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SUMMARY:Jonathan Richman with Tommy Larkins
DESCRIPTION:Dear ArtsCenter Patrons\, \nMask and Proof of Vaccination and or a negative Covid-19 test taken by a licensed health professional within the previous 72 hours before the event are required for entry. \n“Richman is one of America’s most unique and dynamic songwriters…” – Nashville Scene “Richman didn’t need much else besides a beat to work his magic.” – New York Daily News \n“Buy tickets early. Buy tickets often. This is just good general life advice\, but even more so when you’re talking about Jonathan Richman. Don’t get denied at the door\, don’t leave things up to chance: You will regret it.” – Nashville Scene \n“Rhymes worthy of Ogden Nash.” – The New York Times \n“Richman has spent decades removing barriers between himself and his audience\, cultivating an intimacy that is almost extinct in modern music.”- Nashville Scene \n“The music we’re doing now works well in quiet places like theaters and performing art centers. We still don’t use a program or a set list so we don’t know what we’ll do until we do it. Please do not expect old songs. Many singers my age do a retrospective; this show is not like that. It’s mostly stuff made up in the last 3 and 4 years. Some of the songs presented might be in different languages; this is not to be esoteric or clever\, it’s because the different languages help me express different feelings sometimes. One last thing\, my idea of a good show has nothing to do with applause. It’s about if all the songs I sang that night were ones that I felt.” – Jonathan \n\n\n	Related
URL:https://artsorange.org/event/jonathan-richman-with-tommy-larkins-2/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Performance,Performances
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DTSTART;TZID=America/Halifax:20220914T200000
DTEND;TZID=America/Halifax:20220914T220000
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UID:35671-1663185600-1663192800@artsorange.org
SUMMARY:Joe Purdy
DESCRIPTION:Mask and Proof of Vaccination and or a negative Covid-19 test taken by a licensed health professional within the previous 72 hours before the event are required for entry. \nJoe Purdy is an internationally acclaimed folk artist who has released 14 albums and a soundtrack to a movie in the last 15 years. Along the way\, his songs have turned up on numerous TV shows\, film soundtracks and he has co-starred in an acclaimed film. \n“American Folk” marked Joe’s first foray into acting. He also contributed to much of the soundtrack. It earned several awards including Best New Film at the Cleveland International Film Festival. \nJoe’s last album\, “Who Will Be Next?”\, is deeply rooted in the tradition of artists such as Pete Seeger\, Woody Guthrie\, Phil Ochs and Bob Dylan. It is a searing commentary of our turbulent times. Joe’s determination to honor the giants of American folk music while applying his formidable skills as a writer and vocalist reveal him as a compassionate observer and participant in our times. \nJoe has just finished a new album which will be released soon and supported by a Worldwide Tour in 2022. \n\n\n	Related
URL:https://artsorange.org/event/joe-purdy/
LOCATION:West End Theater\, 300-G East Main St\, Carrboro\, NC\, 27510\, United States
CATEGORIES:Performance,Performances
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DTSTART;TZID=America/Halifax:20220420T200000
DTEND;TZID=America/Halifax:20220420T213000
DTSTAMP:20220401T212528Z
CREATED:20220401T212528Z
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UID:32374-1650484800-1650490200@artsorange.org
SUMMARY:Del Amitri
DESCRIPTION:Presented by Cat’s Cradle\n\nAll attendees must show proof of vaccination from Covid-19. \n\n\nMasks to be worn at all times except when drinking in the lobby. \n\nWednesday\, April 20 \n\n\n7 door / 8 show \n\n\n$29.50 adv / $35 day of show \n\n  \nAlmost two decades on from their last album\, Del Amitri easily remember the good old days\, when a Glasgow indie band “who never really cut it as Orange Juice and Josef K copyists\, which is kinda what we were” became\, in effect\, overnight successes. Fatal Mistakes is their first collection of new songs in 18 years\, and it’s the brilliant sound of a 35-years-young recording band settling into what they do best: melodic rock songs with lyrical bite\, soulful comfort\, heart-swelling uplift and the occasional just-the-right-side-of-gnarly guitar solo. \n  \nLinks: Website | Instagram | Twitter | Facebook | Spotify | Youtube \n  \nDue to the increase of the Delta Variant and the danger it poses\, we are writing to let you know that starting October 1st\, 2021\, in additional to masks\, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter. \nThis was a difficult decision to make\, however given the risks that the new variant poses to the health of the community\, we believe this organizational mandate is the most sensible measure for the safety of the community. \nAll attendees are required to wear a mask or face covering for this event. \n\n\n	Related
URL:https://artsorange.org/event/del-amitri/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance,Performances
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DTSTART;TZID=America/Halifax:20220301T200000
DTEND;TZID=America/Halifax:20220301T210000
DTSTAMP:20220131T211057Z
CREATED:20220131T211057Z
LAST-MODIFIED:20220131T211057Z
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SUMMARY:Bob Mould Solo Electric: Distortion and Blue Hearts!
