The Haunt - Ithaca, NY
with Kris Orlowski
Age policy: 16+ with ID / under 16 with a parent or guardian
Seattle-based five-piece rock combo Ivan & Alyosha are finally complete, having organically grown from the original duo of Tim Wilson and Ryan Carbary, adding Tim's brother Pete and Tim Kim, then drummer Cole Mauro as a full-time member for their sophomore Dualtone Records album, It's All Just Pretend, an uplifting exploration of the things that fuel their classic sound, steeped in the verities of family, faith and existential doubt. Their critically praised debut album, All the Times We Had was a perennial on several NPR tastemaker stations with an iTunes "Song of the Week" for "Running for Cover." Paste called their music "luscious, enjoyable folk-pop" and NPR Music praised their "Beatles-esque pop harmonies and sweet melodies," while Rolling Stone raved about their "smooth, soaring guitar pop" and American Songwriter said the band "achieve a polished west coast soul-folk sound that draws on the poppier sensibilities of McCartney songwriting." Ivan & Alyosha woodshedded for close to a year in making the new album in a variety of locations, from Carbary's own Seattle area condo home studio to first-album producer Chad Coplein's Black Watch Studios in Norman, Oklahoma and L.A.'s famed Sunset Sound with mixer/co-producer Joe Chiccarelli, who has worked with U2, My Morning Jacket, Elton John, The Shins, Etta James and The Strokes. The band, which originally took its name from two characters in Dostoevsky's The Brothers Karamazov, has developed into a three-headed songwriting beast, with the Wilson brothers and Carbary carrying virtually an equal load on the new album. The eclectic 11-song effort takes off with the pure adrenaline of Pete's contributions, "Something Is Wrong" and "Bury Me Deep," highlighted by jangling guitars and pointed observations about freedom and personal responsibility in today's society. "As a songwriter, I feel a huge responsibility to be honest," says Pete Wilson. "And most of the time, that honesty comes at a price of digging down deep into my own faults, frustrations, and doubts. I've tried to write the protest song where I point the finger and place the blame elsewhere, but it never works out." He adds, "The goal is to hold up the mirror to our own shortcomings, and start asking, "how do I get out of the mess I've put myself in?" Tim's "All This Wandering Around," the first single, offers a haunted Roy Orbison-like croon featuring Tim Kim's swampy delta blues guitar break wrapped around a song of the search for a power greater than oneself, and the stumbles in finding it along the way. "There has to be honesty," says Tim. "Lyrically and thematically, our songs connect with people, no matter what they believe. We hopefully provide some sort of light, whenever – and wherever – they listen to them." According to Tim, the album title (which comes from Pete's song) depicts a modern world where reality is hidden behind materialistic illusions, illustrated in songs like his "Modern Man," a funky, '80s Bowie-meets-Hall & Oates R&B number that takes aim on our fetish for technology and outward appearances. "Somewhere on the journey long ago," he sings. "You lost your place," adding that we're "drowning in the ocean of your lowered expectations." Carbary's aching, self-lacerating songs explore harsh truths about relationships and domesticity with an eye towards traditional roots rock, evoking the piano balladry of Paul McCartney ("Tears In Your Eyes"), a bluesy four-on-the-floor shuffle punctuated with poppy "Penny Lane" horns ("Oh This Love") and a country gospel lament about relationships – one with a fellow human, the other a higher spiritual power -- featuring his own twangy slide guitar ("Drifting Away"). "I've always been a sucker for a heartbreak song," admits Ryan. "I'm mostly expressing my failures as a human being, and striving to become a better person. It's true emotion." That rawness and vulnerability can be heard on Tim's "Come Rain, Come Shine," a song that evokes one of George Harrison's blissful Buddhist mantras, a glimpse of our own communal nature, that we all occupy this earth together. "We wanted to come up with something that was universal," explains Tim, who co-penned the song with Nashville songwriter Dave Berg. "We wanted to bring things into perspective, with all of the nonsense going on in America and the world, that we're all part of this global community. All may be meaningless, but there are still things in the world that are meaningful. As a band, we try to err on the light, rather than the dark, side. We admit there are things we have yet to figure out, but instead of falling into easy cynicism, or self-absorption, though, we try to dig deeper." With four of the five band members married, and two of them with kids, family is an important consideration for Ivan & Alyosha. Tim deals with the topic openly on the closing lullaby to his then two-year-old son Henry, "Don't Lose Your Love," a wise counsel from a father to his child and wife, his fingers squeaking on the fret like a literal tug on the heartstrings. For all the members of I&A, as they pursue their musical ambitions, it is important that their personal lives remain grounded. "It can be difficult when we're on the road," says Ryan. "We're very grateful to have the kind of support we do from the loved ones back home" "Family informs just about everything we do creatively," nods Tim, a devoted father and husband who manages to keep the home fires burning whether on tour or recording. "It's an inspiring thing, for sure. We're all just trying to take care of each other. Rock bands don't usually deal with topics like family and spirituality, but these subjects are universal." On It's All Just Pretend, Ivan & Alyosha continue to make timeless music that shows that rock and domestic bliss can indeed co-exist, as they overcome any obstacles by the sheer joy of their roles -- not only as performers, but brothers, husbands, fathers and sons.
