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Cat’s Cradle

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300 E Main St.
Carrboro, NC 27510 United States
919.967.9053 https://catscradle.com/venue/cats-cradle/

Located less than a mile from the University of North Carolina Chapel Hill campus in downtown Carrboro, the Cat’s Cradle has been the Triangle’s premier live music venue for over 40 years.

Having hosted bands as diverse as Nirvana, Public Enemy, John Mayer, Joan Baez, and Iggy Pop, the Cat’s Cradle has become a must-stop venue for premier music acts over the past several decades. With a capacity of 750 people, the Cat’s Cradle allows concert-goers a chance to see established and up-and-coming bands alike in an intimate setting.

August 2019

Pedro The Lion / mewithoutYou

August 19, 2019 @ 8:00 pm - August 20, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Capping off a fruitful 12-year long solo career, David Bazan resurrects both the moniker and mindset of his profoundly influential indie rock outfit, Pedro The Lion. The band’s new album and Polyvinyl debut, Phoenix, marks a return to form as the follow up to their 2004 opus, Achilles Heel. Phoenix maps out the emotional intricacies of growing up in Arizona with the songs themselves a darkly hopeful introspection into home and what it means to go back, if you ever can. Since their formation in 2001, mewithoutYou have become a standard-bearer for their genre. Across six full-length albums and a handful of EPs, the Philadelphia band— alternately labeled experimental punk, post-hardcore, indie rock, etc.—have long put a premium on progression, never anchoring themselves to a single sound and instead gracefully wandering across stylistic lines. It’s that same spirit that informed the band’s upcoming seventh album , their second for Run For Cover Records, as well as its accompanying EP . Pedro The Lion links: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music mewithoutYou links: Website | Facebook | Twitter | Instagram | YouTube

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The Bird and the Bee

August 20, 2019 @ 8:00 pm - August 21, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Inara George and Greg Kurstin, alias the bird and the bee, are an army of two. They listen to everything, and answer to no one. Over the course of 3 years, they whiled away scattered afternoons in Greg’s studio in Echo Park, California, sequestered in a little world of their own making, and creating the ten sunshine-drenched, semi-psychedelic ditties you hold before you. Were these compositions intended for public consumption? Inara and Greg never gave it any thought; they made music together simply for the joy of it. the bird and the bee, their self-titled debut for Metro Blue Records, an imprint of Blue Note Records, is a labor of love. If you know anything about the backgrounds of Inara George and Greg Kurstin, the accomplishments of the bird and the bee might not seem quite so casual as all that. Both are blessed with extraordinary intuitive musical abilities, which have been bolstered by years of practice. Multi-instrumentalist Greg was a jazz piano prodigy by the time he started shaving; he moved to New York specifically to study with leftist Jaki Byard, a jazz icon best known as Mingus’ pianist. He returned to Los Angeles and became one of the city’s most well respected musicians, lending his skills to the likes of Beck and Robert Moog, as well as writing with and/or producing The Flaming Lips, Peaches, and Lily Allen, to name a few. As for Inara, she grew up in Los Angeles in a musical household, the daughter of Lowell George, frontman of the eclectic ’70s Southern rock band Little Feat. For several years she was in different bands in the Los Angeles area until she began her solo career releasing 2005’s critically acclaimed All Rise. During the making of that record was when Greg and Inara first met. It was through mutual friend and All Rise producer, Mike Andrews, that Inara and Greg made a connection. “I like to sing standards, and Greg likes to play them,” recalls Inara. “He was working on my record, and one day, after a rehearsal, we hung out near a piano and, for three or four hours, played all the old songs we knew.” When they ran short of material, it dawned on them to augment the repertoire with a few originals and put their own stamp on the traditions established by the greats who had gone before. Like the Tropicalia revolutionaries of ’60s Brazil, who both revered and reacted against the traditions of bossa nova, the bird and the bee wanted to put their own spin on classic pop conventions. Although they composed as a team, Inara was responsible for vocals, while Greg oversaw almost all instrumental parts. Neither party assumed a secondary role; in the creative process, it was purely give-and-take. “Melodies would dictate chord progressions, or sometimes vice-versa, depending on where the vocal part wanted to go,” recalls Inara. “The writing was almost improvised in nature.” This was a change from many of their other gigs, especially for Greg; there was no pressure to deliver a hit song, or capture a signature sound. With the bird and the bee, any idea was fair game. The first song the duo collaborated on, “Again & Again,” became a template for the material to come. Handclaps and tambourines, a bumblebee bass line, and Inara’s beguiling vocals blend together in a summery concoction. Each of the songs that follows similarly and slyly unveils its own unique charm. Links: Website | Facebook | Twitter | Instagram | Spotify | YouTube

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Be Loud! ’19

August 23, 2019 @ 7:30 pm - August 24, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

You can buy tickets for the both nights for $40. Tickets for individual shows are also available – $25 for Friday and $25 for Saturday. All shows are all ages. And remember all proceeds will go to the Be Loud! Sophie Foundation. Tickets: Both Nights/Weekend Pass $40 | Friday Night $25 | Saturday Night $25 Ladies and gentlemen…it is time to BE LOUD again! Be Loud! ’19 is the weekend of August 23 and 24th at Cat’s Cradle in Carrboro, with all proceeds benefiting the Be Loud! Sophie Foundation. This is our 6th Anniversary show (yes, we said 6th!) and we’re pleased to announce that Chatham County Line is headlining Friday night with The Old Ceremony, The Tan & Sober Gentlemen and Alive at 27 rounding out a super fine bill. Saturday night features Preeesh! plays Joe Jackson (Ladd, Plymale, Sledge, Dennis doing songs from the first two Joe Jackson records…more on that below) with Greg Humphreys Electric Trio, PopUp Chorus and Pajama Day. A great weekend of music! More information over at the website for Be Loud! Friday headliner Chatham County Line has been crossing borders musically and literally since they formed in the Triangle in the early ’00s. Call them “newgrass”, “guerilla bluegrass” or whatever you like…they’ve been at the forefront of an insurgence of Carolina bluegrass and have taken their incredible music throughout the world. The Old Ceremony are another local treasure who also bend genres, make incredible records and put on a mighty fine show. The Tan & Sober Gentlemen produce an avalanche of Scotch-Irish hillbilly insanity they dub “Celtic punk-grass.” Alive at 27 rocked the stage at our annual spring high school showcase and just released their first EP this summer. Saturday night features Preeesh!, a supergroup comprised of John Plymale, Rob Ladd, Robert Sledge and Brian Dennis, who will be performing songs from Look Sharp! and I’m the Man, Joe Jackson’s first two records from 1979 (which was 40 years ago!). Be Loud regulars will recognize these four from previous festivals and the songs are equally memorable. Greg Humphreys has also played Be Loud before, fronting Dillon Fence and Hobex, and we’re thrilled to have his current band the Greg Humphreys Electric Trio come down from New York City to perform this year. Get ready for a little soul, a little funk and a lot of fun. If you’ve never seen or been involved in a PopUp Chorus show you are in for a treat. The whole audience learns, rehearses and sings a song in 40 minutes and (drumroll) we’ll be singing Tom Petty’s “American Girl”. Pajama Day’s indie pop was a big hit at our high school showcase. Thanks for your support and Be Loud!

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Be Loud! ’19

August 24, 2019 @ 7:30 pm - August 25, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

You can buy tickets for the both nights for $40. Tickets for individual shows are also available – $25 for Friday and $25 for Saturday. All shows are all ages. And remember all proceeds will go to the Be Loud! Sophie Foundation. Tickets: Both Nights/Weekend Pass $40 | Friday Night $25 | Saturday Night $25 Ladies and gentlemen…it is time to BE LOUD again! Be Loud! ’19 is the weekend of August 23 and 24th at Cat’s Cradle in Carrboro, with all proceeds benefiting the Be Loud! Sophie Foundation. This is our 6th Anniversary show (yes, we said 6th!) and we’re pleased to announce that Chatham County Line is headlining Friday night with The Old Ceremony, The Tan & Sober Gentlemen and Alive at 27 rounding out a super fine bill. Saturday night features Preeesh! plays Joe Jackson (Ladd, Plymale, Sledge, Dennis doing songs from the first two Joe Jackson records…more on that below) with Greg Humphreys Electric Trio, PopUp Chorus and Pajama Day. A great weekend of music! More information over at the website for Be Loud! Friday headliner Chatham County Line has been crossing borders musically and literally since they formed in the Triangle in the early ’00s. Call them “newgrass”, “guerilla bluegrass” or whatever you like…they’ve been at the forefront of an insurgence of Carolina bluegrass and have taken their incredible music throughout the world. The Old Ceremony are another local treasure who also bend genres, make incredible records and put on a mighty fine show. The Tan & Sober Gentlemen produce an avalanche of Scotch-Irish hillbilly insanity they dub “Celtic punk-grass.” Alive at 27 rocked the stage at our annual spring high school showcase and just released their first EP this summer. Saturday night features Preeesh!, a supergroup comprised of John Plymale, Rob Ladd, Robert Sledge and Brian Dennis, who will be performing songs from Look Sharp! and I’m the Man, Joe Jackson’s first two records from 1979 (which was 40 years ago!). Be Loud regulars will recognize these four from previous festivals and the songs are equally memorable. Greg Humphreys has also played Be Loud before, fronting Dillon Fence and Hobex, and we’re thrilled to have his current band the Greg Humphreys Electric Trio come down from New York City to perform this year. Get ready for a little soul, a little funk and a lot of fun. If you’ve never seen or been involved in a PopUp Chorus show you are in for a treat. The whole audience learns, rehearses and sings a song in 40 minutes and (drumroll) we’ll be singing Tom Petty’s “American Girl”. Pajama Day’s indie pop was a big hit at our high school showcase. Thanks for your support and Be Loud!

