beginning college, playing weekly gigs to cut their teeth. In these formative years, Giant Panda began to explore their songs with an experimental approach that is stylistically akin to the Grateful Dead, while keeping their roots firmly planted in reggae rhythms and lyrical content. Around 2005 tapers began to notice and soon after one of the band’s first Colorado shows received homepage placement on the popular taper website Archive.org. Almost overnight GPGDS became a mainstay on the jamband festival circuit. From 2005 – 2013 GPGDS’s three original members (drummer Chris O’Brian, guitarist-singer Dylan Savage, and bassist-singer James Searl) began a touring schedule averaging over 100 shows a year and performing throughout the U.S., Canada, and Jamaica. Their third lead singer, multi-instrumentalist Dan Keller, joined the group a few years back, while keyboardist Tony Gallicchio joined in 2013. (Most of the sessions for STEADY feature ex-keys man Aaron Lipp, though Gallicchio can be heard on two of the tracks.) Giant Panda’s continuous time on the road hardened the players into monster instrumentalists. Their attention to the studio in later years, along with a unique blending of reggae and rural American music solidified GPGDS as one of the region’s most beloved bands. Like their hometown, they manage to unify an intellectual and creative culture with a hard-working blue-collar past. The three main songwriters’ material is different enough to create a flowing and diverse listening experience. Savage’s inspiring anthems tend to be the most “classically” reggae, with songs like “Not The Fool,” “Whatever Cost,” and “Solution” echoing influences like Culture (circa 1979), early Burning Spear, and Jimmy Cliff. Searl is more experimental, both in form (“Wolf At The Door” could almost be an Elvis Costello song, while “.45” utilizes African and blues influences) and in lyrics: his “Hurt Up Your Brother” is almost Dadaist, taking a few lines and constantly rearranging them to achieve new meanings, imbued with a nonsensical-yet-expressive feel, while one of the most dubbed-out riddims on the record chugs along underneath. Keller’s songs stand illusively in between, and manage to go both directions, with a hardcore reggae groove on “Move” giving way to an unexpected chorus, or with the catchy “Home” being one of the only reggae songs in history to use a banjo so creatively and fittingly. Giant Panda is one of a growing number of bands that work with both Rootfire (their management) and Easy Star Records. STEADY marks the seventeenth release Rootfire and Easy Star have paired up for, making them one of the most storied and successful partnerships in the modern reggae scene. Release number eighteen is just a few months away…. GPGDS has cut a full Americana album as a sequel to 2012’s Country, which will also come out on Easy Star in early 2015. For now though, sit back and enjoy STEADY – a masterpiece that solidifies Giant Panda’s standing as a groundbreaker in the roots reggae scene.”
State Theatre of Ithaca - Ithaca, NY
**NOTE: All Orchestra seating is general admission. If you want reserved seating in the balcony please choose "Loge Reserved" seating.**
Formed as a quartet in Chicago in 1998 and relocated to Los Angeles three years later, OK Go (Damian Kulash, Tim Nordwind, Dan Konopka, Andy Ross) have spent their career in a steady state of transformation. The four songs of the all-new Upside Out EP represent the first preview of Hungry Ghosts, due out in the fall on the band’s own Paracadute. This is the band’s fourth full-length and the newest addition to a curriculum vitae filled with experimentation in a variety of mediums. The band worked with longtime producer and friend Dave Fridmann (Flaming Lips, Weezer, MGMT), while also enlisting a new collaborator in Los Angeles, veteran Tony Hoffer, (Beck, Phoenix, Foster the People) to create their most comfortable and far-reaching songs yet. Building on (and deconstructing) 15 years of pop-rock smarts, musical friendship, and band-of-the-future innovations the EP, Upside Out, offers a concise overview of forthcoming Hungry Ghosts’ melancholic fireworks (“The Writing’s on the Wall”), basement funk parties (“Turn Up The Radio”), IMAX-sized choruses (“The One Moment”), and space-age dance floor bangers (“I Won’t Let You Down”). Drawn from the same marching orders issued to big-hearted happiness creators as Queen, T. Rex, The Cars or Cheap Trick, and a lifetime of mixed tapes exchanged by lifelong music fans, Upside Out is a reaffirmation of the sounds and ideas that brought the band together in the first place. The four songs provide an assured kick-off to a new sequence of interconnected performances, videos, dances, and wild, undreamt fun. “As the band has evolved over the last 15 years, the creative palette we work with has