Water Street Music Hall - Rochester, NY
with special guest Craig Finn
16+ w/ ID.
Presale is Wednesday, February 11 at 10am EST.
The Dock - Ithaca, NY
General Admission Seated Event
This is a general admission seated event
Crystal's emotive folk-rock-country style has been catapulted from the cramped coffeehouses and cavernous subway tunnels of Chicago to millions of homes across America when she placed second Season 9 of American Idol. Along with her old soul of a voice, her care-free style and "don't mess with me" attitude set her apart from the other contestants and eventually landed the self-taught songstress performances with the like of the legendary Joe Cocker, Harry Connick, Jr., and Alanis Morrissette.
The Haunt - Ithaca, NY
Big Mean Sound Machine I-Town Revue: Featuring Ithaca's Finest Singers and Players
Big Mean Sound Machine will host a showcase of Ithaca’s amazing musical talent. Expect covers, classics and originals by a dynamic cast of singers and players. No Big Mean Originals, just all of the tunes that inspired us to make music! DJ GOURD and DJ Ha-MEEN spin tracks for your dancing feet. Mosaic Foundation Opens the Night! The Lineup (In No Particular Order): Tenzin Chopak (Rockwood Ferry) Tom Burchinal (Grey Gary, Ayurveda) Elliot Martin (John Brown’s Body, Black Castle) Stephanie Agurkis (Mutron Warriors) Kevin Kinsella (10Ft Ganja Plant, John Brown’s Body) Nate Richardson (Sim Redmond Band) Shikhar Bajracharya (Grey Gary, Ayurveda) Evan Freidell (Jimkata) Jon Petronzio (Road Man, John Brown’s Body) Wolf Weston (Second Dam) Brett Beardslee (Uncle Bumpy) The Steamboats and Many, Many More!!
Asbury Hall at Babeville - Buffalo, NY
with Mechanical River
Hurray For The Riff Raff is Alynda Segarra, but in many ways it's much more than that: it's a young woman leaving her indelible stamp on the American folk tradition. If you're listening to her new album, 'Small Town Heroes,' odds are you're part of the riff raff, and these songs are for you.
"It's grown into this bigger idea of feeling like we really associate with the underdog," says Segarra, who came to international attention in 2012 with 'Look Out Mama.' The album earned her raves from NPR and the New York Times to Mojo and Paste, along with a breakout performance at the 2013 Newport Folk Festival, which left American Songwriter "awestruck" and solidified her place at the forefront of a new generation of young musicians celebrating and reimagining American roots music. "We really feel at home with a lot of worlds of people that don't really seem to fit together," she continues, "and we find a way to make them all hang out with our music. Whether it's the queer community or some fright train-riding kids or some older guys who love classic country, a lot of folks feel like mainstream culture isn’t directed at them. We're for those people."
Segarra, a 26-year-old of Puerto Rican descent whose slight frame belies her commanding voice, grew up in the Bronx, where she developed an early appreciation for doo-wop and Motown from the neighborhood's longtime residents. It was downtown, though, that she first felt like she found her people, traveling to the Lower East side every Saturday for punk matinees at ABC No Rio. "Those riot grrrl shows were a place where young girls could just hang out and not have to worry about feeling weird, like they didn’t belong," Segarra says of the inclusive atmosphere fostered by the musicians and outsider artists who populated the space. "It had such a good effect on me to go to those shows as a kid and feel like somebody in a band was looking out for me and wanted me to feel inspired and good about myself."
The Lower East Side also introduced her to travelers, and their stories of life on the road inspired her to strike out on her own at 17, first hitching her way to the west coast, then roaming the south before ultimately settling in New Orleans. There, she fell in with a band of fellow travelers, playing washboard and singing before eventually learning to play a banjo she'd been given in North Carolina. "It wasn't until I got to New Orleans that I realized playing music was even possible for me," she explains. "The travelers really taught me how to play and write songs, and we'd play on the street all day to make money, which is really good practice. You have to get pretty tough to do that, and you put a lot of time into it."
"The community I found in New Orleans was open and passionate. The young artists were really inspiring to me," she says. "Apathy wasn’t a part of that scene. And then the year after I first visited, Katrina happened, and I went back and saw the pain and hardship that all of the people who lived there had gone through. It made we want to straighten out my life and not wander so much. The city gave had given me an amazing gift with music, and it made me want to settle there and be a part of it and help however I could."
