BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Orange Co. Arts Commission - ECPv6.16.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://artsorange.org X-WR-CALDESC:Events for Orange Co. Arts Commission REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20210314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20211107T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20200410T210000 DTEND;TZID=America/New_York:20200411T000000 DTSTAMP:20260524T115721 CREATED:20200313T161021Z LAST-MODIFIED:20200313T161021Z UID:15172-1586552400-1586563200@artsorange.org SUMMARY:Brother Ali DESCRIPTION:Over the past 17 years\, Brother Ali has earned wide critical acclaim for his deeply personal\, socially conscious\, and inspiring brand of hip-hop. Under Rhymesayers Entertainment\, he’s unleashed a series of lauded projects\, establishing himself as one of the most respected independent voices in music. The latest chapter in that celebrated journey is All the Beauty in This Whole Life\, a 15-track collection produced entirely by Atmosphere’s Anthony “Ant” Davis. \n“This entire album is based on the reality that beauty is the splendor of truth” says the Minneapolis MC. “Beauty in all of its forms is the outward manifestation of love and virtue. It soothes the soul and pulls it gently toward the truth it communicates. Every word and note of this album is intended to either reflect beauty\, or expose the ugliness that blocks us from living lives of meaning.” \nAll the Beauty in This Whole Life is Ali’s first official release in five years and represents the newest and most refined chapter of his life’s journey. “Each of my albums are the result of the pain\, growth and eventual healing that I experience. Articulating the pain and navigating the healing allows the people who really feel my music to travel with me. It’s not only that we hurt together\, we heal together as well.” \nContrasting intensely heavy moments with joyous and grateful ones\, All the Beauty in This Whole Life arrives right on time\, to help heal a divided nation through the power of music. Ali wouldn’t have it any other way. “In times of great suffering in the outside world\, the most important battles start from within.” \nLinks: Website | Facebook | Twitter | Instagram | SoundCloud | YouTube \n\nOpen Mike Eagle Links: Website | Facebook | Twitter | Instagram | SoundCloud | YouTube \n\n\n Related URL:https://artsorange.org/event/brother-ali/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200810T200000 DTEND;TZID=America/New_York:20200811T000000 DTSTAMP:20260524T115721 CREATED:20200313T161020Z LAST-MODIFIED:20200810T172454Z UID:15167-1597089600-1597104000@artsorange.org SUMMARY:Aterciopelados & Los Amigos Invisibles DESCRIPTION:The band´s name comes from the television show “Human Values” by Venezuelan historian Arturo Uslar Pietri\, which remained in the air for two decades\, where he always dedicated the show to his “Invisible Friends” refering to the audience. \nHis record debut came in 1995 with the release of “A Typical and Autoctonal Venezuelan Dance Band”. Little by little\, the band consolidated its local fame by staying on tour until 1996. \nIt is in this year that David Byrne\, while shopping at a record store in New York\, accidentally finds one of the copies left by Los Amigos on consignment and immediately begins the process of conversations that led to signing them for his record label “Luaka Bop”. After months of conversations\, pre-production and production\, in 1998 they released their first album for the label of the former Talking Heads\, “The New Sound of the Venezuelan Gozadera”\, produced by Andrés Levín\, which had hits like “Ponerte en Cuatro”\, “Sexy” and “Disco Anal”. \nTwo years later the band moves to the city of San Francisco for 2 months to record their next album and it is at this time that the band is considering the possibility of moving permanently to the United States to continue their career. \nAt the end of 2000 they put on sale their third album “Arepa 3000: A Venezuelan Journey Into Space” produced by Phillip Steir which is nominated for a Grammy Award and a Latin Grammy. Of this disc they leave subjects like “Cuchi Cuchi” and “The Neighbor”. \nAfter almost a year of planning\, the band decided to move to New York City on January 23\, 2001. During their first year in the city\, Los Amigos began a friendly and working relationship with the legends of the dance world “Masters At Work” which leads them to enter the studio in early 2002 to record what would be their fourth album. \nLinks: Website | Facebook | Twitter | Instagram | YouTube \n\nAterciopelados\, the pioneer Latin-American folk-rock group\, returns