expanded in so many unexpected and gratifying directions,” says frontman Damian Kulash. “This record feels like it’s the musical manifestation of that — like we can speak in a clearer voice when we are playing in a bigger sandbox. Just as the band’s whole project became clearer to us as we learned to find more homes for our creativity — we triangulated it from more directions. And, I think the music itself has gotten more focused for similar reasons. We went in with fewer preconceptions of who we are or what our sound is, and came out with a record that sounds much more uniquely our own because of it.” Continuing a career that includes viral videos, New York Times op-eds, a major label split and the establishment of a DIY trans-media mini-empire, collaborations with pioneering dance companies and tech giants, animators and Muppets, OK Go continue to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved.
The Club @ Water Street - Rochester, NY
with Beau Sasser’s Escape Plan
16+ w/ ID
The Haunt - Ithaca, NY
with The Ballroom Thieves
The energy of rock n’ roll is impossible to categorize – mercurial, specific to its beholder and profoundly reflective. From the Binghamton, New York music scene comes Driftwood, a band with a rock n’ roll soul and a folk art mind. Carving out a name for themselves with electrifying live performances, they bring one of the most unique, raw sounds to the Americana/roots music scene. Incorporating upright bass, banjo, acoustic guitar and violin, the ghost of traditional American folk music lives in their palette. But the melodies, the harmonies and the lyrics are something else entirely. “We started off playing rock in high school. Then studying jazz and classical music in college. Then we dove headfirst into folk and bluegrass. At some point I guess we kind of met in the middle”, says guitarist/songwriter Dan Forsyth. Drawing on aspects of everything from 0ld-time recordings to 1960’s R&B, the music is crafted to serve the songs. With fast-growing audiences singing along at live shows, it’s easy to tell the primary focus is on song. “We recognized early on that one of our strongest points was songwriting. The greatest songs transcend genre and time and this was one of the motivating ideas behind the band at the start”, says banjo player/songwriter Joe Kollar. Trading lead vocals between Forsyth, Kollar and violinist Claire Byrne, the group’s stage dynamics are as captivating as the songs. “I give so much of myself when I play because I deem it necessary in order to do the music justice”, says Byrne, whose violin-shredding performances galvanize fans. Songs or shredding, “There’s a reason people won’t let them off the stage”, says Jess Novak from The Syracuse New Times. Coming from a town not often recognized for music but predominantly for industry, being the home of Twilight Zone author Rod Serling and donning the title of the “Carousel Capital of the World”, it’s easy to wonder how this not-so-traditional string band came out of the Binghamton music scene. “What people don’t often realize is that bands like Old Crow Medicine Show, The Horseflies and The Highwoods String Band came out of this same area and had a huge influence on us”, says Forsyth. “We played a lot of old-time in the beginning and it was a huge part of our band learning to play music together”. Formed in 2005, the band spent four years playing just about anywhere they could. “We just wanted to be able to play for any crowd and turn heads”, says banjo player Joe Kollar. “We played everywhere. Coffee houses, bars, churches, rock clubs, Bluegrass festivals and the streets…a lot on the streets. We didn’t make any money, but what we learned was invaluable”. After the release of their Debut CD “Rally Day” in 2009, the band has spent most of the last 4 years on the road. With club and festival appearances alongside of artists such as Bela Fleck, Old Crow Medicine Show, Rusted Root, Del McCoury, Brett Dennen, The Wailers, Railroad Earth, Robert Randolph, Rubblebucket, Leon Russell, Emmylou Harris and Donna the Buffalo, Driftwood is making serious waves on the East Coast scene. In the last three years they’ve played over 475 shows. With the release of their second CD “A Rock & Roll Heart” in 2011, the band landed spins on a slew of great radio shows and stations such as WFUV’s Sunday Breakfast with John Platt (New York, NY); KZSU (Stanford, CA), WCBE (Columbus, OH), WNRN (Charlottesville, VA), WUNC (Chapel Hill), NC and WDVX (Knoxville, TN). In November 2012, Driftwood started work on their third and latest CD. Despite a grueling tour schedule and very little time at home, the recordings were finished in the summer of 2013. The self-titled new disc was recorded in a church outside of Ithaca, NY with Grammy-winning engineer Robby Hunter. It is set to be released on December 3rd, 2013.