DESCRIPTION:Due to the increase of the Delta Variant and the danger it poses\, we are writing to let you know that starting October 1st\, 2021\, in additional to masks\, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter. \nThis was a difficult decision to make\, however given the risks that the new variant poses to the health of the community\, we believe this organizational mandate is the most sensible measure for the safety of the community. \n  \nDoors open 7pm / Show 8pm \n$24 advanced / $27 day of \n  \nLegendary musician Bob Mould announces his “Distortion and Blue Hearts!” tour starting September 16\, 2021\, in Boston at Paradise. The tour is in two parts. For the first three weeks\, Bob will be joined by Jason Narducy on bass and drummer Jon Wurster. Beginning October 15 in Bloomington\, IL\, Mould will perform “Solo Distortion” electric shows (full run of dates and locations below). \nOn July 16\, 2021\, before any tour dates happen\, Demon Music Group will conclude their year-long Bob Mould retrospective campaign with their fourth vinyl box\, Distortion: Live. The 8 LP set includes live recordings from Mould’s solo career and his band Sugar. \nThis box follows October 2020’s 8 LP Distortion: 1989-1995 vinyl set\, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar\, January 2021’s 9 LP Distortion: 1996-2007 box set continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff\, April 2021’s 7 LP Distortion 2008-2019 covering District Line to Sunshine Rock\, and the 24 CD Distortion: 1989-2019 box\, which covers the entirety of his post-Hüsker Dü output. \nMould’s live shows will span his entire 40+ year career\, including songs from the Distortion collection and from his landmark band Hüsker Dü\, as well as songs from last year’s explosive and critically acclaimed album Blue Hearts — about which Rolling Stone’s 4 out of 5 star review raved\, “feels like a lost Hüsker Dü album with Mould howling invective over his buzzsawing guitar.” \n“It’s been a year and a half away from the stage. I’ve missed the noise\, the sweat\, and seeing your smiling faces. I’m fully vaccinated\, and I hope you are too\, because this Fall will be a punk rock party with the band — and the solo shows will be loud and proud as well. It’s time to make up lost time\, reconnect\, and celebrate together with live music!” \nAs with the previously released box sets in the Distortion collection\, each album has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. This box set includes 4 live albums: Live At The Cabaret Metro\, 1989; the Sugar album The Joke Is Always On Us\, Sometimes; LiveDog98 (first time on vinyl)\, and Live at ATP 2008 (first time on vinyl). In addition\, the set includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron; contributions from Bully’s Alicia Bognanno; rare photographs and memorabilia\, and a bonus LP Distortion Plus: Live\, which features live rarities including B-Sides and stand-out tracks from the Circle of Friends concert film. \nDiscover more about the box sets including full track listings and FAQs here:\nhttps://www.demonmusicgroup.co.uk/bob-mould-distortion/ \n \n\n\n	Related
URL:https://artsorange.org/event/bob-mould-solo-electric-distortion-and-blue-hearts/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance,Performances
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DTSTART;TZID=America/Halifax:20220210T200000
DTEND;TZID=America/Halifax:20220210T213000
DTSTAMP:20220131T211030Z
CREATED:20220131T211030Z
LAST-MODIFIED:20220131T211030Z
UID:30444-1644523200-1644528600@artsorange.org
SUMMARY:Jonathan Richman with Tommy Larkins
DESCRIPTION:We are sorry to inform you that the Jonathan Richman with Tommy Larkins performance has been postponed until further notice. Please accept our sincerest apologies for any inconvenience this may cause. \nPresented by Cat’s Cradle\n\nAll attendees must show proof of vaccination from Covid-19. \n\n\nMasks to be worn at all times except when drinking in the lobby. \n\n\n\nAbsolutely no drinking or eating in the performance space. \n\n\nJonathan will stop the show if he sees people unmasked during his performance. \n  \n\n\nThursday\, Feb 10 \n\n\n7 door/  8 show \n\n\n$25 adv / $23 day of show \n  \n\n\n“Richman is one of America’s most unique and dynamic songwriters…” – Nashville Scene “Richman didn’t need much else besides a beat to work his magic.” – New York Daily News \n“Buy tickets early. Buy tickets often. This is just good general life advice\, but even more so when you’re talking about Jonathan Richman. Don’t get denied at the door\, don’t leave things up to chance: You will regret it.” – Nashville Scene \n“Rhymes worthy of Ogden Nash.” – The New York Times \n“Richman has spent decades removing barriers between himself and his audience\, cultivating an intimacy that is almost extinct in modern music.”- Nashville Scene \n“The music we’re doing now works well in quiet places like theaters and performing art centers. We still don’t use a program or a set list so we don’t know what we’ll do until we do it. Please do not expect old songs. Many singers my age do a retrospective; this show is not like that. It’s mostly stuff made up in the last 3 and 4 years. Some of the songs presented might be in different languages; this is not to be esoteric or clever\, it’s because the different languages help me express different feelings sometimes. One last thing\, my idea of a good show has nothing to do with applause. It’s about if all the songs I sang that night were ones that I felt.” – Jonathan \n\n  \nLinks: About | Bandcamp | Blue Arrow Records \n\n\n	Related