Many of the songs on 'Small Town Heroes' reflect that decision and her special reverence for the city. She bears witness to a wave of violence that struck the St. Roch neighborhood in the soulful "St. Roch Blues;" yearns for a night at BJ's Bar in the Bywater in "Crash on the Highway;" and sings of her home in the Lower Ninth Ward on "End of the Line." "That neighborhood and particularly the house I lived in there became the nucleus of a singer songwriter scene in New Orleans," she explains. "'End Of The Line' is my love song to that whole area and crew of people."
The scope of the album is much grander than just New Orleans, though, as Segarra mines the deep legacies and contemporizes the rich variety of musical forms of the American South for the age of Trayvon Martin and Wendy Davis. "Delia''s gone but I'm settling the score," she sings with resolute menace on "The Body Electric," a feminist reimagining of the traditional murder ballad form that calls on everything from Stagger Lee to Walt Whitman. Shejuxtaposes pure country pop with the dreams and nightmares that come with settling down with just one person in "I Know It's Wrong (But That's Alright)," while album opener "Blue Ridge Mountain" is an Appalachian nod to Maybelle Carter.
NPR has said that Hurray for the Riff Raff's music "sweeps across eras and genres with grace and grit," and that's never been more true than on 'Small Town Heroes.' These songs belong to no particular time or place, but rather to all of us. These songs are for the riff raff.
State Theatre of Ithaca - Ithaca, NY
Contender for the title of greatest blues guitarist ever, with a fiery, screechy, super-quick technique that influenced countless followers.
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite. George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over the top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career. Hoodoo Man BluesGuy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess. I Left My Blues in San Francisco Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer. Alone & Acoustic By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe, where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician magazine, "Buddy Guy is by far and without a doubt the best guitar player alive...he really changed the course of rock & roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards. Last Time Around: Live at Legends In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy Award in 2010 for the album Living Proof. Guy also received the National Medal of the Arts in 2003, and was awarded with Kennedy Center Honors in 2012. He was inducted into the Rock and Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago." Guy continued his late-career revival with the 2012 memoir When I Left Home: My Story and the summer 2013 release of the ambitious, guest star-laden double album Rhythm & Blues.
Water Street Music Hall - Rochester, NY
16+ w/ ID
Brewery Ommegang - Cooperstown, NY
CAMPING IS SOLD OUT
If you put your ear to the street, you can hear the rumble of the world in motion; people going to and from work, to school, to the grocery store. You may even hear the whisper of their living rooms, their conversation, their complaints, and if you’re lucky, their laughter. If you’re almost anywhere in America, you’ll hear something different, something special, something you recognize but haven’t heard in a long time. It is the sound of a real celebration.It is not New Year’s, and it is not a political convention. It is neither a prime time game-show, nor a music video countdown, bloated with fame and sponsorship. What you are hearing is the love for a music. It is the unbridled outcry of support for a song that sings to the heart, that dances with the soul. The jubilation is in the theaters, the bars, the music clubs, the festivals. The love is for a band.The songs are honest: just chords with real voices singing real melodies. But, the heart and the energy with which they are sung, is really why people are talking, and why so many sing along. They are a reality in a world of entertainment built with smoke and mirrors, and when they play, the common man can break the mirrors and blow the smoke away, so that all that’s left behind is the unwavering beauty of the songs. That’s the commotion, that’s the celebration, and wherever The Avett Brothers are tonight, that’s what you’ll find.
The Haunt - Ithaca, NY
In 2013, The Howlin Brothers released HOWL, an album produced and released by Brendan Benson of The Raconteurs and his indie label Readymade. Shortly thereafter the media embraced this band fast and furiously with dozens of positive reviews and accolades about the sound and feel of this Appalachian style Old time string band.
The Howlin’ Brothers embarked on a national tour in 2013 to support HOWL and immediately followed that up with 2014’s TROUBLE. All of the feedback on their live performances has resonated immensely with music critics, fans and aficionados who represent a multitude of genres in today’s music. That is a mighty force to be reckoned with.
This is a live show that makes you feel good, makes you want to clap and dance and makes you realize how truly talented this trio is. The band will resume touring coast to coast across America in support of their latest release TROUBLE in 2015, also produced by Benson. We recommend you put your dancing shoes on and enjoy!
Asbury Hall at Babeville - Buffalo, NY
with Gilligan Moss
Glass Animals vocalist and songwriter David Bayley draws influence for both music and artwork from his involvement in the world of medicine and neuroscience (at just 22 yrs old, he has studied both) creating a sound with it's roots spread between the electronic and live instrumentation. The result is the warm, narcotic space between a downbeat, slow-burning groove and electro-pop catchiness.