The Hangar Theatre - Ithaca, NY
Kansas City-based country singer-songwriter, with an acclaimed ability to create nuance out of everyday pain and triumph. Tickets are available online or in person at The State Theatre Box Office and McNeil Music of Ithaca.
Iris DeMent says of that elusive inspirational spark, “I didn’t know when or if I’d make another record. I gave up on trying to steer it or force it and decided to just make myself available in my heart and mind as much as I could and leave the rest up to fate.” Sixteen years after the last collection of DeMent songs, that time has come. Sing The Delta presents twelve self-penned compositions from an artist whose first three albums established her as one of the most beloved and respected writers and singers in American music. DeMent, the last of 14 children, born in Arkansas and raised in Southern California, grew up immersed in gospel music and traditional country. She was somewhat of a late bloomer as an artist, writing her first song at age of 25. Her first release, Infamous Angel, initially issued on Rounder in 1992 before being picked up by Warner Bros., immediately established her as a promising and talented artist. Its 1994 follow-up, My Life, earned a Grammy nomination in the Contemporary Folk category. Her 1996 album The Way I Should addressed political as well as personal themes and earned a Grammy nomination, as well. Along the way, several of DeMent’s songs became cultural touchstones. “Let The Mystery Be” found its way to MTV Unplugged as a duet by David Byrne and Natalie Merchant. “Our Town” was played over the farewell scene in the series finale of Northern Exposure. Merle Haggard, who said of DeMent, “She’s the best singer I’ve ever heard,” invited her to sit in as his piano player touring with his legendary band The Strangers. He subsequently covered two of her songs “No Time To Cry” and the gospel-tinged “The Shores of Jordan.” DeMent remained active as an artist. She sang four duets with John Prine on In Spite of Ourselves and had a minor role in the motion picture Songcatcher as well as contributing a song to its soundtrack. She continued playing live shows and in 2004, she recorded an album of gospel songs, Lifeline, which included her rendition of “Leaning on the Everlasting Arms.” In 2010 the Coen Brothers chose that song for the closing credits when they remade the classic western “True Grit.” Still, DeMent never took for granted the arrival of an album’s worth of new songs. “Songs would come along here and there and I’d go out and sing them for people, but for a long time I just didn’t know what would become of any of them. Then last year, a door kinda opened up, and a handful of songs walked through and a few unfinished ones came together and I knew I had a record.” As with Lifeline, DeMent is releasing Sing The Delta on her own label, Flariella Records. It was recorded at Richard McLaurin’s House of David studio in Nashville with co-producers Richard Bennett and Bo Ramsey, with a supporting cast that included Bryan Owings on drums, Dave Jacques on bass, Al Perkins on pedal steel and Reese Wynans on B3 organ, as well as horn players Jim Hoke and Steve Herman on a couple of numbers. Of the time it took, DeMent says “Some of these songs I’ve had around awhile but I needed time to grow into them. I guess you could say I just wasn’t ready to deliver them in the way that they deserved. I’m glad I waited. It’s taught me to surrender…to trust the natural flow and order of things and not worry about it,” DeMent says. It’s an instinct she’s learned to trust ever since she first sat down to write her first couple of songs at age 25 and found “Our Town” spilling out onto the page. “It was like somebody walked right into that room and said, ‘There you have it, Iris’ — I knew then and there that I had gotten my calling,” she relates. “I had always been taught in church that God, or spirit, if you will, calls us to a life work. I got mine that day. Whether I write one song a year or ten, it doesn’t matter. It’s a ‘knowing’ that I have that hasn’t left me since that day. That’s what I check in with and as long as that’s there, the rest of it doesn’t matter. The time it takes is just the time it takes.”