after 8 years with their first long and live project entitled “Reluciente\, Rechinante y Aterciopelado.” This CD+DVD is a compilation of the most representative songs of their repertoire that celebrates over two decades of their existence as a band. It features the participation of big names\, such as Macaco\, León Larregui (vocals for the Mexican group Zoé)\, Goyo (Chocquibtown) and Catalina García (Monsieur Periné). \nThe group’s members\, Andrea Echeverri and Héctor Buitrago\, founded Aterciopelados in 1992 and achieved great success\, both locally and internationally\, thanks to a sound that was absolutely unique and innovative\, free of prejudices\, mixing rock with the roots of Colombian folklore and even with salsa and bossa nova. \nAterciopelados have grown and evolved with each production\, making history in Latin America and the rest of the world. They have released seven studio and one compilation album\, selling over ten million copies of their records. Their album Río has been mentioned by Rolling Stone magazine as one of the 10 best Latin rock albums of all times. \nLinks: Website | Facebook | Twitter | Instagram | YouTube \n\n\n Related URL:https://artsorange.org/event/aterciopelados-los-amigos-invisibles/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210115T200000 DTEND;TZID=America/New_York:20210116T000000 DTSTAMP:20260524T115721 CREATED:20200313T161019Z LAST-MODIFIED:20210107T184027Z UID:15162-1610740800-1610755200@artsorange.org SUMMARY:Shovels & Rope DESCRIPTION:As the Brontë sister wrote\, “The ties that bind us to life are tougher than you imagine.” Shovels & Rope\, the musical duo of Michael Trent and Cary Ann Hearst\, embody that bond. Married for a decade\, their covenant extends to blood and beyond: as parents\, bandmates\, and creative collaborators who can now add the pursuits of festival curators\, film subjects\, and children’s book authors to that mighty list. Having released four studio albums and two collaborative projects (Busted Jukebox\, Vol. 1 & 2) since 2008\, Trent and Hearst have built their reputation on skill\, sweat\, and\, yes\, blood. Now\, with the tough and elegant new record By Blood\, as well as their High Water Festival in their hometown of Charleston\, South Carolina\, “Shovels & Rope: The Movie”\, and the picture book “C’mon Utah!”\, Shovels & Rope are primed for their biggest year yet. \nAccomplished musicians in their own right prior to dedicating themselves full time to Shovels & Rope in 2011\, Trent and Hearst have made a career together by seizing opportunities and never resting on their laurels or being complacent in doing something just because. Carving out a niche in the music world with strong\, roots/indie/folk/rock-inspired efforts like 2012’s O’ Be Joyful\, 2014’s Swimmin’ Time\, and 2016’s inward-looking Little Seeds\, as well as their powerful live show\, far-reaching tours\, and myriad TV and festival appearances\, Shovels & Rope have earned the right to follow their own muse. And so\, in an effort to satisfy their numerous creative interests and adapt to a changing industry\, Trent and Hearst have firmly planted their flag in realms beyond recording and releasing albums. \nThe third annual High Water Festival curated by the band will be held over a weekend in April and will bring 10\,000 fans to a park in North Charleston to witness a lineup of artists comparable to some of the best in the country-including Leon Bridges\, The Head & The Heart\, Lord Huron\, Jenny Lewis\, Mitski\, and Shovels & Rope themselves. High Water benefits select organizations and water conservation charities in Charleston and aims to avoid the feeling of corporate inundation and discomfort that plagues many big-name music events. Trent and Hearst work with production companies and agencies to book acts\, then serve as on-site hosts in addition to performing throughout the weekend. \n“Shovels & Rope: The Movie” is a performance film that has been expanded into feature-length with an external narrative weaving through and connecting the live performances. Directed by their frequent visual collaborator\, Curtis Millard\, the ‘live show’ portion of the filming took place over two nights at The Orange Peel in Asheville\, North Carolina\, during the tour for Little Seeds. The rest of the film was shot in various locations in and around the Southeast. The result can be described as a David Lynch meets John Hughes (a fun\, silly\, and tongue-in-cheek film for fans to enjoy that also represents the band at the peak of their live power.) \n‘By Blood’ Pre-Show Experience with Shovels & Rope \n\nOne general admission ticket -or- premium reserved seat located in the first 