URL:https://artsorange.org/event/jonathan-richman-with-tommy-larkins/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance,Performances
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DTSTART;TZID=America/Halifax:20220201T200000
DTEND;TZID=America/Halifax:20220201T213000
DTSTAMP:20220131T211020Z
CREATED:20220131T211020Z
LAST-MODIFIED:20220131T211020Z
UID:30440-1643745600-1643751000@artsorange.org
SUMMARY:The Weather Station with Sam Amidon (POSTPONED)
DESCRIPTION:Presented by Cat’s Cradle\n  \nIgnorance\, the forthcoming album by the The Weather Station\, begins enigmatically; a hissing hi hat\, a stuttering drum beat. A full minute passes before the entry of Tamara Lindeman’s voice\, gentle\, conversational\, intoning; “I never believed in the robber”. A jagged music builds\, with stabbing strings\, saxophone\, and several layers of percussion\, and the song undulates through five minutes of growing tension\, seesawing between just two chords. Once again\, Toronto songwriter Tamara Lindeman has remade what The Weather Station sounds like; once again\, she has used the occasion of a new record to create a new sonic landscape\, tailor-made to express an emotional idea. Ignorance\, Lindeman’s debut for Mississippi label Fat Possum Records\, is sensuous\, ravishing\, as hi fi a record as Lindeman has ever made\, breaking into pure pop at moments\, at others a dense wilderness of notes; a deeply rhythmic\, deeply painful record that feels more urgent\, more clear than her work ever has. \n  \nOn the cover\, Lindeman lays in the woods\, wearing a hand made suit covered in mirrors. She was struck by the compulsion to build a mirror suit on tour one summer\, assembling it in a hotel room in PEI and at a friend’s place in Halifax. “I used to be an actor\, now I’m a performer” she says. In those roles\, she points out\, she often finds herself to be the subject of projection\, reflecting back the ideas and emotions of others. On the album\, she sings of trying to wear the world as a kind of ill fitting\, torn garment\, dangerously cold; “it does not keep me warm / I cannot ever seem to fasten it” and of walking the streets in it\, so disguised\, so exposed. Photographed by visual artist Jeff Bierk in midday\, the cover purposefully calls to mind Renaissance paintings; with rich blacks and deep colour\, and an incongruous blue sky glimpsed through the trees. \n  \nThe title of the album\, Ignorance\, feels confrontational\, calling to mind perhaps wilful ignorance\, but Lindeman insists she meant it in a different context. In 1915 Virginia Woolfe wrote: “the future is dark\, which is the best thing a future can be\, I think.” Written amidst the brutal first world war\, the darkness of the future connoted for Woolfe a not knowing\, which by definition holds a sliver of hope; the possibility for something\, somewhere\, to change. In french\, the verb ignorer connotes a humble\, unashamed not knowing\, and it is this ignorance Lindeman refers to here; the blank space at an intersection of hope and despair\, a darkness that does not have to be dark. \n  \nEmerging out of Toronto’s vibrant folk scene\, Lindeman debuted a moody\, introspective sound with her independently released East EP in 2008. Her LP The Line followed in 2009\, expanding on an earthy\, lyrical style\, driven by her distinctive fingerpicked guitar and banjo parts. For the next Weather Station release\, Lindeman worked with friend and collaborator Daniel Romano\, signing with his You’ve Changed Records label to release the critically acclaimed follow-up\, All of It Was Mine\, in 2011. Though the album was only released in Canada\, it gained wider exposure for the Weather Station\, leading to several North American tours with acts like Bahamas\, Basia Bulat\, and Timber Timbre\, as well as a tour of Japan. In addition to collaborative guest appearances on releases by Doug Paisley\, Siskiyou\, and Field Report\, Lindeman earned a SOCAN Songwriting Prize nomination in 2013 for a co-write with Steven Lambke of the Constantines. \n  \nLinks: Website | Facebook | Instagram | Twitter \n  \nDue to the increase of the Delta Variant and the danger it poses\, we are writing to let you know that starting October 1st\, 2021\, in additional to masks\, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter. \nThis was a difficult decision to make\, however given the risks that the new variant poses to the health of the community\, we believe this organizational mandate is the most sensible measure for the safety of the community. \nAll attendees are required to wear a mask or face covering at in-person shows. \n\n\n	Related
URL:https://artsorange.org/event/the-weather-station-with-sam-amidon-postponed/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance,Performances
GEO:35.7595731;-79.0192997
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220414T200000
DTEND;TZID=America/Halifax:20220414T213000
DTSTAMP:20220401T212526Z
CREATED:20200312T182710Z
LAST-MODIFIED:20220401T212526Z
UID:15089-1649966400-1649971800@artsorange.org
SUMMARY:James McMurtry with Bonnie Whitmore [SOLD OUT!]