Water Street Music Hall - Rochester, NY
16+ w/ ID
The Haunt - Ithaca, NY
A spirited indie pop dance-band with a reggae-pop past and a penchant for worldbeat and ska-infused arrangements.
Age policy: 16+ with ID / under 16 with a parent or guardian
RUBBLEBUCKET: A BIOGRAPHICAL SOMETHING Rub-ble-buck-et [ru-bul-buck-it] Noun 1. A vessel in which workers collect waste materials on a construction site; We need a rubblebucket for all this rubble. 2. A wild art-pop band from Brooklyn, NY; I'm jonesing for the new Rubblebucket album ‘Survival Sounds’. 3. The condition of having hard nipples, or riding a mean yes wave; He has great Rubblebucket. Verb 4. The act of uncrossing one’s arms and letting loose, while strange, new feelings and sounds flood mind and body, leading to uncontrollable dancing, possible injury and definite sweat; Man, we really put the rubble in the bucket last night. My experience with Rubblebucket goes way back – to the summer of 1987, when I was born and first met lead singer and baritone saxist Kalmia Traver, then four. Kalmia was already well on her way to being a multi-instrument prodigy (penny whistle, recorder, alphabet burping), and I was already drowning in the ginormous shadow that she cast just by breathing. When she put our brother in a dress, blonde wig and heels, let me put on his lipstick, then forced his elastic micro-limbs into a diva pose, I knew she was a natural performer. Kalmia met Alex Toth (band leader, trumpeter, guy, brother-from-another-mother, Jersey) in a latin jazz combo in Burlington, VT. I’m assuming she also dressed him in drag, because he liked her and they became friends, painting the town with their loud horn playing. In 2006, they moved to Boston, where they did respectable things for money. Kalmia nude modeled for art classes, and Alex was hustling marching band gigs at $50 a pop, for which he was required to wear a black shirt and march around for six hours at a time OR NO PAY NO WATER NO DINNER. It was like that scene in Oliver Twist. Naturally, out of this hot, tarry, magical, broke-ass time, Rubblebucket emerged like a huge, slippery, post-afrobeat baby. Alex had met trombonist Adam Dotson at one of these marching gigs, and the three began composing and playing the first songs in Rubblebucket’s repertoire. Soon, they were joined by three more friends – guitarist Ian Hersey, drummer Dave Cole, and 15-seater van Puppy – and started taking the Rubblebucket show on the road. The first time I heard Rubblebucket perform live, two things happened: I realized this was the coolest thing on earth, like the lovechild of a unicorn and the Tom Tom Club, and I asked them if I could sell their merchandise at shows. You know what they say – those who can't do, sell merch. Night after night, standing behind that table of CDs, thongs and beer cozies, while Rubblebucket transformed the crowd from a skeptical wall of people into one big, happy, silly, jiving, open-hearted mass was an unforgettable experience. Their music does that – it just does. You can’t know it until you see it. And everyone who sees it, knows it. Like Paste, who said it best: “music that will make anyone with a pulse dance.” (I’ll annotate this by extending it to you pulse-less readers. You, zombie. I know you’re out there.) The Rubblebucket condition has spread, melting cares in its way. It barges in like an escaped rhino and triggers everyone, everywhere, to let loose and feel. Arm-crossing be damned! I’ve been to many Rubblebucket shows. But it wasn’t until I was mid-crowd in NYC’s Bowery Ballroom and heard a guy in front of me say to his friend “the singer looks so hot tonight” (but? Gross? That’s my sister?) that I knew Rubblebucket