10 rows\nEarly entry into the venue\nMeet Shovels & Rope. Say hello and snap a photo with Michael and Cary before the show\nPre-show performance and Q&A by Shovels & Rope\nLimited-edition tour poster signed by Shovels & Rope\nOfficial ‘By Blood’ laminate\nMerchandise shopping opportunity before general doors\n\nLinks: Website | Facebook | Twitter | Instagram | YouTube \n\n\n Related URL:https://artsorange.org/event/shovels-rope/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200327T200000 DTEND;TZID=America/New_York:20200328T000000 DTSTAMP:20260524T115721 CREATED:20200313T161018Z LAST-MODIFIED:20200313T161018Z UID:15155-1585339200-1585353600@artsorange.org SUMMARY:Soccer Mommy DESCRIPTION:For Sophie Allison\, aka Soccer Mommy\, color theory is a distillation of hard-won catharsis. The album confronts the ongoing mental health and familial trials that have plagued the 22-year-old artist since pre-pubescence\, presenting listeners with an uncompromisingly honest self-portrait\, and reminding us exactly why her critically-acclaimed debut\, 2018’s Clean\, made her a hero to many. Wise beyond her years\, Allison is a songwriter capable of capturing the fleeting moments of bliss that make an embattled existence temporarily beautiful. With color theory\, Allison’s fraught past becomes a lens through which we might begin to understand what it means to be resilient.  \nClean demonstrated Allison’s nuanced approach to lyricism and her disinterest in reducing complex emotional worlds into easily-digestible sound bites. On it\, she projected the image of a confused but exceedingly mature teenager — the type to offer up life-saving advice while cutting class under the bleachers. Clean led Soccer Mommy to sell out tour dates and play major music festivals around the world on top of opening for the likes of Kacey Musgraves\, Vampire Weekend\, and Paramore. A grueling touring schedule made it so that Allison had to get used to writing on the road\, a challenge that exhilarated her. She wrote dozens of songs in hotels\, green rooms\, and in the backseat of the van. The ones that make up color theory were recorded in her hometown of Nashville at Alex The Great\, a modest studio where the likes of Yo La Tengo have recorded\, just two miles from her childhood home. Produced by Gabe Wax and engineered by Lars Stalfors (Mars Volta\, HEALTH\, St. Vincent)\, color theory’s sonic landscape is vast and dextrous\, illustrating how much Allison has evolved as a musician and matured as a person over the past year. The melodies on color theory shimmer on the surface\, but they reveal an unsettling darkness with each progressive listen.  \n“I wanted the experience of listening to color theory to feel like finding a dusty old cassette tape that has become messed up over time\, because that’s what this album is: an expression of all the things that have slowly degraded me personally\,” Allison says. “The production warps\, the guitar solos occasionally glitch\, the melodies can be poppy and deceptively cheerful. To me\, it sounds like the music of my childhood distressed and\, in some instances\, decaying.” Allison used a sampling keyboard and string arrangements drawn from old floppy discs to lend color theory a timeworn aesthetic. She also opted to enlist her band in the recording process\, which hadn’t been the case on any of her earlier releases. “At the base of every song on color theory is a live take done to tape. This album reflects our live performance\, which I’ve grown really happy with\,” she says. \nLinks: Website | Facebook | Twitter | Instagram | Bandcamp | YouTube \n\n\n Related URL:https://artsorange.org/event/soccer-mommy/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200328T200000 DTEND;TZID=America/New_York:20200329T000000 DTSTAMP:20260524T115721 CREATED:20200313T161018Z LAST-MODIFIED:20200313T161018Z UID:15157-1585425600-1585440000@artsorange.org SUMMARY:Antibalas DESCRIPTION:It’s hard to believe that more than twenty years have passed since Antibalas’s humble beginning as a neighborhood dance / protest band in the block parties and underground parties in pre-gentrified Williamsburg\, Brooklyn. Over the past two decades they have evolved into what The Guardian called “one of the world’s finest Afrobeat bands” while enjoying equal renown for their cross-genre collaborations with legends of popular music. With a heavy balance of experience and new blood\, the group leaps into 2020 with their new Daptone Records full-length “Fu Chronicles.” \nFounded in 1998 by saxophonist Martín Perna\, early incarnations of the group included several members of The Dap-Kings including bassist / producer Gabriel Roth\, guitarist Binky