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WHY?

August 26, 2019 @ 8:00 pm - August 27, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

The final words sung on the sixth album by WHY? are an apt place to begin: “Hold on, what’s going on?” Because while there’s much familiar about the oddly named Moh Lhean-mastermind Yoni Wolf’s sour-sweet croon, his deadpan poet’s drawl and ear for stunningly fluid psych-pop-folk-whatever arrangement-a great deal has changed in the four years that’ve passed since 2012’s Mumps, Etc., an LP that honed the band’s orchestral precision and self-deprecating swagger to a fine point. It’s significant that this is the first fully home-recorded WHY? album since the project’s 2003 debut. Made mostly in Wolf’s studio and co-produced by his brother Josiah, the result is obsessive, of course, but also intimate, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world, in part, with a cynical squint, Wolf here learns a new mode. While Moh Lhean never stoops to outright optimism, it chronicles our hero finding peace in the unknowing, trading the wry smirk for a holy shrug, and looking past corporeal pain for something more cosmic and, rest assured, equally weird. A low tone opens the album on “This Ole King” as acoustic pluck and upright bass form a Western bedrock beneath Wolf’s fragile voice. But as the song pushes on, the playing gets brighter and the vocal becomes a mantra-like hum inspired by Ali Farka Touré’s blues, before rolling into a second part rich with chiming keys and twisting harmony-Brian Wilson’s kaleidoscopic vision of pop. If there’s new litheness here, it’s probably because Wolf spent much of the time between albums collaborating-with ex/muse Anna Stewart as the fuzz-pop duo Divorcee, and MC Serengeti as the puckishly depressive Yoni & Geti. And if there’s a lithe newness, it may be that Wolf excised some nostalgia via his 2014 solo tapes-one re-recording choice raps from his own catalog, and another covering cuts by artists like Bob Dylan and Pavement. It’s no wonder, then, that “The Water” handily morphs a moody folk tune into some strange new form of full-band dub. Or that “One Mississippi” bounces along happily over a flurry of bizarre percussion, whistled melodies, and trippy synthesizer blips. Perhaps most impressive is “Consequence of Nonaction,” which vacillates between a quiet meditation for guitar/voice/clarinet, and wild, sax-strewn astral art-funk. Movement is a key theme of Moh Lhean. It’s a breakup album without a romantic interest-coded within the lyrics is a tale about fleeing the seductions of a wintry figure for something synonymous with spring. “Easy” plays like a ward against the old ghost who haunts “January February March,” while “George Washington” places our host in a tiny watercraft, “paddling for land/hand on heart and heart in hand” as that faceless malevolent force stays ashore. While writing these songs, Wolf suffered a severe health scare far from home. Rather than drive him to depression, his brush with mortality imparted an incongruous impression of peace and connection to the living. At the end of “Proactive Evolution,” wherein WHY? enlists mewithoutYou’s Aaron Weiss to celebrate the stubborn persistence of humankind, Wolf samples not only thinkers like Sharon Salzberg and Ram Dass, but his actual doctors-the voices that helped shape his new outlook. Sure, Wolf poses as many questions as ever. Moh Lhean’s gorgeously psychedelic closer, “The Barely Blur” with Son Lux, puzzles over the nature of existence. But rather than leave us with the macabre chill of death, as many a WHY? LP has, the song dissolves into the infinite-the sound of the Big Bang. Links: Website | Facebook | Twitter | Instagram

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Electric Hot Tuna

August 27, 2019 @ 8:00 pm - August 28, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

This is a general admission seated show. Hot Tuna, Jorma Kaukonen and Jack Casady, perform with a well-honed and solid power – always in the groove from their years of experience and mutual inspiration. Started as a side project during Jefferson Airplane days, the constant, the very definition of Hot Tuna, has always been Jorma Kaukonen and Jack Casady. The two boyhood pals have never wavered in one of the most enduring friendships in Rock history. From their days playing together as teenagers in the Washington, DC area, through years of inventive Psylodelic rock in San Francisco (1996 Rock and Roll Hall of Fame Inductees), to their current acoustic and electric blues sound, no one has more consistently led American music for the last 50 years than Jorma Kaukonen and Jack Casady, the founders and continuing core members of Hot Tuna. At the 2016 Grammys, Jorma Kaukonen and Jack Casady were honored with Lifetime Achievement Awards. “Jorma Kaukonen is a force in American music, equally adept at fingerpicked acoustic folk and blues as he is at wailing on an electric.” – Acoustic Guitar Guitarist and vocalist, Jorma Kaukonen is a highly respected interpreter of roots music, blues, Americana, and popular rock-and-roll. Jorma’s repertoire goes far beyond psychedelic rock; he is a music legend and one of the finest singer-songwriters in music. Jorma tours the world bringing his unique styling to old blues while writing new songs of weight and dimension. “Jack Casady is virtually unparalleled–and yet he has one of the most truly unique electric-bass voices in rock…he can melt into a supportive role but when opportunity knocks, he bursts forth with creative lines–both simple and ornate–that are unlike any you’ve heard” – Premier Guitar One of the most unique innovators in the sixty-year history of the bass guitar, Jack Casady made his sweeping melodic mark helping to create the “San Francisco Sound” with legendary rock group Jefferson Airplane. Jack went on to track with Jimi Hendrix, Crosby, Stills, Nash & Young, Warren Zevon, members of the Grateful Dead, John Lee Hooker, and Gov’t Mule. Casady, regarded as one of rock’s greatest bassists, is certainly one of its most original. “Hot Tuna is a Psychedelic-Blues Institution” – Rolling Stone Magazine Electric Hot Tuna Website | Rob Ickes & Trey Hensley Website

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September 2019

Black Pumas

September 10, 2019 @ 8:00 pm - September 11, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Sometimes, a mystical, life-changing connection can be closer than you think. In 2017, Grammy Award-winning guitarist/producer Adrian Quesada had recorded some instrumentals in his Austin studio, and he started looking around for a vocalist — he knew a lot of singers, but he wanted something different. He reached out to friends in Los Angeles, in London, but nothing seemed right. Meantime, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley, he grew up in church and then got heavily involved in musical theater. He started busking at the Santa Monica pier, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin — setting up his busking spot on a downtown street corner, at 6th Street and Congress, for maximum exposure. A mutual friend mentioned Burton to Quesada, saying that he was the best singer he had ever heard. The two musicians connected, but Burton took a while to respond (“My friends were like ‘Dude, you’re a mad man, you need to hit that guy back!'”) Finally, he called Quesada, and started singing to one of the tracks over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” he says. “From the moment I heard him on the phone, I was all about it.” The results of that inauspicious beginning can now be heard on the self-titled debut album from Black Pumas, the group that Quesada and Burton assembled, which has become one of the year’s most anticipated projects. Described as “Wu-Tang Clan meets James Brown” by KCRW, Black Pumas were the winner of Best New Band at the 2019 Austin Music Awards. Quesada has a storied reputation from playing in bands like Grupo Fantasma and Brownout, accompanying artists from Prince to Daniel Johnston, and producing such acclaimed projects as 2018’s Look at My Soul: The Latin Shade Of Texas Soul. For the tracks that kicked off this project, though, he had a different direction in mind. “I was looking for somebody with their own identity,” says Quesada, “who liked Neil Young as much as Sam Cooke.” Burton’s taste, range, and experience proved to be exactly what Quesada was seeking. “We just take to the same kind of music,” he says. “I listen to East Coast hip-hop, old soul music, folk music. When Adrian sent me the songs, it was like I had already heard them before. We were on the same wavelength from the get-go.” The first day they got together in the studio, they recorded the dusty funk that would become the Black Pumas’ first two singles, “Black Moon Rising” and “Fire.” Quesada had written the music for “Black Moon Rising” on the day of the 2017 solar eclipse, and Burton took that concept and ran with it. “Right away, the hair stood up on the back of my neck,” says Quesada. “I knew, ‘This is it — this is the guy.'” Burton sensed the potential, as well. “When I saw that Adrian played with Prince and had a Grammy,” he says, “that he was a serious, respected artist, I knew that I would do my best not to squander that. If you can do it on the street, for a long time, without making yourself crazy, you can do it with a guy who’s won a Grammy.” Links: Website | Facebook | Twitter | Instagram

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Who’s Bad: The Ultimate Michael Jackson Tribute Band