DESCRIPTION:Presented by Cat’s Cradle\n\nAUSTIN\, Texas — In James McMurtry’s new effort\, The Horses and the Hounds\, the acclaimed songwriter backs personal narratives with effortless elegance (“Canola Fields”) and endless energy (“If It Don’t Bleed”). This first collection in seven years\, due August 20 on New West Records\, spotlights a seasoned tunesmith in peak form as he turns toward reflection (“Vaquero”) and revelation ( closer “Blackberry Winter”). Familiar foundations guide the journey. “There’s a definite Los Angeles vibe to this record\,” McMurtry says. “The ghost of Warren Zevon seems to be stomping around among the guitar tracks. Don’t know how he got in there. He never signed on for work for hire.” \n  \nThe Horses and the Hounds is a reunion of sorts. McMurtry recorded the new album with legendary producer Ross Hogarth (John Fogerty\, Van Halen\, Keb’ Mo’) at Jackson Browne’s Groovemaster’s in Santa Monica\, California\, a world class studio that has housed such legends as Bob Dylan (2012’s Tempest) and David Crosby (2016’s Lighthouse) as well as Browne himself for I’m Alive (1993) and New Found Glory\, Coming Home (2006). McMurtry and Hogarth first worked together 30 years ago\, when Hogarth was a recording engineer in the employ of John Mellencamp at Mellencamp’s own Belmont Studios near Bloomington\, Indiana. Hogarth recorded McMurtry’s first two albums\, Too Long in the Wasteland and Candyland\, for Columbia Records and later mixed McMurtry’s first self-produced album\, Saint Mary of the Woods\, for Sugar Hill Records. Another veteran of those three releases\, guitarist David Grissom (Joe Ely\, John Mellencamp\, Dixie Chicks)\, returns with some of his finest work. \n \nAccordingly\, the new collection marks another upward trajectory: The Horses and the Hounds will be McMurtry’s debut album on genre-defining Americana record label New West Records (Steve Earle\, Rodney Crowell\, Lucinda Williams\, John Hiatt\, Aaron Lee Tasjan\, Buddy Miller\, dozens more). \n  \n“I first became aware of James McMurtry’s formidable songwriting prowess while working at Bug Music Publishing in the ’90s\,” says New West president John Allen. “He’s a true talent. All of us at New West are excited at the prospect of championing the next phase of James’ already successful and respected career.” McMurtry perfectly fits a label housing “artists who perform real music for real people.” After all\, No Depression says of the literate songwriter’s most recent collection\, Complicated Game: “Lyrically\, the album is wise and adventurous\, with McMurtry — who’s not prone to autobiographical tales — credibly inhabiting characters from all walks of life.” “[McMurtry] fuses wry\, literate observations about the world with the snarl of barroom rock\,” National Public Radio says. “The result is at times sardonic\, subversive and funny\, but often vulnerable and always poignant.” \n  \nHis lauded storytelling — check out songs such as “Operation Never Mind” and “Ft. Walton Wake-Up Call” on The Horse and the Hounds— consistently has turned heads for decades now. “James writes like he’s lived a lifetime\,” said John Mellencamp back in 1989\, when Too Long in the Wasteland hit the Billboard 200. “James McMurtry is one of my very few favorite songwriters on Earth and these days he’s working at the top of his game\,” says Americana all-star Jason Isbell. “He has that rare gift of being able to make a listener laugh out loud at one line and choke up at the next. I don’t think anybody writes better lyrics.” McMurtry’s albums Just Us Kids (2008) and Childish Things (2005) back the claim\, each scoring endless critical praise. The former earned McMurtry his highest Billboard 200 chart position in two decades (since eclipsed by Complicated Game) and notched Americana Music Award nominations. Childish Things spent six full weeks topping the Americana Music Radio chart in 2005 and 2006\, and won the Americana Music Association’s Album of the Year\, with “We Can’t Make It Here” named the organization’s Song of the Year. \n  \nOther accolades include a 1996 Grammy nomination for Long Form Music Video for Where’d You Hide the Body and an American Indie Award for Best Americana Album for It Had to Happen (1997).  \n  \nMcMurtry tours year-round and consistently throws down unparalleled powerhouse performances\, reflected in the release of two live discs: the universally lauded Live in Aught-Three on Compadre Records\, and 2009’s Live in Europe\, which captured the McMurtry band’s first European tour and extraordinary live set. Along with seasoned band members Ronnie Johnson\, Daren Hess\, and Tim Holt\, Live in Europe features special guests Ian McLagan (Faces) and Jon Dee Graham (True Believers\, Skunks). (Video of the performance is available on the included DVD.) \n  \n“Lyircally gritty\, musically gutsy\, go tell ‘em all…we need James McMurtry bringin’ us more.” —Andrew Farrris\, INXS \n  \n“James McMurtry may be the truest\, fiercest songwriter of his generation” ‑—Stephen King \nLinks: Website | Facebook | Twitter \n  \nDue to the increase of the Delta Variant and the danger it poses\, we are writing to let you know that starting October 1st\, 2021\, in additional to masks\, proof of vaccination will be required for all attendees of in-person performances at the ArtsCenter. \nThis was a difficult decision to make\, however given the risks that the new variant poses to the health of the community\, we believe this organizational mandate is the most sensible measure for the safety of the community. \nAll attendees are required to wear a mask or face covering for this event. \n\n\n	Related
URL:https://artsorange.org/event/james-mcmurtry/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance,Performances
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191130T200000
DTEND;TZID=America/Halifax:20191130T213000
DTSTAMP:20191113T175516Z
CREATED:20191113T175516Z
LAST-MODIFIED:20191113T175516Z
UID:13069-1575144000-1575149400@artsorange.org
SUMMARY:Daughter of Swords and the Dawnbreaker Band