Griptite\, keyboardist Victor Axelrod\, conguero Fernando “Bugaloo Velez\,” and trumpeter Anda Szilagyi. As the group expanded\, it absorbed younger musicians from the Daptone family including bassist Nick Movshon (El Michels\, Black Keys) and other musical natives and transplants from downtown Manhattan and North Brooklyn music scenes. \nIn 1999\, Perna and Roth dropped in at an atelier / dojo belonging to Duke Amayo. They invited him to a neighborhood concert and then reached out to him later as an emergency substitute for a show. Amayo soon became a fixture in the group\, first on percussion\, then later on vocals\, vibraphone\, and keyboards and moving to center stage as the group’s frontman and creating the Afro-Spot\, the band’s headquarters as well as the home of the first Daptone Records studio. \nOver the next few years\, the band performed several times a month throughout NYC at the Afro-Spot\, at benefits\, lofts\, block parties\, and at their Lower Manhattan weekly residency called “Africalia” with regular appearances by friends including Sharon Jones\, Lee Fields\, and The Sugarman Three. After their second release\, “Talkatif” (2002\, Ninja Tune)\, the group began touring heavily throughout North America and Europe including performances at Glastonbury\, Montreux Jazz Festival\, Coachella\, Bonnaroo\, and the Newport Jazz Festival. Over the years\, expanded their travels to Australia\, New Zealand\, Japan\, South America\, and most recently\, Hong Kong. \nIn the late 2000s\, after nearly ten years of road touring\, Antibalas was chosen by choreographer Bill T Jones\, to serve as the band for the Tony-award winning Broadway musical “Fela.” Around the same time\, the band began to draw the attention of the Roots. The two groups joined with Public Enemy to perform a live version of the entire “It Takes a Nation of Millions to Hold us Back” at the 2009 Roots Picnic as well as the Red Bull Battle of the Bands\, as well as numerous guest appearances on Late Night with Jimmy Fallon. \nAntibalas has also served as the house band for several star-studded tribute shows at Carnegie Hall and the Apollo Theater paying tribute to the music of Aretha Franklin\, David Byrne\, Paul Simon\, and Billie Holiday\, backing dozens including Allen Toussaint\, Cee Lo Green\, Sharon Jones\, Santigold\, and Angelique Kidjo. \nOver the years\, different members have traded production and composition duties from album to album. On the new album-“Fu Chronicles”-Amayo leads us through a thrilling sonic journey of kung fu meets Afrobeat\, weaving together the strands of Edo and Yoruba cultural memory from Nigeria with his training and study in Chinese martial arts. \nWebsite | Facebook | Twitter | Instagram | YouTube \n\n\n Related URL:https://artsorange.org/event/antibalas/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200806T200000 DTEND;TZID=America/New_York:20200807T000000 DTSTAMP:20260524T115721 CREATED:20200313T161017Z LAST-MODIFIED:20200711T172544Z UID:15154-1596744000-1596758400@artsorange.org SUMMARY:Rebirth Brass Band DESCRIPTION:Rescheduled from March 26th. \nWhether seen on HBO’s Treme or at their legendary Tuesday night gig at The Maple Leaf\, Grammy-winning Rebirth Brass Band is a true New Orleans institution. Formed in 1983 by the Frazier brothers\, the band has evolved from playing the streets of the French Quarter to playing festivals and stages all over the world. While committed to upholding the tradition of brass bands\, they’ve also extended themselves into the realms of funk and hip-hop to create their signature sound. “Rebirth can be precise whenever it wants to\,” says The New York Times\, “but it’s more like a party than a machine. It’s a working model of the New Orleans musical ethos: as long as everybody knows what they’re doing\, anyone can cut loose.” In the wake of the sometimes- stringent competition amongst New Orleans brass bands\, Rebirth is the undisputed leader of the pack\, and they show no signs of slowing down. \nLinks: Website | Facebook \n\n\n Related URL:https://artsorange.org/event/rebirth-brass-band/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200324T200000 DTEND;TZID=America/New_York:20200325T000000 DTSTAMP:20260524T115721 CREATED:20200313T161016Z LAST-MODIFIED:20200313T161016Z UID:15150-1585080000-1585094400@artsorange.org SUMMARY:Porches DESCRIPTION:Links: Website | Facebook | Twitter | Instagram | Bandcamp | YouTube \n\n\n Related URL:https://artsorange.org/event/porches/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200321T200000 DTEND;TZID=America/New_York:20200322T000000 DTSTAMP:20260524T115721 CREATED:20200313T161015Z LAST-MODIFIED:20200313T161015Z