September 13, 2019 @ 9:30 pm - September 14, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Who’s Bad’s live performance is an unrivaled celebration of pop music’s one true King. Their power-packed performance of Michael Jackson’s expansive catalog has ignited crowds on every continent and can only be described as a jaw-dropping, musical must-see. As the longest-running Michael Jackson tribute band, and the only one to predate his untimely passing, Who’s Bad has awed even the skeptics, selling out nearly 50 venues in the United Kingdom including London’s O2 in December of 2010, the venue where the King of Pop was slated to end his career with a 50-show “This Is It” concert series. Beyond this unparalleled achievement, Who’s Bad has checked some of the world’s most famous pavilions off their ‘to-do’ list, selling out their first tour of China with stops at Ningbo’s Grand Theatre and Hunan Grand Theatre in Chengsha. Never neglecting Michael’s U.S. fans, Who’s Bad has packed The House of Blues in Houston, Dallas, and New Orleans; rocked DC’s 930 Club and returned to their native Chapel Hill, NC boasting larger, more eagerly-awaited performances with every romp around the globe. Sold-out shows from Colorado’s Bluebird Theatre and LA’s Gibson Amphitheatre and Romania’s Sala Palatalui to Teatro do Bourbon Country (Porto Alegre, Brazil) tell the story: no corner of the earth is safe from this infectious party production. Who’s Bad has earned its name by paying studious attention to Michael Jackson’s every original groove and gravity-defying dance move, boasting over 100 years of professional experience and a team of dancers with resumes that include Broadway productions such as Phantom of the Opera. Vamsi Tadepalli (Who’s Bad founder, composer, and saxophonist) assembled a cast of North Carolina’s premiere musicians and, from Who’s Bad’s inception, believed in the band’s boundless possibilities. The velvety vocals and pinpoint choreography of frontmen Joseph Bell and Taalib York’s combined with the six-piece band’s synchronized dance routines, blaring horns and down-deep rhythms, results in a performance delivered with soul and precision superseded by no one but the King himself. They’ve shared stages with the Queen of Soul, Aretha Franklin, The Backstreet Boys, The Four Tops, Boys II Men, and hip hop superstar, Pitbull. Captivated fans include LIVENATION’s Anthony Nicolaidis who calls Who’s Bad, “the real deal,” and Michael Jackson’s longtime friend and manager Frank DiLeo who proclaimed after Who’s Bad show in Nashville, TN, “the show was great….Michael would have been proud!” Whether you idolized the Jackson 5, fell in love to Human Nature, or learned to moonwalk to Billie Jean, Who’s Bad is THE ULTIMATE music-and-dance driven Michael Jackson homage. This band of professionals relentlessly elevate the legacy of pop music’s King, always pushing themselves to be more precise, to raise the level of excitement and awe, while embodying Michael Jackson’s mission to bring people together of all races, genders, and cultures through music. As the curtain opens on a Who’s Bad performance, every MJ fan feels the adrenaline, screams at the sight of that unmistakable silhouette, and succumbs to a surefire Michael Jackson sing-along. The energy is purely magnetic, the musicianship is first-rate, the dance moves deftly inspired. Who’s Bad is a tribute befitting a King and their high-octane execution of MJ’s music and dance has catapulted them to the exclusive rank of Ultimate! Links: Website | Facebook | Twitter | Instagram | YouTube

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Aid for the Bahamas

September 14, 2019 @ 5:00 pm - September 15, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Cat’s Cradle will be matching the first $1000 in advance sales and donations! This performance will benefit the following charities: YachtAid Global | World Central Kitchen | American Red Cross Free entry Donations encouraged ($10 or larger) Please note that there are no ticketing fees on your donation Aid for the Bahamas 5:00pm: Flesh Tuxedo / Kid Advay 6:00pm: Chris Frisina 6:30pm: Simone Finally 7:00pm: Love & Valor 7:45pm: Matt Southern and Lost Gold 8:30pm: Dissimilar South 9:15pm: Gone Ghosts 10:00pm: Texoma 10:45pm: Charles Latham & the Borrowed Band

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Penny & Sparrow

September 15, 2019 @ 8:00 pm - September 16, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

“Almost everything changed for us in these last two years,” says Andy Baxter, one half of the acclaimed duo Penny & Sparrow. “It was a painful experience in a lot of ways, but it was also a joyful one.” Joy and pain walk hand in hand on ‘Finch,’ Penny & Sparrow’s magnificent sixth album. Written during their first major break from the road in years, the record finds the band reckoning with a prolonged period of intense personal transformation, a profound awakening that altered their perceptions of masculinity, sex, religion, divorce, friendship, vanity, purpose, and, perhaps most importantly, self. Deeply vulnerable and boldly cinematic, the resulting songs blur the lines between indie-folk and alt-pop, with dense string arrangements and atmospheric production underpinning soaring melodies and airtight harmonies from Baxter and his longtime musical partner, Kyle Jahnke. Texas natives, Baxter and Jahnke first crossed paths at UT Austin, where they developed both a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of James Blake, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while The World Café raved that they’ve “steadily built a sound as attentive to detail as Simon & Garfunkel and as open to the present day as Bon Iver,” and Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” In addition to the mountain of glowing reviews, the band also earned high profile fans-including The Civil Wars’ John Paul White, who produced 2015’s ‘Let A Lover Drown You’-and extensive tour dates with everyone from Josh Ritter and Johnnyswim to Drew Holcomb and Delta Rae.

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Cat Power

September 16, 2019 @ 8:00 pm - September 17, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

There are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power, Marshall has released music for nearly 25 years now and her prowess as a songwriter, a producer, and most notably-as a voice-has only grown more influential with time. On her 10th studio album, Wanderer, Marshall resets her dials, offering a collection of songs that function as pristine examples of her still-evolving creative practice. Held aloft primarily by Marshall’s own guitar and piano, Wanderer is a collection of winding, wondering narratives all perfectly imbued with the kind of yearning and warmth that have made her one of the most distinctive and beloved artists of her generation. Produced by Marshall and mixed by Rob Schnapf (Elliott Smith, Beck), the album includes appearances by longtime friends and compatriots, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey. Wanderer is, in many ways, a kind of quintessential Cat Power record, with Marshall’s clarion voice front and center in a set of songs that are remarkably stark and straightforward. Tracks like “Black” and “Me Voy” have the kind of haunted quality that recall the most emotionally harrowing moments of Moon Pix or You Are Free, while the elegant lilt of “In Your Face” and the minimalist blues of “You Get” (“You Know there’s nothing like time, to teach you where you have been” Marshall sings on the latter) have the same kind of playful, soulful timbre of The Greatest. Meanwhile, the album also showcases Marshall’s uncanny abilities as one of the great interpreters of songs, with a stunning version of Rihanna’s “Stay”. “I love the tradition of interpreting songs”, she says. “I think it’s one of the highest compliments you can pay another artist. It’s one of the great traditions in American music and one of the great pleasures.” While Wanderer represents a hard-won stability for Marshall, it’s also evidence that stability -emotional, physical, financial -is often fleeting. It’s a thing that must be cared for, protected, and can easily evaporate. Songs like “Robbin Hood” and “Nothing Really Matters” confront duplicity and hopelessness in equal measure, examining what it means to be taken advantage of (“Who Robbing, who robbing who?”) and the nihilism of trying to do the right thing in a world where it often feels as if it truly makes no difference. In stark contrast, the album’s first single, “Woman,” (featuring backing vocals from Lana Del Rey) is a full-throated push back against doubters and critics, as well as a righteous claiming of space. “The doctor said I was not my past, he said I was finally free,” sings Marshall, “I’m a woman of my word, or haven’t you heard? My word’s the only thing I’ve ever needed.” Defiant, unbowed, and fantastically steadfast, the song ends with the perfect, beautiful coda: “I’m a woman.” If old Cat Power records might have easily been viewed as repositories for pain, Wanderer is, at its heart, a testament to the transformative nature of songs, an album-length imagining of alternate paths, redemptions, connections, and open-ended possibility. This is most evident on “Horizon”, the album’s emotional centerpiece, in which Marshall sings about the complicated, emotionally elastic bonds between family members. For someone whose entire life has been predicated on movement -years of comings and goings with little time to pause and connect – the song offers a bittersweet reconciliation: “You’re on the horizon / I’m on my way / You’re on the horizon / I’m headed the other way.”

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Tinariwen

September 18, 2019 @ 8:00 pm - September 19, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

The new album by Tinariwen could well have been called Exile on Main Street. But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years), expanding their audience on all five continents, becoming one of the latest musical phenomena of truly universal calibre, the frontiers that encircle their desert home were closing down and double-locking, forcing them into exile to record this their 8th album. Over the past five years, their beloved homeland in the Adrar des Ifoghas, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has, in effect, been transformed into a conflict zone, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time), have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home, they were recorded a long way away from them. And, as a result of this separation, at a time when the political, military and humanitarian situation in the region has never been so critical, the feelings and the emotions that the band managed to capture on record have never been so vivid. In October 2014, making use of a few days off in the middle of a long American tour, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive, and since then, whether in use by P J Harvey or the Foo Fighters, Iggy Pop or the Arctic Monkeys, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen, the geographical location of the studios – lost in the middle of that horizontal desert, that mineral immensity, where Man is reminded of his own insignificance in ways that can only, in the end, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. Links: Website | Facebook | Twitter | Instagram

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Snow Tha Product

September 19, 2019 @ 8:00 pm - September 20, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Bilingual rapper and singer Claudia Feliciano, who goes by the name Snow tha Product, switches between hardened rhymes and bright melodic hooks with an emphasis on the former. Easily mistaken for a drug reference, Feliciano’s performing alias was inspired instead by Disney character Snow White and the artist’s desire to prevent her musical and personal lives from blurring into one another. Born in San Jose and raised in San Diego, she appeared as Claudia White on “Alguien,” a 2009 single by Latin pop artist Jaime Kohen, prior to basing herself out of the Dallas-Fort Worth area. For several years she was an underground artist, though she eventually attracted some high-level guest appearances on her mixtape releases, including the likes of Tech N9ne and Ty Dolla $ign. In 2013, she went aboveground and started issuing singles for major-label Atlantic, such as “Play,” “Doing Fine,” and “Hola,” which alternated between pop-oriented material and more aggressive, lighter-hearted tracks tailored for club play. In 2016, Atlantic released an eight-track EP, Half Way There…, Pt. 1. From there Feliciano had success with a series of singles and featured appearances. 2017 included the viral breakup anthem “Waste of Time,” as well as “Nuestra Cancion, Pt. 2,” both showcasing a smoother and more pop-friendly side of her style. The next year she continued with trappy singles “Help a Bitch Out (featuring O.T. Genasis),” “Dale Gas,” and “Today I Decided” as well as the more lighthearted “Goin’ Off” and “Myself (featuring DRAM).” She ended the year by contributing to several tracks on the VIBE HIGHER mixtape with Castro Escobar, Lex the Great, Jandro, and others. ~ Andy Kellman Links: Website | Facebook | Twitter | Instagram | Spotify | YouTube

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The Fab Four at 55: Across the Universe

September 20, 2019 @ 8:00 pm - September 21, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Beatles tribute featuring: The Backbeat, Sam Frazier. Rebecca Newton, Nancy Middleton, Jefferson Hart, Barry Gray, Glenn Jones, Lance White, Steve Eisenstadt, Jim Roberts, Tim Smith, Armand Lenchek, Mike Nicholson, Rob Sharer, Mike Babyak, Tom Collins-Meltzer, Charles Latham, Danny Gotham & many more.