DESCRIPTION:Presented by Cat’s Cradle \nIn 2017\, Alexandra Sauser-Monnig began recording a set of songs… …about a breakup that had yet to happen. Her partnership had drifted into a comfortable state of indecision\, stalling when it came time to make big life moves or chase new horizons. She had the sense that she needed to slip the relationship in order to pursue everything else life might have in store-more music\, more adventures\, a general sense of the unknown. Those feelings drifted steadily into a set of songs that lamented the inevitable loss but\, more important\, outlined the promise of the future. Recording the ten tracks that became her stunning solo debut\, Dawnbreaker\, under the new name Daughter of Swords gave Sauser-Monnig permission to go. \nDawnbreaker began as the first phase of Sauser-Monnig’s return to music after stepping to the sidelines for the better part of a decade. Her college trio\, Mountain Man\, rose to quick acclaim for their peerless harmonies around 2010\, but the friends slowly drifted apart\, following their own interests to different coasts and concerns. While working on a flower farm as a farmhand\, though\, Sauser-Monnig realized that she missed the emotional articulation she found in writing songs and singing them and resolved to start again. She pieced together an album just as Mountain Man-now newly gathered in the fertile Piedmont of North Carolina-began to regroup for its second LP\, 2018’s aptly named Magic Ship. Working with Sylvan Esso’s Nick Sanborn\, Sauser-Monnig shaped what began as quiet reflections into confident compositions\, crackling with country swagger and a sparkling pop warmth. They were\, after all\, preemptive odes to the next phase of life. \nCalling the ten tunes of Dawnbreaker breakup songs is to hamstring them with elegiac expectations\, to paint them as sad-eyed surrenders to loss and grief. Sure\, there is the gentle opener “Fellows\,” a hushed number that explores the turmoil of being unable to reciprocate the feelings of a wild and shy\, tall and fine man. And there’s the blossoming country shuffle of “Easy Is Hard\,” where Sauser-Monnig stands in the yard and sees her lover leave\, his taillights fading into the night sky; she can’t sleep\, so she gets up to turn the lights and stereo on\, to “feel my soul coming down.” \nEven there\, amid the throes of a life convulsion\, there is a wisp of hope and possibility\, framed by the way “the dim light change[s] into dawn\, rosy blue\, pink fawn.” The very heart of Dawnbreaker is not the impending breakup that inspired many of its songs but the sense of liberation and breaking out that the breakup inspired. Buoyed by the insistent patter of a drum machine and rich acoustic guitars\, Sauser-Monnig finds herself in search of new thrills during “Gem\,” whether pondering the fleeting nature of existence at a waterfall’s edge or watching the shapes of mountains seemingly dance beneath her headlights. The muted\, harmonica-lined boogie of “Sun” begins with a vulnerable confession\, a revelation of loneliness; it is\, however\, a low-key anthem for the open road\, about giving oneself over to the infinity of solitude and an endless strip of asphalt. Sauser-Monnig captures these scenes with a painter’s eye and delivers them with a novelist’s heart. \nLinks: Website | Facebook | Instagram | Twitter | Bandcamp \n\n\n	Related
URL:https://artsorange.org/event/daughter-of-swords-and-the-dawnbreaker-band/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
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GEO:35.7595731;-79.0192997
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191120T200000
DTEND;TZID=America/Halifax:20191120T213000
DTSTAMP:20191113T175513Z
CREATED:20191113T175513Z
LAST-MODIFIED:20191113T175513Z
UID:13062-1574280000-1574285400@artsorange.org
SUMMARY:San Fermin with Wild Pink
DESCRIPTION:Presented by Cat’s Cradle \nSan Fermin’s third studio album\, Belong\, marks a shift in songwriting perspective for bandleader Ellis Ludwig-Leone. “In the past I’d usually write through characters from books or movies\, as a way to try to distance myself from what I was writing about\,” says the Brooklyn-based artist. “As I’ve become more confident as a songwriter\, I decided that I could drop some of the artifice and write something more direct.” In bringing a more personal slant to his music\, Ludwig-Leone found himself confronting such matters as disconnection\, displacement\, and-perhaps most significantly-everyday anxiety. “Anxiety is something I’ve dealt with since I was a kid\, but on this album I talked about it more explicitly than I ever had before\,” he points out. \nProduced by Ludwig-Leone and brought to life by his fellow performers-lead vocalists Charlene Kaye and Allen Tate\, trumpet player John Brandon\, saxophonist Stephen Chen\, violinist Rebekah Durham\, drummer Michael Hanf\, and guitarists Tyler McDiarmid and Aki Ishiguro-Belong unfolds in warm\, intoxicating textures that both contrast and intensify that sense of unrest. The album’s hypnotic sound is embodied in “No Promises\,” a shimmering pop opus about the fear of disappointing those who’ve placed their trust in you. On the quietly frenetic “Bride\,” San Fermin conveys a fear of commitment by juxtaposing the idyllic imagery of wedding flowers with a detailed account of suffering a panic attack. And with “Dead” (a song about “not wanting anybody to depend on you\,” according to Ludwig-Leone)\, the band telegraphs defiance in a gorgeously jagged arrangement built on clattering rhythms and Kaye’s penetrating vocal performance. \nElsewhere on Belong\, San Fermin explores the intersection of desire and danger (on the subtly sinister “August”) and paints a tender portrait of self-destruction (on “Perfume\,” a sweeping and cinematic track laced with piercing lines like “You can lose anything that you put your mind to”). On the brightly charged and bravely candid “Better Company\,” meanwhile\, Tate’s intimate vocals meet with stomping beats and furious strings. “That song is about my lifestyle when I’m not on tour\, how I just sit in the basement and work on music and the house is kind of a wreck\,” says Ludwig-Leone. “It’s recognizing how I don’t always keep myself the best company.” One of the