UID:15144-1584820800-1584835200@artsorange.org SUMMARY:Best Coast – The Always Tomorrow Tour DESCRIPTION:Best Coast — comprised of Bethany Cosentino (vocals\, guitar) and Bobb Bruno (guitar) — has released three critically and culturally acclaimed albums over the last decade while touring the globe\, selling out headline shows\, and opening for the likes of Green Day\, Paramore\, Pixies\, Death Cab For Cutie\, and more. Now they’ve returned with an incredible new song\, entitled “For The First Time.” Says Cosentino about the track\, “It’s about feeling comfortable in your own skin and looking at the skin you had to shed to get there and being OK with it all.” It is the initial taste of the forthcoming Best Coast album\, Always Tomorrow\, which is due for release in 2020. \nLinks: Website | Facebook | Twitter | Instagram | Spotify \n\n\n Related URL:https://artsorange.org/event/best-coast-the-always-tomorrow-tour/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200320T183000 DTEND;TZID=America/New_York:20200321T000000 DTSTAMP:20260524T115721 CREATED:20200313T161014Z LAST-MODIFIED:20200313T161014Z UID:15142-1584729000-1584748800@artsorange.org SUMMARY:Cedar Ridge High School Battle of the Bands DESCRIPTION:This event had been cancelled. Tickets will be refunded at the point of purchase. \nCedar Ridge High School Battle of the Bands \nFeaturing:\nPajama Party\nFractured\nEvolution Elation\nSleepwalker\nAlive at 27\nStudent Health\n+ More! \n\n\n Related URL:https://artsorange.org/event/cedar-ridge-high-school-battle-of-the-bands/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210428T193000 DTEND;TZID=America/New_York:20210429T000000 DTSTAMP:20260524T115721 CREATED:20200313T161013Z LAST-MODIFIED:20210407T184021Z UID:15138-1619638200-1619654400@artsorange.org SUMMARY:White Reaper DESCRIPTION:Nurturing arena-sized ambitions\, Louisville\, KY’s White Reaper remind us that “fun as hell” is a primary purpose of music. Equal parts glam and grit\, White Reaper’s forthcoming Elektra Records debut finds the band packing classic rock with grinning twin guitar leads into masterly crafted pop songs. Out October 18th\, the album will follow 2017’s critically acclaimed The World’s Best American Band\, which was praised by Pitchfork for having “more riffs than you can fit into the trunk of a Camaro”. From their forthcoming album\, White Reaper have released three singles: “1F\,” “Real Long Time\,” and lead single\, “Might Be Right\,” which is currently sitting at #20 on the alt radio chart and growing. As described by Stereogum\, White Reaper are “bringing burnout abandon and arena strobe lights into the modern era.” \nTony Esposito (guitar/vocals)\, Ryan Hater (keyboards)\, Sam Wilkerson (bass)\, Nick Wilkerson (drums)\, and Hunter Thompson (guitar) have been living on the road\, performing headline shows and supporting some of their idols – The Killers\, Spoon\, and Weezer. The band has also been making rounds in the festival circuit with stops at Lollapalooza\, ACL\, and CalJam. This summer\, the Kentucky boys did a run of U.S. headline dates and performed their inaugural sets at the UK’s Reading and Leeds festivals. In the fall\, the band will hit the road on their largest U.S. headline tour to date\, and make stops at their hometown festivals\, Bourbon & Beyond and Louder Than Life\, and end hit the Eddie Vedder curated\, Ohana Festival\, as well. \nLinks: Website | Facebook | Twitter | Instagram | Bandcamp | Spotify | Apple Music \n\n\n Related URL:https://artsorange.org/event/white-reaper/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200314T200000 DTEND;TZID=America/New_York:20200315T000000 DTSTAMP:20260524T115721 CREATED:20200313T161012Z LAST-MODIFIED:20200313T161012Z UID:15133-1584216000-1584230400@artsorange.org SUMMARY:Radical Face DESCRIPTION:This event had been cancelled. Tickets will be refunded at the point of purchase. \n“Hello\, Hope\, it’s been a while\,” go the opening lines of “Dead Ends”\, the centerpiece of Ben Cooper’s latest EP as Radical Face. Over the eight years he put into the three-part The Family Tree series — The Roots (2011)\, The Branches (2013)\, and The Leaves (2016) — he’d grasped onto ideas and perceptions that left him hopelessly drained\, creatively and emotionally. Speaking with a professional finally enabled him to let go\, something he’s honored by naming his new effort Therapy. \nWith The Family Tree\, Cooper sought to confront his difficult upbringing in Florida by forming a fictional genealogy paired with stirring folk arrangements. Intense family drama near the end of the process pushed The Leaves to take on a far more personal tone\, as Cooper felt “dishonest… putting it into a