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Whitney

September 21, 2019 @ 8:30 pm - September 22, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Whitney make casually melancholic music that combines the wounded drawl of Townes Van Zandt, the rambunctious energy of Jim Ford, the stoned affability of Bobby Charles, the American otherworldliness of The Band, and the slack groove of early Pavement. Their debut, Light Upon the Lake, is due in June on Secretly Canadian, and it marks the culmination of a short, but incredibly intense, creative period for the band. To say that Whitney is more than the sum of its parts would be a criminal understatement. Formed from the core of guitarist Max Kakacek and singing drummer Julien Ehrlich, the band itself is something bigger, something visionary, something neither of them could have accomplished alone. The band itself is something bigger, something visionary, something neither of them could have accomplished alone. Ehrlich had been a member of Unknown Mortal Orchestra, but left to play drums for the Smith Westerns, where he met guitarist Kakacek. That group burned brightly but briefly, disbanding in 2014 and leaving its members adrift. Brief solo careers and side-projects abounded, but nothing clicked. Making everything seem all the more fraught: both of them were going through especially painful breakups almost simultaneously, the kind that inspire a million songs, and they emerged emotionally bruised and lonelier than ever. Whitney was born from a series of laidback early-morning songwriting sessions during one of the harshest winters in Chicago history, after Ehrlich and Kakacek reconnected – first as roommates splitting rent in a small Chicago apartment and later as musical collaborators passing the guitar and the lyrics sheet back and forth. “We approached it as just a fun thing to do. We never wanted to force ourselves to write a song. It just happened very organically. And we were smiling the whole time, even though some of the songs are pretty sad.” The duo wrote frankly about the break-ups they were enduring and the breakdowns they were trying to avoid. Each served as the other’s most brutal critic and most sympathetic confessor, a sounding board for the hard truths that were finding their way into new songs like “No Woman” and “Follow,” a eulogy for Ehrlich’s grandfather. In exorcising their demons they conjured something else, something much more benign-a third presence, another personality in the music, which they gave the name Whitney. They left it singular to emphasize its isolation and loneliness. Says Kakacek, “We were both writing as this one character, and whenever we were stuck, we’d ask, ‘What would Whitney do in this situation?’ We personified the band name into this person, and that helped a lot. We wrote the record as though one person were playing everything. We purposefully didn’t add a lot of parts and didn’t bother making everything perfect, because the character we had in mind wouldn’t do that.” In those imperfections lies the music’s humanity. Whilst they demoed and toured the new songs, they became more aware of the perfect imperfections of the songs, and needing to strike the right balance, they eventually made the trek out to California, where they recorded with Foxygen frontman and longtime friend, Jonathan Rado. They slept in tents in Rado’s backyard, ate the same breakfast every morning at the same diner in the remote, desolate and completely un-rock n roll San Fernando Valley, whilst they dreamt of Laurel Canyon, or maybe The Band’s hideout in Malibu, or Neil Young’s ranch in Topanga Canyon. Links: Facebook | Twitter | Instagram

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The Motet: Speed of Light Tour

September 26, 2019 @ 8:30 pm - September 27, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Throughout history, unity starts on the dancefloor. From ancient tribal cultures to neon night clubs, beats bring bodies together. Once grinding and grooving in unison, the movement generates friction, sparks, and light. That might just be the purest form of energy on the planet. The Motet harness such energy on their ninth full-length, Death or Devotion. In fact, the Denver septet-Dave Watts , Joey Porter , Garrett Sayers , Ryan Jalbert , Lyle Divinsky , Drew Sayers , and Parris Fleming -encode a message in their energetic mélange of boisterous badass funk, swaggering soul, and thought-provoking pop. In the process, they challenge convention and arrive with a dynamic, diverse, and definitive statement. “The essence is always going to be the groove, but we wanted to expand the idea of what a funk album could be,” says Lyle. “Of course, you want a driving backbeat. However, with the division that’s going on in this country and the world, I think it’s every artist’s responsibility to create a conversation. That conversation doesn’t have to be political either. It can be about love or an introspective journey. I think the commentary should be on what it’s like to be alive today. By drawing on funk, we create a fun, palatable musical vehicle for the message to go down. Our goal is for you to recognize we’re all dancing on the same dance floor-even though our steps may look a little different.” Death or Devotion earmarks an important point in the band’s own journey. Since emerging in 1998, the boys have cooked up eight full-length albums and entranced countless crowds. 2016’s Totem saw them welcome Lyle behind the mic and Drew on sax. Shortly after, they kicked off what has become an annual tradition by selling out the legendary Red Rocks Amphitheater for the first time. “It was my six-month anniversary and first show for a hometown crowd,” recalls Lyle. “I’ve got 10,000 people looking at me like, ‘Who the hell is that?’,” he laughs. That night would be chronicled on the fan favorite Live at Red Rocks. In the meantime, the group maintained a prolific pace of 100 shows per year in support of Totem. Along the way, The Motet started recording Death or Devotion during intermittent sessions at Scanhope Sound in 2017. For the first time, Lyle, Drew, and Parris (who joined in 2018) worked on a Motet record together from start-to-finish. “On Totem, the train was already moving, and I was just a train hopper,” says Lyle. “Drew, Parris, and I came onboard within the same year. Now, we’re all bringing our pieces to the puzzle. For me, I brought that R&B style. Funk is the common ground, but the music is a result of different inspirations: namely Drew’s hip-hop and reggae knowledge, Ryan’s psychedelic jamming, Dave with the worldbeat, Joey with his encyclopedic understanding of punk, and Garrett being the best bass player to exist. We found a really cool balance between the funkiness and songs that challenge your emotional headspace more than typical pop.” The Motet Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube Mellow Swells Links: Website | Instagram

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RIDE

September 27, 2019 @ 8:00 pm - September 28, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Andy Bell, Mark Gardener, Loz Colbert and Steve Queralt formed Ride in Oxford in 1988. A defining act of the shoegaze scene and signed to Creation Records in 1989, they went on to release four albums: ‘Nowhere,’ ‘Going Blank Again,’ ‘Carnival of Light’ and ‘Tarantula.’ After a lengthy hiatus, Ride reformed in 2014. Comprised of Andy Bell, Mark Gardener, Loz Colbert, and Steve Queralt, the band sold out headline tours around the world to a plethora of critical acclaim, as well as show stopping turns at festivals including Coachella, Primavera and Field Day. Produced by Erol Alkan, new album ‘Weather Diaries’ is packed with all the classic elements that made Ride one of the defining bands of the early ’90s. Trembling distortion, beautiful harmonies, pounding rhythms, shimmering soundscapes and great songwriting all combine to make an album that’s ambitious in scope, timeless and thoroughly addictive. The album is out now through Wichita Recordings and sees the band reunited with label co-founders Dick Green and Mark Bowen, who worked with Ride during the band’s early years on Creation Records. It also brings the band back together with mixer Alan Moulder (Arctic Monkeys, Smashing Pumpkins, The Killers) who mixed their seminal 1990 album ‘Nowhere’ and produced it’s follow up ‘Going Blank Again.’ Links: Website | Facebook | Twitter | Instagram | Spotify

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October 2019

Oh Sees, Prettiest Eyes, No Whammy!

October 23, 2019 @ 8:00 pm - 11:00 pm
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States
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Oh Sees, Prettiest Eyes, No Whammy!

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November 2019

Kikagaku Moyo

November 13, 2019 @ 8:00 pm - November 14, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

“Masana” is a fictional word created by Kikagaku Moyo to express a Utopian feeling; an existence where everything can interact harmoniously and offer inspiration and understanding. Their fourth album Masana Temples radiates this vision, architecting a vibrating world that isn’t confined to the known limits of what came before it. Kikagaku Moyo progressed from early days in Tokyo’s experimental scene to traveling the world with their mind-bending sounds, exploring different facets of psychedelia on each new release and blowing minds with a live show that was just as searching as their records. The shifting dimensions of Masana Temples are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The songs came together in the wake of the band breaking up the communal house most of them had shared in Tokyo, with some members relocating to Amsterdam, and others moving to different parts of Japan. Transitioning from being based in the scene they had roots in to scattering around various locales made for an even more enhanced understanding of how mystically connected the sum of their parts were when the band reunited to record new material. The music is the product of time spent in motion and all of the bending mindsets that come with it. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout Masana Temples, but they’re sharper and more defined. Without sacrificing any of their experimental impulses, songs are more composed and cohesive. Pernadas’ bright production meets with nearly telepathically locked-in performances, on both lazy cloud-like jaunts like “Nazo Nazo” or fuzzed-out expeditions like lead single “Gatherings”. Drummer/vocalist Go Kurosawa, guitarist/vocalist Tomo Katsurada, bassist Kotsuguy, sitar and keyboard player Ryu Kurosawa and guitarist Daoud Popal Akira act as a unit, with an intuitive attention to space and dynamics that could only come from years of playing together in every imaginable setting. More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. Coming together in a way more deliberate than the beautifully floating improvisations of their Stone Garden EP or the sometimes hushed dreamstate of 2016 album House In The Tall Grass, Masana Temples is focused and clear in its vision in a way that feels unlike any of Kikagaku Moyo’s earlier sounds. Links: Website | Facebook| Bandcamp