album’s most powerful tracks\, the slow-building “Belong” finds Tate and Kaye trading off verses to conjure up moments of gentle devastation. “‘Belong’ is about loving someone really deeply but also having the sad realization that you’re not always present with them\,” says Ludwig-Leone. “But at the same time it’s also saying that that’s not necessarily wrong. It’s about acknowledging the isolation within love.” \nThroughout Belong\, San Fermin brings both elegance and raw passion to their performance\, an achievement that Ludwig-Leone attributes to the band’s increasingly potent chemistry. “One of the nice things about this record was that\, for the first time\, I was writing for people I know super well and have performed with hundreds of times\,” he says. “I feel like I really understand these musicians now and know what they want to do.” \nGeneral Admission $18\, VIP packages $38-$78 \nLinks: Website | Facebook | Instagram | Twitter | YouTube \n  \nWild Pink \nLinks: Website | Facebook | Instagram | Twitter | Spotify \n\n\n	Related
URL:https://artsorange.org/event/san-fermin-with-wild-pink/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2019/11/san-fermin.jpg
GEO:35.7595731;-79.0192997
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191114T200000
DTEND;TZID=America/Halifax:20191114T213000
DTSTAMP:20191113T175507Z
CREATED:20191113T175507Z
LAST-MODIFIED:20191113T175507Z
UID:13053-1573761600-1573767000@artsorange.org
SUMMARY:Robyn Hitchcock (solo) with Django Haskins
DESCRIPTION:Presented by Cat’s Cradle \nRobyn Hitchcock is one of England’s most enduring contemporary singer/songwriters and live performers. A surrealist poet\, talented guitarist\, cult artist and musician’s musician\, Hitchcock is among alternative rock’s father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration). \nSince founding the art-rock band The Soft Boys in 1976\, Robyn has recorded more than 20 albums as well as starred in ‘Storefront Hitchcock’ an in concert film recorded in New York and directed by Jonathan Demme. \nBlending folk and psychedelia with a wry British nihilism\, Robyn describes his songs as ‘paintings you can listen to’. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017\, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a “ecstatic work of negativity with nary a dreary groove.” \nIt has received rave reviews from UNCUT\, Rolling Stone\, Paste\, Tidal and more. \n“A gifted melodist\, Hitchcock nests engaging lyrics in some of the most bracing\, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginings…” – Rolling Stone \n“These 10 gems slither\, rock\, roll\, glide and shapeshift\, coalescing around Hitchcock’s typically anxious\, strained but striking and immediately identifiable vocals.” – American Songwriter \n“Beloved of everyone from Led Zeppelin to REM\, Hitchcock has only enhanced his status with this wonderful outing.” – Hot Press \n“Witty\, moving and seriously catchy\, Robyn Hitchcock is a glorious return for a man who wasn’t really gone in the first place.” – Paste Magazine \nLinks: Website | Facebook | Instagram | Twitter \nA songwriter based in North Carolina\, Django Haskins has fronted the pop-noir band\, The Old Ceremony\, since 2004. He also forms one half of the psych-folk duo Au Pair with the Jayhawks’ Gary Louris. He has toured. He has been written about. In 2016 he received the NC Arts Council’s Artist Grant in recognition of his extensive creative exertions. He has been a part of the traveling circus known as Big Star’s Third since its inception in 2011. He has released a dozen albums of his songs in various guises. \nLinks: Website \n\n\n	Related
URL:https://artsorange.org/event/robyn-hitchcock-solo-with-django-haskins/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2019/11/D7060ATX4AEqhsN.jpg
GEO:35.7595731;-79.0192997
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191025T200000
DTEND;TZID=America/Halifax:20191025T213000
DTSTAMP:20191014T174049Z
CREATED:20191014T174049Z
LAST-MODIFIED:20191014T174049Z
UID:12312-1572033600-1572039000@artsorange.org
SUMMARY:Jonathan Wilson with The Dead Tongues
DESCRIPTION:Presented by Cat’s Cradle \nFanfare\, the second full-length from acclaimed artist and producer Jonathan Wilson\, was released in October 2013 via Downtown Records. \nWith 2011’s critically-lauded debut\, Gentle Spirit\, audiences worldwide were introduced to the prodigious talents of singer\, songwriter\, record producer and unrivaled guitar hero Jonathan Wilson. Gentle Spirit was celebrated for its authentic exploration and modern updating of the “Laurel Canyon sound”. \nWilson’s follow-up\, Fanfare\, was recorded over a 9-month period at his Fivestar Studios in Los Angeles and features contributions from Graham Nash\, David Crosby\, Jackson Browne\, Josh Tillman (aka Father John Misty)\, Wilco’s Patrick Sansone\, Dawes’ Taylor Goldsmith and Mike Campbell and Benmont Tench from Tom Petty and The Heartbreakers. The album is an ambitious\, epically grandiose rock production that has conjured notions of Dennis Wilson’s Pacific Ocean Blue amongst more than one music journalist. \n“I was going for this sort of ‘widescreen’ sound\, a blown out vista. I wanted strings\, horns\, bells\, vibes\, voices\, solos\, improvisation and a full orchestra on some of the tunes\,” says Wilson. “There were a few weeks of sessions with the band tracking live\, as well as many weeks with just myself and engineer Bryce Gonzales. There were also many weeks at a time of just me working alone\, as I did with Gentle Spirit. I’ve always worked alone in some capacity since I first started recording\, it’s a very important part of the process for me.” \nPrior to beginning work on Fanfare\, Wilson spent the prior 18 months touring the world with his band to support his debut album\, which included invitations to tour with legendary superstars such as Neil Young and Crazy Horse and Tom Petty and The Heartbreakers\, and notable contemporaries including Wilco and Tame Impala. \nBorn and raised in North Carolina and now based in the Echo Park neighborhood of Los Angeles\, Jonathan Wilson moved to Los Angeles in 2005 and is credited with reviving the