had made it. The experts will tell you that, actually, this was when they released their 2011 album Omega La La, with its headlining tracks “Came Out of Lady” and “Silly Fathers,” and reached a whole new, larger audience. Or, when they flew out to LA to play on Jimmy Kimmel Live, and got free pizza and Alex almost puked backstage. Or, when their song “Came out of a Lady” appeared in the movie Drinking Buddies, and I was suddenly one giant leap closer to meeting Anna Kendrick (that’s when I knew I had made it). Or, when their green rooms started stocking guacamole. Or, when their 2012 and 2013 EPs Oversaturated and Save Charlie introduced fans to the next and the next evolution of Rubblebucket, and more and more people fell in love. Now, much to my drool and dire impatience, the band is hovering on the knife’s edge of their next highly anticipated album release, Survival Sounds (Communion Records, Aug. 2014). Prepare yourself, universe. Rubblebucket is many things and nothing at all; it’s a mindset, a legend, a feeling, a mystery; a mischievous, playful, boundary-smashing blast of sound that you can sit still and wonder at, or turn off your mind and move wildly to. Or both at the same time. As Kalmia said, when she handed me one of her now-famous peanut butter, cheddar cheese, cabbage, honey tacos, “This is the weirdest, most delicious thing you will ever taste.” And if you won’t take it on my authority, take it on the authority of a small, but reputable publication called Rolling Stone, reporting from Bonnaroo: “Rubblebucket revved up like an indie-rock Miami Sound Machine, dancers, horns and all.” And if you won’t take it on Rolling Stone’s authority, cleave to the words of guitarist Ian: “Our music is like being at a raging party, but in the center of it, there’s this beautiful painting that you’re staring at, trying to wrap your mind around.” Or the words of our dad, Tim Traver: “Kids these days.” - Mollie Traver
The Haunt - Ithaca, NY
with Tal National
Age policy: 16+ with ID / under 16 with a parent or guardian
One of Africa's musical giants, Zimbabwe's Oliver Mtukudzi is a guitarist, vocalist, performer and composer. And he must be one of the few people to have a beat named after him: 'tuku'! Zimbabwe’s pride, most successful artist and national treasure, Oliver Mtukudzi is gifted with a deep and gusty voice plus a talent for writing songs that reflect on the daily life and struggles of his people. 'Tuku' as he is known, began performing in 1977 and has earned a devoted following across Africa and beyond, all the while incorporating elements of different musical traditions. A member of Zimbabwe's Kore Kore tribe, he sings in the nation's dominant Shona language as well as Ndebele and English. Tuku's music is heavily influenced by a humanist chimurenga ethos, which, in turn, is inspired by the hypnotic rhythms of the mbira (thumb piano). His music also incorporates South Africa mbaqanga, the energetic Zimbabwean pop style jit, and the traditional kateke drumming of his clan. One of Tuku's biggest fans is Bonnie Raitt, who has not only called Tuku "a treasure," and recorded a cover of "Hear me Lord" but also credits Tuku as the inspiration for the song "One Belief Away" on her album Fundamental. Tuku (along with Angelique Kidjo, Hugh Masekela and Ladysmith Black Mambazo) is one of the most successful African recordings artists in North America, having sold hundreds of thousand of records on Putumayo, Heads Up/Telarc and Sheer Sound. Tuku is an alumni of Acoustic Africa II (2011 edition) and a UNICEF Goodwill Ambassador for Eastern and Southern Africa, focusing on Young People's Development and HIV and AIDS Prevention.
Barton Hall - Ithaca, NY