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Turnover & Men I Trust

November 14, 2019 @ 8:00 pm - November 15, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Turnover Links: Website | Facebook | Twitter | Instagram | Bandcamp | Spotify | Apple Music–> Men I Trust Links: Website | Facebook | Tumblr | Bandcamp | YouTube Renata Zeiguer Links: Facebook | Instagram | Bandcamp

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Allah-Las

November 15, 2019 @ 8:00 pm - November 16, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Links: Website | Facebook | Twitter | Instagram

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Gaelic Storm

November 16, 2019 @ 8:00 pm - November 17, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

This is a seated show. It’s hard to imagine a band just coming into their own after 20 years of success, but that’s exactly what makes a true anomaly. This multi-national, Celtic juggernaut grows stronger with each live performance, and as you can imagine, after two decades and over 2000 shows, it is a true force to be reckoned with. With their latest release, Go Climb a Tree, their music has never sounded more representative of themselves as musicians and as live performers. The band attributes their continued success to their fanatic audience, and it’s a well-diversified crowd for sure. The country-music folks adore the storytelling, the bluegrass-heads love the instrumentals, Celtic fans love their devotion to tradition, and the rockers simply relish the passion they play their instruments with. Each band member, in their own way, expresses a deep gratitude for their fans, but it’s best summed up in the words of Patrick Murphy: “The fans are the ones that have given us this life. We’re here for them.” On Go Climb a Tree, co-founders of Gaelic Storm, Steve Twigger and Patrick Murphy, along with longtime friend and co-writer Steve Wehmever, are again at the helm of song-writing duties. The album has everything-party drinking songs (“The Beer Song”), patriotic anthems (“Green, White and Orange”), beautiful folk songs (“Monday Morning Girl”), spritely instrumentals “”The Night of Tomfoolery”), perfectly poppy songs (“Shine On”), and even a raucous pirate song (“Shanghai Kelly”). When speaking of the overall concept of the album, Patrick Murphy gives some insight: “With all the craziness and division in the world, we wanted to make an album about ‘contemplative escapism.’ Go Climb a Tree certainly isn’t about dropping out of the conversation, it’s just about taking a short hiatus to recharge the batteries before you take on the world again.” Gaelic Storm takes a true blue-collar, hard-nose approach to touring, consistently traveling the US and internationally over 200 days a year, forging a unique path in the Celtic music world. “You have to see us live. We are the true working-mans’ band,” says Ryan Lacey, who joined the lineup in 2003. “We still, and most likely always will, tour most of the year, and that’s how we constantly hone our craft.” The dedication to live shows date all the way back to the mid-1990s, when Gaelic Storm kicked off its career as a pub band in Santa Monica, California. Due to their discovery at the pub, by the end of the decade, the musicians had appeared in the blockbuster film Titanic (where they performed “Irish Party in Third Class”). This laid the groundwork for a career that would eventually find them topping the Billboard World Chart six times, making appearances at mainstream music festivals, and regularly headlining the largest Irish Festivals across the country, all the while gaining a reputation as a genre-bending Irish rock band, whose songs mix Celtic traditions with something uniquely creative. Looking to the future, Gaelic Storm is excited about what lies ahead. They’ve added a new fiddle player, Katie Grennen, and she has affectionately become the “purple squirrel” of the band, meaning she is the perfect new addition. Pete Purvis who joined the band in 2005 said, “With the addition of Katie, the band has never sounded better, we’re gelling on a whole new level, and the idea of sharing these new songs with our fans is exciting!” Links: Website | Facebook | Twitter | Instagram | YouTube

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Crumb, Divino Niño, Shormey

November 17, 2019 @ 8:00 pm - 11:00 pm
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States
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Crumb, Divino Niño, Shormey

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Crumb

November 17, 2019 @ 8:00 pm - November 18, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

AdHoc Presents Crumb is the collaboration of Brooklyn-based musicians Lila Ramani (guitar, vocals), Brian Aronow (synth, keys, sax), Jesse Brotter (bass), and Jonathan Gilad (drums). The friends came together in 2016 with the goal of developing and recording a collection of songs Ramani had written in high school and college, the work ultimately resulting in the band’s first two EPs, 2016’s “Crumb” and 2017’s “Locket.” Encouraged by the warm reception online and at shows, the band evolved into a full time touring and recording project. In June 2019, Crumb will release Jinx, their first full-length album and best distillation to date of their singular blend of psych-rock and jazz. On Jinx, Ramani continues to helm the songwriting, with Aronow, Brotter, and Gilad each bringing distinctive ideas to match her ethereal, intimate vocals and luminous guitar lines. Informed by two years of nearly non-stop touring, the songs sweep and swell to capture the beguiling live spirit of Crumb shows, while taking listeners one step further down the band’s dizzying, hypnotic path. Crumb has partnered with PLUS1 so that $1 from each ticket sold will go to Partners In Health and their work saving lives, revitalizing communities, and transforming global health, and to the Florence Project and their work providing direct legal and social services for detained adults and children under threat of deportation. Links: Website | Facebook | Twitter | Instagram

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Office Hours

November 22, 2019 @ 10:00 pm - November 23, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Office Hours is a dance party and live video performance from a collective of disc-jockeys, wave technicians and visual artists at UNC-Chapel Hill. 10% of proceeds will benefit the Compass Center. Starting as the final assignment for an independent study within UNC’s Media and Journalism school, this experimental audio-visual performance was the brainchild of producer Nicholas Byrne. Bridging his early musical background with professional experience as a video editor for record labels, Nicholas envisioned a live show in which musical and visual elements were crafted side-by-side, complementing and reacting to each other for a more holistic sensory experience. Artists Scott Diekema, Elinor Walker, and Webb Hinton joined Nicholas to develop Office Hours’ unique visual style. Scott, Nicholas, and fellow VJs John Vance and Maxwell Bryn use video synthesizers to mix and distort the show’s live camera feeds with VHS and digital animations. Audio reactive analog visuals are painted onto a network of CRT televisions that invite audience participation. The team’s expertise in animation, live video software, and stage design allow for Office Hours to experiment with emerging and legacy technologies simultaneously. Collaborators include Elinor Walker, Amy Vaughn, Roi Plotkin, James Creissen, Michael Gu, Maxwell Bryn, John Vance, Austin Robichaud, Gentry Fitch, Karma, J Dasani, and Funeral. By blurring audio-visual boundaries, Office Hours aims to create a fun and immersive concert experience. If you have any questions, just come to Office Hours. Line-up: 9:30-10:15: DJ New Camper 10:15-11:00: Pixel Princess 11:00-11:45: DJ Tex 11:45-12:30: Amy Daytona + DJ River Rat 12:30-1:15: ARTS+CRAFTS 1:15-2:00: DJ Chooch Instagram: @officehours.tv

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New Found Glory

November 25, 2019 @ 7:00 pm - November 26, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Links: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music

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La Dispute

November 27, 2019 @ 7:00 pm - November 28, 2019 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

La Dispute has never been a band prone to settling. The five-piece from Grand Rapids, Michigan, is responsible for some of the most uncompromising, experimental hardcore music of the last decade. From their 2008 debut (in their current formation) Somewhere at the Bottom of the River Between Vega and Altair, to 2011’s Wildlife, to 2015’s Rooms of the House, La Dispute have continually pushed themselves to find new ways to portray some of the most difficult and universally affecting subject matters. Casting a wide stylistic net that includes – but isn’t limited to – jazz, blues, spoken word, screamo and prog rock, La Dispute have developed a sound that, while constantly evolving, is unmistakably theirs. A lot of structural change has taken place around the band since Rooms of the House that has forced them to adapt. La Dispute has always kept a tight grip on their own reins. Their first two records came out on Californian independent label No Sleep – trusted home to many of the bands they cut their teeth alongside – while Rooms of the House was released through their own label, a subsidiary of Vagrant records. After Vagrant was bought out by BMG in 2014, the band found themselves looking for a new home, ultimately finding one in Epitaph. Their fourth full-length, Panorama, is the first fruit of this new relationship. Recorded between November 2017 and August 2018, Panorama is in many ways a continuation on a theme. It’s a highly ambitious and deeply affecting body of work that filters narrative storytelling through a personal lens, like a set of Joan Didion essays set to music. It’s heavier and weirder than previous efforts, taking the intensity of Wildlife and the patience of Rooms of the House and using them as pillars upon which to build something new. And, in doing so, they have broken through their own ceiling and set a new one. Panorama has not been without its challenges, both creatively and practically. Only three members were living in Michigan when they started writing, with drummer Bradley Vander Lugt now living in Australia. Out of necessity, the incubation period for ideas began with back and forth over the internet, but the bulk of the writing had to be done together in their hometown of Grand Rapids. So, finding a time when Brad could make the trip with his family, they blocked three months off to write and rented a studio space to work 9-5 through the week. For over two months, they worked in separate rooms on individual tracks based on a rough concept and outline that Jordan had put together. They had around seven tracks finished when they came to the decision that no one was happy with them. With only the weeks before Brad was due to fly back to Australia left to work with, they scrapped everything and started all over again. “In general, I think working apart when we were all there together was a waste, but I think we had it in our heads that there was a direction we should be going. That we needed to pick up where the last record left off and push further in the direction of quieter, more structured songs, but that never felt right,” Jordan says in retrospect. “Feels a bit silly to say, but when we started over we all more or less just went by instinct. What happened felt right, and that’s really where the record started.” Links: Website | Facebook | Twitter | Instagram