neighborhood’s once-legendary music scene. As a sought-after producer\, Wilson’s recent work includes albums by Father John Misty and Dawes. \nLinks: Website | Facebook | Twitter | YouTube \n  \nRyan Gustafson remembers very little about the origins of the ten songs on Unsung Passage\, his profound new reflection on the emotional architecture of love\, loneliness\, and life at large. \nHe mostly knows that the songs were written during quick spans scattered between various tours of the last two years—as a supporting guitarist for his kindred North Carolina spirits Hiss Golden Messenger and Phil Cook’s Guitarheels and as the leader of his own long-evolving vehicle for a beautifully fractured vision of folk\, country\, blues\, and cosmic American rock\, The Dead Tongues. Gustafson’s third and best album under that name\, Unsung Passage depends more on the songs themselves than the sounds around them. It is a first-person reckoning with the things Gustafson\, a chronically peripatetic adventurer\, has seen enough to sing about. “Every turn\, every changing that occurs\,” Gustafson offers during “The Broken Side of People Everywhere\,” his voice sweetly yearning for whatever it is that might come next. “There’s a string attached\, with a promise at the end.” \nIndeed\, funneling the lessons of the road into songs isn’t new for Gustafson; during the last two decades\, it has become his standard practice. When he was twenty\, he left North Carolina for the first of many backpacking trips across Europe\, little but a sense of adventure and wonder to his name. He has hitchhiked from Oregon to New Orleans with a banjo and a bag and lived in and rebuilt an aging school bus\, meant for an extended trek across the continent (that is\, until the cost of gas proved prohibitive). After several years in a commune in the western woods of Asheville\, North Carolina\, he now lives in a nearby camper\, at least when he’s off the road long enough to call anything home. “When I’m traveling\, it’s like walking into these different windows. I’m a witness\, with my mouth shut\,” Gustafson says. “The people you meet\, the way the landscape speaks to you\, how a desert is different than a mountain: It has the potential to bring out something you didn’t know was there.” \nThe ten remarkable songs of Unsung Passage are long-distance distillations of such experiences\, of events lived and places seen and pondered and ultimately poured into reflective anthems for our harried times. During “Like a Dream\,” a gentle gallop of grinning harmonica and trickling guitar\, Gustafson explores the balance of existence from a hillside vantage. He sees the curve of the earth while pondering his need for a paycheck\, a moment that eternally pits the banal against the beautiful. “The Broken Side of People Everywhere” is a gorgeous love song written with the wisdom of someone who knows that nothing is forever or perfect\, that there’s no real risk in a life where everything ends\, anyway. There are meditations on mortality and devotion (the flute-laced dream “My Other”)\, on money and temporality (the banjo trot “The Giver”)\, and on impermanence and acceptance (the achingly gorgeous “Pale November Dew.”) This isn’t Gustafson’s idle speculation about life and the world; these are the realizations of a restless mind\, of a songwriter who sings “this old town ain’t gonna watch me die” and means it. \nGustafson recorded these songs much as they were written—during short summer sojourns away from the road\, when he and a quartet of friends could gather in the Chapel Hill studio The Rubber Room for two-day sessions. Longtime North Carolina confidants and collaborators James Wallace\, Jeff Crawford\, and Casey Toll form the rhythm section\, while Mountain Man’s Molly Sarlé harmonizes softly and adds a filigree of unexpected flute. Other friends offer fiddle and percussion\, cello and extra guitar\, softly padding songs that stand as statements unto themselves. “Sitting down with an acoustic instrument and making a song\, singing\, and playing it was the idea\,” says Gustafson. “I’ll follow a song to wherever it goes\, but I tried to keep this one in the room. This sounds like what we played\, what you’re hearing.” These ten songs are snapshots in time\, then\, glimpses at the sorts of emotional upheavals and adjustments we’re all forced to face as we move from day to day and\, as in Gustafson’s way\, place to place. The familiar sounds of Unsung Passage\, a reflection of Americana bedrock\, present a comforting score for some of life’s most uncomfortable situations. But they will pass. “Ain’t it all right?” Gustafson demands at one point. “Ain’t it all like a dream?” After all that living\, it surely is. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/jonathan-wilson-with-the-dead-tongues/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2019/10/wilson.jpg
GEO:35.7595731;-79.0192997
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190925T200000
DTEND;TZID=America/Halifax:20190925T213000
DTSTAMP:20190914T172907Z
CREATED:20190914T172907Z
LAST-MODIFIED:20190914T172907Z
UID:11559-1569441600-1569447000@artsorange.org
SUMMARY:An Evening with Holly Bowling
DESCRIPTION:Presented by Cat’s Cradle \nTexture\, nuance\, and a gift for dexterous high-wire improvisation are the hallmarks of San Francisco-based classically trained pianist Holly Bowling\, who infuses jam band music with a technically advanced\, emotionally rich style. After studying piano performance at SF State University\, Bowling has turned her agile mind and interpretive prowess to the works of Phish on 2013’s Distillation Of A Dream album and the Grateful Dead focused Better Left Unsung (released December 9\, 2016 through The Royal Potato Family). Her instantly compelling playing and unerring ability to successfully collaborate with other musicians in an impressive array of styles has brought her to the attention of Bob Weir\, Phil Lesh\, Gov’t Mule’s Warren Haynes\, and other luminaries who’ve asked Bowling to perform with them. Already a rising star on the festival circuit\, Bowling plans to continue to expand her solo touring\, and recently formed a new band Ghost Light with Tom Hamilton\, Steve Lyons\, Raina Mullen and Scotty Zwang. \nLinks: Website | Facebook | Instagram | Twitter | YouTube \n\n\n	Related