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January 2020

Cosmic Charlie – High Energy Grateful Dead from Athens, GA

January 17 @ 8:30 pm - January 18 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

“Cosmic Charlie really is a great band – these guys do this music the way it should be done: having the conversation in their own voices.” -David Gans, Grateful Dead archivist ———————– Cosmic Charlie was born in the musical Mecca of Athens, Georgia. From its summer 1999 inception, the band swiftly cemented its reputation as a band that puts a unique and personal twist on the Grateful Dead catalogue, a Dead cover band for folks that are ambivalent about Dead cover bands. Rather than mimicking the Dead exactly, Cosmic Charlie chooses to tap into the Dead’s energy and style as a foundation on which to build. The result is healthy balance of creativity and tradition, and both the band and its audience are taken to that familiar edge with the sense that, music is actually being MADE here tonight. Moving and shaking even the most skeptical of Deadheads, Cosmic Charlie storms into a town and plays with an energy that eludes other bands, an energy that sometimes eluded the Dead themselves. Those precious moments during Dead jams when the synchronicity is there and all is right with the world, these are moments that Cosmic Charlie relishes and feverishly welcomes with open arms. Clearly, Cosmic Charlie’s audiences are also eager to arrive at those moments, and together with the band, they have indulged in many memorable evenings. Links: Website | Facebook

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AMERICAN AUTHORS and MAGIC GIANT – Band of Brothers Road Show

January 18 @ 8:00 pm - January 19 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

American Authors Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube Magic Giant Links: Website | Facebook | Instagram | Spotify | YouTube

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Cracker and Camper Van Beethoven

January 20 @ 8:00 pm - January 21 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Cracker’s tenth and most recent studio effort, the double-album, Berkeley To Bakersfield, finds this uniquely American band traversing two different sides of the California landscape — the northern Bay area and further down-state in Bakersfield. Despite being less than a five-hour drive from city to city, musically, these two regions couldn’t be further apart from one another. In the late ’70s and ’80s a harder-edged style of rock music emerged from the Bay area, while Bakersfield is renowned for its own iconic twangy country music popularized, most famously, by Buck Owens and Merle Haggard in the ’60s and ’70s. Yet despite these differences, they are both elements that Cracker’s two cofounders, David Lowery and Johnny Hickman, have embraced to some degree on nearly every one of their studio albums over the last two decades. On Berkeley To Bakersfield, however, instead of integrating these two genres together within one disc, they’ve neatly compartmentalized them onto their own respective regionally-titled LPs. As Lowery explains, “On the Berkeley disc the band is the original Cracker lineup — Davey Faragher, Michael Urbano, Johnny and myself. This is the first time this lineup has recorded together in almost 20 years. We began recording this album at East Bay Recorders in Berkeley, CA. For this reason we chose to stylistically focus this disc on the music we most associate with the East Bay: Punk and Garage with some funky undertones. To further match our sense of place we often took an overtly political tone in the lyrics.” “This Bakersfield disc represents the ‘California country’ side of the band. Throughout the band’s 24-year history we’ve dabbled in Country and Americana but this time we wanted to pay homage to the particular strain of Country and Country-Rock music that emerges from the inland valleys of California.” Cracker has been described as a lot of things over the years: alt-rock, Americana, insurgent-country, and have even had the terms punk and classic-rock thrown at them. But more than anything Cracker are survivors. Cofounders Lowery and Hickman have been at it for a quarter of a century — amassing ten studio albums, multiple gold records, thousands of live performances, hit songs that are still in current radio rotation around the globe (“Low,” “Euro-Trash Girl,” “Get Off This” and “Turn On, Tune In, Drop Out With Me” to name just a few), and a worldwide fan base — that despite the major sea-changes within the music industry — continues to grow each year. Links: Website | Facebook | Spotify | YouTube Camper Van Beethoven Links: Website | Facebook | Spotify | YouTube

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Too Many Zooz

January 21 @ 8:30 pm - January 22 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

The curious thing about being a fan of brasshouse? You’re pretty much talking about being into one solitary but extremely unforgettable band: the amusingly monikered Too Many Zooz. The musical style was “branded” by drummer King of Sludge, who recognized that there was no worthy existing classification for the New York trio, whose other two members are the equally unclassifiable Leo P (saxophone) and Matt Doe (trumpet). “Brasshouse is a high energy musical conversation,” Matt insists. “Though I honestly don’t think there is a good way to describe it in words. It’s about many different feelings and sounds and emotions.” Or as KOS so decisively puts it, “I don’t really care about what’s happening in music — I just make art that I enjoy making.” It’s exactly this indifference to convention and trend that has garnered Too Many Zooz a fanbase that KOS describes as “wide-ranging and fanatical.” One of those fans? In 2016, Beyonce asked them to perform with her at the Billboard Music Awards…and it’s quite possible they got just as much attention as did she. After two years, a gazillion live performances and four EPs, their debut album Subway Gawdz (an unsubtle reference to their birth in the underground stations of NYC), was released to enthusiastic acclaim in 2016. Its sound was truly like nothing else, with inescapable grooves that take in dub, soul, funk and ska, utterly exhilarating horn blasts that shoot right up your spine, and, of course, equal doses of fun and attitude. And right now, TMZ are riding higher than ever, surely poised for the leap into genuinely widespread international recognition that was likley inevitable since they first set foot in an NYC subway station. Indeed, following a deal with Ministry of Sound, their single “Warriors” racked up major play on Radio One (if you think you haven’t heard it, when you hear it, you’ll quickly realize you already have), followed by high-profile remixes from the likes of Armand Van Helden and KDA. Then, UK sensation Jess Glynne penned lyrics and added vocals to morph the song into “So Real (Warriors),” which has been generating massive buzz while climbing the European charts. In the meanwhile, a live video for “Car Alarm” has furtively racked up more than 500K views in one week. But surely signaling their mainstream “arrival”? A Canadian KFC commercial featured the band and their songs — so don’t be surprised if listening to their music suddenly makes you hungry. Though they’ve also been up to more serious matters. Leo, in fact, was asked to play at the BBC Proms Charles Mingus tribute at a sold-out Royal Albert Hall in August 2017 — certainly no small honor. Yet for all this, the forward plan for Too Many Zooz, is, as ever, constant touring. The reason is simple: it’s their outrageous, electrifying live performances that consistently continue to add the numbers to their growing worldwide legion of fans. Autumn 2018 will take them coast to coast, from Seattle to Houston to Philadelphia, and across Europe, with stops in Krakow, Strasbourg and Marseille, amongst others. “I don’t think there’s any recording that can do a live performance justice,” reckons Matt. “You’ll see people of all different colors, creeds, genders, ages, sexuality at our shows. I really can’t find a constant between them…besides liking our music — haha.” But for everything that’s happened in the last couple of years, the trio aren’t actually all that surprised by their success. Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify

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Marco Benevento

January 22 @ 8:00 pm - January 23 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

It’s impossible not to hear freedom and excitement coursing through the veins of Marco Benevento’s new studio album, ‘Let It Slide.’ Produced by Leon Michels (The Arcs, Lee Fields), the record introduces a gritty, soulful edge to Benevento’s brand of high-octane keyboard wizardry-an uptempo, uplifting sound he playfully describes as “hot dance piano rock.” For all Benevento’s virtuosity on the keys though, the songs here are driven primarily by intoxicating grooves, with spare drums and minimalist bass lines underpinning infectious, intentionally lo-fi vocal hooks. The resulting vibe is a timeless one, filtering elements of vintage R&B and soul through modern indie rock and pop sensibilities and peppering it with the kind of adventurous improvisation that Benevento’s come to be celebrated for worldwide. Acceptance is a recurring theme on the record, and Benevento’s songs often find themselves recognizing that contentment can come only once you’ve freed yourself from the chains of desire and regret. Upon close listen, one can find Benevento’s own personal philosophies subconsciously bubbling up throughout the songs. “You’ll feel better, I’ll just say / When you finally let it go,” he sings on the funky “Say It’s All The Same,” which features vocal contributions from bandmate Karina Rykman. The hazy “Solid Gold” celebrates the simple joy of being in the moment with someone you love, while the Lennon-esque “Lorraine” (co-written with Simone Felice) grapples with loss and change, and the anthemic “Send It On A Rocket” contemplates loneliness and connection. Dubbed “one of the most talented keys players of our time” by CBS Radio, Benevento’s released six critically acclaimed solo albums over the last decade, performed everywhere from Carnegie Hall and Newport Jazz to Lollapalooza and Bonnaroo, and worked in the studio and on the road with the likes of Richard Swift (The Shins, The Arcs), Jon Brion (Spoon, Aimee Mann), A.C. Newman (The New Pornographers), and Simone Felice (The Felice Brothers, The Lumineers) among others. “It’s safe to say that no one sees the keyboard quite like Marco Benevento’s genre-blind mashup of indie rock, jazz and skewed improvisation,” the LA Times raved, while NPR said he combines “the thrust of rock, the questing of jazz and the experimental ecstasy of jam,” and Rolling Stone praised “the textures and colors available in his keyboards and arsenal of manipulated pedals and effects,” along with his “deceptively rich, catchy melodies and straight-ahead grooves.” Links: Website | Facebook | Twitter | Instagram

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The Road to Now

January 25 @ 8:00 pm - January 26 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

This is a seated show The Road to Now explains the history behind important events and outstanding individuals of today’s world. Created in 2016 by Dr. Benjamin Sawyer and Bob Crawford, a founding member of the Grammy-nominated band The Avett Brothers, The Road to Now has brought historians, politicians, journalists and artists to the table for conversations that illuminate the map that brought us to where we are today. Links: Website | Facebook | Twitter | Instagram | Stitcher

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Anamanaguchi

January 29 @ 8:00 pm - January 30 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube | Apple Music

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Yonder Mountain String Band / The Travelin’ McCourys

January 30 @ 8:00 pm - January 31 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Yonder Mountain String Band For the past 20 years, Yonder Mountain String Band has redefined bluegrass music, expanding the traditional acoustic genre beyond its previously established boundaries by steadily pushing the envelope into the realms of rock n’ roll and improvisation. YMSB-guitarist Adam Aijala, bassist Ben Kaufmann, banjo player Dave Johnston, Jacob Joliff on mandolin and violinist Allie Kral-has always played music of their own design, in the process attracting a devout following of fans that often resembles a tight-knit family on an epic musical journey as Yonder traverses the country with an ambitious tour schedule. Yonder is a quintessential ensemble honing its craft night after night on the road, and the fans are there to experience it in real time. The result is music that doesn’t stand still, it’s always progressing and breaking unprecedented ground. Links: Website | Facebook | Twitter | Instagram | Spotify | Apple Music The Travelin’ McCourys From a source deep, abundant, and pure the river flows. It’s there on the map, marking place and time. Yet, the river changes as it remains a constant, carving away at the edges, making new pathways, gaining strength as it progresses forward. The Travelin’ McCourys are that river. The McCoury brothers- Ronnie (mandolin) and Rob (banjo) – were born into the bluegrass tradition. Talk about a source abundant and pure: their father, Del, is among the most influential and successful musicians in the history of the genre. Years on the road with Dad in the Del McCoury Band honed their knife-edge chops, and encouraged the duo to imagine how traditional bluegrass could cut innovative pathways into 21st century music. “If you put your mind, your skills, and your ability to it, I think you can make just about anything work on bluegrass instruments,” says Ronnie. “That’s a really fun part of this- figuring the new stuff out and surprising the audience.” With fiddler Jason Carter, bassist Alan Bartram, and latest recruit Cody Kilby on guitar, they assembled a group that could take what they had in their DNA, take what traditions they learned and heard, and push the music forward. In fact, the band became the only group to have each of its members recognized with an International Bluegrass Music Association Award for their instrument at least once. There were peers, too, that could see bluegrass as both historic and progressive. Rock and Roll Hall of Fame inductees The Allman Brothers Band, improv-rock kings Phish, and jamband contemporary Keller Williams were just a few that formed a mutual admiration society with the ensemble. Links: Website | Facebook | Twitter | Instagram | Spotify | Apple Music

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Beach Fossils

January 31 @ 9:00 pm - February 1 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

The long-awaited return of Brooklyn’s Beach Fossils, Somersault showcases a band in bloom. Charting into new musical territory with a refined songwriting style, it’s an album that captures flashes of life in New York grounded in personal experience. The band’s self-titled 2010 debut established a sound that was both minimal and enveloping. With Somersault, the group’s first release since 2013’s Clash the Truth, Beach Fossils have channeled years of experimentation into expansion and reinvention. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics. As the band’s first release on Dustin Payseur’s new label Bayonet Records, which he co-owns with wife Kate Garcia-the group made the most of their newfound independence, investing ample time in expanding its range both musically and lyrically. While Payseur handled the bulk of the songwriting duties in the past, Somersault is a true collaboration between the founding member and bandmates, Jack Doyle Smith and Tommy Davidson. The new songs speak to a more fluid, eclectic sound, filled with lush compositions formed by studio experiments and sam-pling of the band’s own recordings. Orchestral pop gem “Saint Ivy” shines with plucked strings, buoyant basslines and a propulsive, wayward, guitar. “Tangerine,” a driving, tightly wound melody, rushes forward and briefly leaves the ground due to the gossamer guest vocals of Slowdive’s Rachel Goswell. The effervescent “Rise,” which hinges on the spoken word of Gavin Mays (Cities Aviv) discussing a failed rela-tionship, hangs, like many recent breakups, in a sense of suspension. The cloudy, wistful “Soci-al Jetlag,” bustling with samples of crowded streets, features the type of candid, off-the-cuff lyr-ics that make the entire effort immediately illuminating. Recorded at multiple studios across New York City, a cabin in upstate New York, and even Los Angeles (including the home studio of Jonathan Rado of Foxygen, who helped engineer part of the album), Somersault turns the newfound chemistry between the trio into a sonic tapestry. Due to the variety of sessions and recording locations, the album was a Frankenstein-like series of reworking and reimagining songs. As the group pieced together different parts in a cycle of creation and cooption, and built out more elaborate songs track by track, the process became more reminiscent of a record created via sampling and arranging than one built by simply grind-ing out riffs. The long-simmering album, filled with breezy music both melancholic and uplifting, sees the band channeling their voices and honing their craft. Flowing between shimmering compositions and immersive soundscapes, Somersault evokes the laid-back mood of a warm, breezy city night, the air crackling with humidity and excitement. These songs pulse and pull, capturing a blend of promise and heartache. It’s beautiful and lay-ered, a refined, sweeping creation that threads together numerous styles, textures, and themes into a refreshing, singular vision. Links: Website | Facebook | Twitter | Instagram | Spotify

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February 2020

Jawbox

February 1 @ 9:00 pm - February 2 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Jawbox: An Impartial Overview J. Robbins: voice, guitar Bill Barbot: guitar, voice Kim Coletta: bass guitar Zach Barocas: drum kit Jawbox was formed in Washington, DC in 1989 by J. Robbins, bassist Kim Coletta, and original drummer Adam Wade. The group released their debut 7″ in 1990 on their own DeSoto label. Grippe, released on Dischord Records in 1991, was Jawbox’s first full-length outing. That year saw second guitarist/singer Bill Barbot join the line-up in time to create a denser sound for 1992’s Novelty, also released on Dischord. Zach Barocas assumed drumming duties in April ’92, ushering in a new era for the group with his contributions to the rhythm section and the band’s songwriting, as first exhibited on 1994’s For Your Own Special Sweetheart. Tours of all sizes and durations throughout Europe and the U.S. were part and parcel of Jawbox’s routine back then. Equally explosive at Red Rocks or a Roman squat, they were in all cases a galvanized, well-oiled band. They released their last album, the self-titled Jawbox LP, in 1996, and after another year of touring, broke up in 1997. Although Atlantic Records released the last two albums, Dischord has since made all of the band’s full-lengths available. The group reunited briefly in 2009 for an appearance on Late Night with Jimmy Fallon. The performance was a one-off, and there was no subsequent talk of any other shows of any kind for years. In early 2017, however, Zach contacted his former bandmates to see what they thought about playing some shows. The resulting conversations were at first casual, but eventually moved the band to action, and by June they began rehearsing for the shows that now comprise An Impartial Overview. It’s been an exciting time, reacquainting not only with the music but also with each other. However much the members of Jawbox have played elsewhere over the years, there is no doubt that the chemistry and energy they bring to this band remains unique for each of them. The sets will draw from most of their discography with an emphasis on the Robbins/Coletta/Barbot/Barocas recordings, especially For Your Own Special Sweetheart and Jawbox, which albums mark the peak of their creative and performative time together. Longtime fans will be in familiar territory: Coletta’s irrepressible presence; Robbins’s heartfelt guitar and vocal harmonic roar; Barbot’s razor-sharp vocal and guitar challenge and complement; and Barocas’s exacting flail and crash continue to coalesce as they always have, as a single functioning musical unit. Links: Website | Facebook | Twitter | Instagram | Bandcamp

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Abbey Road LIVE! – Family Matinee

February 8 @ 4:00 pm - February 9 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

You loved Beatles music when you were a kid. Now it’s time for YOUR kids to experience the magic of the Beatles LIVE in concert. On Saturday June 1st at Cat’s Cradle, Abbey Road LIVE! will be playing a special all-ages family matinee show. Abbey Road LIVE! is well known in the Southeast for their energetic concerts at clubs, theaters and festivals. This time, the focus will be on the kids. Expect fun classics such as “Octopus’ Garden”, “Yellow Submarine”, and “Lucy In The Sky With Diamonds”. Does your child have a favorite Beatles tune? Abbey Road LIVE! loves to take requests, and has often been known to invite kids on stage to sing along. This rare event will be big fun for the whole family.

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Abbey Road LIVE!

February 8 @ 8:30 pm - February 9 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

“one of the world’s premier Beatles cover bands” -US News and World Report “unquestionably expert at what they do” -Indyweek Since 2002, Abbey Road LIVE! has been rocking the music of The Beatles. Initially a tribute to the monumental “Abbey Road” album, the band has expanded its repertoire to include more than 150 Beatles tunes, from all eras of the Fab Four’s career. Abbey Road LIVE! is not your typical Beatle look-alike tribute act; don’t expect mop-top haircuts and fake British accents. Rather, an Abbey Road LIVE! show is about bringing to life some of the more mature and complex Beatles material in a raw & spirited fashion, while remaining true to the original recordings. Combining attention to detail with a creative exuberance, the band always delights its audiences with its diverse repertoire of hits and more obscure favorites. A splendid time is guaranteed for all!