URL:https://artsorange.org/event/an-evening-with-holly-bowling/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2019/09/Holly-Bowling-Press-Picture-c_-Jessie-Bell.jpg
GEO:35.7595731;-79.0192997
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190924T200000
DTEND;TZID=America/Halifax:20190924T213000
DTSTAMP:20190914T172905Z
CREATED:20190914T172905Z
LAST-MODIFIED:20190914T172905Z
UID:11557-1569355200-1569360600@artsorange.org
SUMMARY:Bob Mould (solo) with Will Johnson
DESCRIPTION:Presented by Cat’s Cradle \nThe cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. \nYet Bob Mould calls his new album Sunshine Rock. \nIt’s not because Mould-whose face belongs on the Mount Rushmore of alternative music-likes the current administration. His decision to “write to the sunshine\,” as he describes it\, comes from a more personal place – a place found in Berlin\, Germany\, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments. \n“Almost four years ago\, I made plans for an extended break\,” Mould explains. “I started spending time in Berlin in 2015\, found an apartment in 2016\, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark\, but when the sun comes back\, all spirits lift.” \nThese three years in Berlin would quite literally shed new light on Mould’s everyday mindset. \n“To go from [2011 autobiography] See a Little Light to the last three albums\, two of which were informed by loss of each parent\, respectively\, at some point I had to put a Post-It note on my work station and say\, ‘Try to think about good things.’ Otherwise I could really go down a long\, dark hole\,” he says. “I’m trying to keep things brighter these days as a way to stay alive.” \nThat makes Sunshine Rock as logical a product of the current climate as any rage-fueled agit-rock. Variations on the word “sun” appear 27 times in five different songs over the course of the album’s 37 minutes. To hear Mould tell it\, the theme developed early. \n“‘Sunshine Rock’ was such a bright\, optimistic song\, and once that came together\, I knew that would be the title track\, and that really set the tone for the direction of the al-bum\,” Mould says. “It was funny\, because writing with that as the opener in mind\, it was like\, ‘This is not Black Sheets of Rain.’” \nMould’s famously dour 1990 solo album still serves as a point of reference: a title track that sets the tone for the album\, though on Sunshine Rock\, it’s the opposite of Rain. \nThis being Bob Mould\, Sunshine Rock still has darker moments. “Lost Faith\,” for ex-ample\, has him quietly lamenting\, “I’ve lost faith in everything / Everything\, everything.” The Mould of 1990 may have wallowed in the feeling\, but the Mould of 2018 jumps in-to a hooky\, bombastic chorus where he sings\, “Really gotta stop this now\, this is your / Last chance to turn around\, I know we / All lose faith from time to time\, you / Better find your way back home.” \nThose cathartic moments in “Lost Faith” foreground a surprising element of Sunshine Rock: Mould’s rawest vocals since his throat-shredding days in Hüsker Dü. It started when Mould and the band-drummer Jon Wurster and bassist Jason Narducy-had extra time in the studio with Mould’s longtime engineer\, Beau Sorenson. They settled on a cover of Shocking Blue’s “Send Me a Postcard\,” and Mould decided to lay down vocals right there. \n“This was the first real vocal take during the session. I walked to the mic\, not knowing how I would sing these words. Three minutes later\, I went back into the control room and everyone was like\, ‘What the fuck\, that was wild!’ I was like\, ‘Yeah\, it’s pretty good!’ That was the only take\, and that’s what you hear on the album.” \nLinks: Website | Facebook | Instagram | Twitter \n\n\n	Related
URL:https://artsorange.org/event/bob-mould-solo-with-will-johnson/
LOCATION:Earl & Rhoda Wynn Theater\, NC
CATEGORIES:Partner Events,Performance
ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2019/09/Sep-2019-Poster-Photo-Only.jpg
GEO:35.7595731;-79.0192997
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190823T200000
DTEND;TZID=America/Halifax:20190823T213000
DTSTAMP:20190904T151815Z
CREATED:20190815T173036Z
LAST-MODIFIED:20190904T151815Z
UID:10402-1566590400-1566595800@artsorange.org
SUMMARY:Steve Forbert
DESCRIPTION:Presented by Cat’s Cradle \nBig City Cat: My Life in Folk Rock\, singer/songwriter Steve Forbert’s exceptional new memoir co-written with Therese Boyd\, allows him ample opportunity to candidly reflect on those specific circumstances that first brought him to the public eye. \nOriginally conceived as a stage play and screen treatment\, it finds him documenting his early adventures in the big city while pursuing his quest to make music. Sharing reflections and journals he kept at the time\, he weaves an absorbing narrative that fully documents the trials\, travails and triumphs that would eventually play out over the course of his prolific 40 year career. \nThe book is accompanied by its own soundtrack as well\, an A+ new album entitled The Magic Tree that offers a series of songs gleaned from previously recorded acoustic demos\, overdubbed with new backing tracks and fleshed out as a series of songs that ring with the verve and vitality that Forbert’s fans have always come to expect. Consistently upbeat and optimistic\, they convey a firm sense that age ought not diminish a lust for living. Then again\, that’s been Forbert’s mantra for quite some time\, honoring his past while plowing his way towards the future. \n\n\n	Related
URL:https://artsorange.org/event/steve-forbert/
LOCATION:The ArtsCenter\, 300-G E Main St\, Carrboro\, NC\, 27510\, United States
CATEGORIES:Partner Events,Performance
ATTACH;FMTTYPE=image/jpeg:https://artsorange.org/wp-content/uploads/2019/08/forbert.jpg
GEO:35.9101449;-79.0684131
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The ArtsCenter 300-G E Main St Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300-G E Main St:geo:-79.0684131,35.9101449
END:VEVENT
END:VCALENDAR