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Ross Mathews

February 12 @ 8:00 pm - February 13 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

This is a seated show. Pretend it’s happy hour and you and I are sitting at the bar. I look amazing and, I agree with you, much thinner in person. You look good, too. Maybe it’s the candlelight maybe it’s the booze. Either way, let’s just go with it. Keep this all between you and me, and do me a favor? Don’t judge me if I name drop just a little. Television personality Ross Mathews likes telling stories. And with his Hollywood experience – from interning behind the scenes at ​The Tonight Show with Jay Leno​ to judging ​RuPaul’s Drag Race​ – he has a lot to talk about. In ​Name Drop,​ Ross dishes about moments where he goes from soaring to crashing, like that time he was invited by Barbara Walters to host ​The View​ – only to arrive on set and discover she had no idea who he was; his Christmas with the Kardashians, which should be its own national holiday; and his talk with Omarosa on ​Celebrity Big Brother​, which, as it turns out, was ​just​ the tip of the iceberg. Filled with tales ranging from the horrifying to the hilarious – and with just the right “Rossipies” and cocktails to go along with them – ​Name Drop​ is every pop culture lover’s dream come true. And now, Name Drop is more even more than a book – it’s an international tour where Ross brings these stories to life on stage, plays games with the audience and so much more. Links: Website | Facebook | Twitter | Instagram

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Thrice

February 14 @ 7:00 pm - February 15 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Links: Website | Facebook | Twitter | Instagram | YouTube

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Colony House – Leave What’s Lost Behind Tour

February 15 @ 8:00 pm - February 16 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Colony House first captured attention in 2014 with their lead single “Silhouettes” off their debut albumWhen I Was Younger, which became the #1 played track on SiriusXM’s Alt Nation for four months straight. The band followed the debut album with their second album Only The Lonely, which featured singles “You Know It” and “You & I.” Entertainment Weekly included the album on their “Must List” and describes the album “…fuses swampy blues, scuzzy garage rock, and infectious indie pop…its massive jams will sound great booming from a festival stage.” The band has performed on Late Night with Seth Meyers, CONAN, TODAY show and more. Colony House will be releasing their third studio album Leave What’s Lost Behind on January 24, 2020. Links: Website | Facebook | Twitter

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Kyle Kinane: The Spring Break Tour

February 17 @ 8:00 pm - February 18 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

This is a seated show. Kyle Kinane is an internationally touring comedian who has appeared on “Drunk History”, “@Midnight,” “The Tonight Show with Jimmy Fallon,” “Conan,” “Workaholics,” “This Is Not Happening,” “Not Safe with Nikki Glaser” and “Comedy Bang! Bang!” He is featured in Season 2 of Netflix’s “The Standups” released in February 2018. He invented science. He has ESP. He is a recurring character on Netflix’s “Love” created by Judd Apatow. He let someone else write most of this bio. He can swim backwards. He has released three Comedy Central specials “Kyle Kinane: Loose in Chicago”, “I Liked His Old Stuff Better” and “Whiskey Icarus”. Also, farts. Links: Website | Facebook | Twitter | Instagram

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Drive-By Truckers

February 18 @ 8:30 pm - February 19 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Drive-By Truckers is kicking off the new election year with The Unraveling, our first new album in 3 1/2 years (the longest space between new DBT albums ever). Those years were among the most tumultuous our country has ever seen and the duality between the generally positive state of affairs within our band while watching so many things we care about being decimated and destroyed all around us informed the writing of this album to the core. While a quick glance might imply that we’re picking up where 2016’s American Band album left off, the differences are as telling as the similarities. If the last one was a warning shot hinting at a coming storm, this one was written in the wreckage and aftermath. I’ve always said that all of our records are political but I’ve also said that ‘politics IS personal’. With that in mind, this album is especially personal. Our 2018 single “The Perilous Night” acted as a sort of coda to the polemic of the last album and the original plan was to zigzag in a different direction, but alas the past few years have seen an uptick in school shootings, church shootings, racial violence, suicides and overdoses, border violence, and an assault on so many things that we all hold dear. They’re literally putting children in cages. Writing silly love songs just seemed the height of privilege. My partner Mike Cooley and I both worked through deep pools of writer’s block. How do you put these day to day things we’re all living through into the form of a song that we (much less anybody else) would ever want to listen to? How do you write about the daily absurdities when you can’t even wrap your head around them in the first place? I think our response was to focus at the core emotional level. More heart and less cerebral perhaps. Eventually the songs did come, some in mysterious ways. A day-long layover at an exit outside of Gillette, Wyoming resulted in “21st Century USA”, the song that for me opened up the floodgates, enabling me to write my portion of the album. I wrote “Babies in Cages” in the living room of my wife’s parent’s house and quickly demoed it on my phone. A portion of that original recording acts as the introduction to the version on the album. Cooley wrote “Grievance Merchants” about the proliferation of white supremacist violence we’ve seen in recent years. Our family’s babysitter’s best friend was murdered on a train in beautiful progressive Portland, Oregon in one such incident. The political is indeed very personal. “Armageddon’s Back in Town” takes a whirlwind joyride through the daily whiplash of events we are collectively dealing with, while “Slow Ride Argument” offers an unorthodox but hopefully effective method of the prevailing of cooler heads. Perhaps it should come with a disclaimer though. Meanwhile “Awaiting Resurrection” dives headfirst into the void of despair and painful realities these times are tolling. It’s a song unlike any in our band’s history, yet somehow quintessentially DBT to the core. A call to deal, unblinkingly, with the horrors surrounding us all, but to also survive, with perhaps even a hint of optimism. “In the end we’re just standing, watching greatness fade into darkness / Awaiting Resurrection” If the writing was a long and brutal process, the recording was a joyous celebration. Another of our band’s many dualities, perhaps. Website | Facebook | Twitter | Instagram | YouTube

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YBN Cordae

February 19 @ 8:00 pm - February 20 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

YBN Cordae recognizes, respects, and reveres the verbal potential for unity. Acrobatic raps, cinematic wordplay, and nimble rhymes cement the Maryland-raised and Los Angeles-based MC as a consummate 21st century storyteller. This status would be affirmed by 200 million streams within a year and a place at the forefront of hip-hop’s modern vanguard as a 2019 XXL “Freshman Class” cover star, among other accolades. He employs the full power of language on his full-length debut, The Lost Boy . Born to a 16-year-old mother in Raleigh, NC, he wrote his first rhyme at just four-years-old. Settling in Maryland after spending his formative years in North Carolina at his grandma’s trailer, he rapped on-command at school. At the age of 15, he began collecting, trading, and buying sneakers, saving up enough money to purchase a home studio. During 2017, he linked up with YBN in between attending Towson University and waiting tables. A year later, he dropped out of college as his remix of Eminem’s “My Name Is” and “Old ******” exploded virally. In the aftermath, Cordae’s debut single “Kung Fu” popped off with 77 million Spotify streams in less than 12 months. Pegged “one of music’s most promising rising stars” by The Wall Street Journal and touted on Complex’s “The Best New Artists of 2018,” he landed on “Artist to Watch” lists from Amazon Music, New York Times, Billboard, iHeart Radio, and VEVO DSCVR. Along the way, he recorded what would become his conceptual opus The Lost Boy. He teased out the project with the cathedral-size raps “Have Mercy,” amassing 25 million Spotify streams. After the single “Bad Idea” , he unleashed the follow-up “RNP” with production by J. Cole. Everything set the stage for a major mainstream breakthrough in 2019. Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube | Apple Music

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Archers of Loaf

February 21 @ 9:00 pm - February 22 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

Links: Facebook | SoundCloud | Spotify | YouTube

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Hayes Carll (Solo)

February 22 @ 8:00 pm - February 23 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

This is a seated show. What It Is The chorus to the title track on the new Hayes Carll album, What It Is, is a manifesto. What it was is gone forever / What it could be God only knows. What it is is right here in front of me / and I’m not letting go. He’s embracing the moment. Leaving the past where it belongs, accepting there’s no way to know what’s ahead, and challenging himself to be present in both love and life. It’s heady stuff. It also rocks. With a career full of critical acclaim and popular success, Carll could’ve played it safe on this, his sixth record, but he didn’t. The result is a musically ambitious and lyrically deep statement of an artist in his creative prime. Hayes Carll’s list of accomplishments is long. His third album, 2008’s Trouble In Mind, earned him an Americana Music Association Award for Song of the Year (for “She Left Me for Jesus”). The follow-up, KMAG YOYO was the most played album on the Americana Chart in 2011 and spawned covers by artists as varied as Hard Working Americans and Lee Ann Womack, whose version of “Chances Are” garnered Carll a Grammy nomination for Best Country Song. 2016’s Lovers and Leavers swept the Austin Music Awards, and was his fourth record in a row to reach #1 on the Americana Airplay chart. Kelly Willis and Kenny Chesney have chosen to record his songs and his television appearances include The Tonight Show, Austin City Limits, and Later w/Jools Holland. Carll is the rare artist who can rock a packed dancehall one night and hold a listening room at rapt attention the next. “Repeating myself creatively would ultimately leave me empty. Covering new ground, exploring, and taking chances gives me juice and keeps me interested.” He knew he wanted to find the next level. On What It Is, he clearly has. It wasn’t necessarily easy to get there. Carll’s last release, 2016’s Lovers and Leavers was an artistic and commercial risk – a bold move which eschewed the tempo and humor of much of his previous work. The record revealed a more serious singer-songwriter dealing with more serious subjects – divorce, new love in the middle of life, parenting, the worth of work. What It Is finds him now on the other side, revived and happy, but resolute – no longer under the impression that any of it comes for free. “I want to dig in so this life doesn’t just pass me by. The more engaged I am the more meaning it all has. I want that to be reflected in the work.” And meaning there is. Carll sings “but I try because I want to,” on the album’s opening track, “None’Ya.” He’s not looking back lamenting love lost, rather, finding joy and purpose in the one he’s got and hanging on to the woman who sometimes leaves him delightedly scratching his head. “If I May Be So Bold,” finds him standing on similar ground – lyrically taking on the challenge of participating fully in life rather than discontentedly letting life happen. Bold enough to not surrender bold enough to give a damn Bold enough to keep on going or to stay right where I am There’s a whole world out there waiting full of stories to be told I’ll heed the call and tell’em all if I may be so bold Links: Website | Facebook | Twitter | Instagram

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