separate avatar.” That only made the songs increasingly more difficult to perform\, however\, which coupled with the artistic exhaustion of pairing music with his grand concept made him pine for palliation. \nIn an attempt to test himself and move on from the compositional confines of that trilogy\, Cooper undertook a number of different projects. There was his Missing Film instrumental album\, a score he released for filmmakers to use for free\, and his Covers\, Vol. 1 EP\, in which he only sang songs by female artists. Adding to the challenge was his relocation to California; moving away from his studio in Florida forced him to relearn how to record in an apartment with minimal tools. \nBut Cooper as says\, “If you wait for ideal conditions\, you’ll never get anything done.” Singing the songs of Lana Del Rey and Cyndi Lauper reconnected him to traditional structures\, while watching the Boom Boom Room performances on Twin Peaks: The Return and revisiting Talking Heads inspired him to seek richer\, vaster orchestrations. His desire to leave the acoustic leanings of his past works behind and return to verse-chorus framework became the drive for the sonic shifts on Therapy. \nThis time\, he focused on creating the production first and “letting the content work itself back in.” The Family Tree had been the opposite\, a template that had grown to stifle his songwriting. Of course\, it was finding that lyrical content that became the struggle — until therapy gutted him. \nWeekly sessions helped him realize the portrait he’d created in The Family Tree was masking the hard truth: “There’s no real positive there\,” as Cooper puts it. While he’s proud of the work he did on the trilogy\, he looks at it differently now that it’s in the rearview. “I don’t regret it\, but it wasn’t what I thought. I thought I was telling a different story\, immortalizing the strange into something beneficial rather than just dysfunction.” \n \n\n\n Related URL:https://artsorange.org/event/radical-face/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200311T200000 DTEND;TZID=America/New_York:20200312T000000 DTSTAMP:20260524T115721 CREATED:20200212T161000Z LAST-MODIFIED:20200212T161000Z UID:14673-1583956800-1583971200@artsorange.org SUMMARY:Destroyer DESCRIPTION:Dan Bejar initially conceived of Have We Met\, his 13th album as Destroyer out January 31\, as a Y2K album. He was already active during the era but not heard overhead in a cafe or salon\, which is perhaps what the idea of the Y2K sound evokes nearly two decades later. Bejar assigned frequent producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk\, Air\, and Massive Attack in mind\, but he soon realized the sonic template was too removed from Destroyer’s own\, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” \nThe result is not a startling departure from 2017’s new-wavey\, Thatcher-era yearning ken\, but unlike that more band-oriented approach\, the only actual instruments that appear here are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia\, the two other John Collins-heavy affairs\, and to some degree that’s valid. Each contrasts cavernous empty space and synthetic sounds\, but rather than whimsical theatrics or sleazy orchestral pop\, Have We Met is buoyed by precise\, plasticky guitar shredding three-dimensionally across massive percussion-the loudest and dirtiest drums on a Destroyer record to date. \nThematically\, the songs do seem to point at a very modern dread-one that heightens the more you consider it. Maybe it’s a remnant of the Y2K idea\, although many would argue it’s even more applicable now. Opener “Crimson Tide” is an instant classic\, a six-minute journey that takes its rightful place alongside other Destroyer epics. It welcomes you at first with a sparse rhythm until percolating synths and propulsive bass make it all a reality with unsustainable imagery-oceans stuck inside hospital corridors\, insane funerals. You “open your mouth just to watch your teeth shudder\,” as the narrator suggests\, powerlessly gawking at your surroundings. \nOn “The Television Music Supervisor\,” we’re reminded by trickling keys\, glitches\, and “clickity click clicks” (a variation on the standard Bejar “la da das”) that those with the power to dictate our relationships with music and media are susceptible to error\, a most 21st century concern. Perhaps the most audacious Destroyer track yet\, “Cue Synthesizer” steps back to address the rote and often detached mechanics of music\, while the waltzy and woozy centerpiece “University Hill” drifts even further and applies that logic more broadly\, insisting that “the game is rigged in every direction” and “you’re made of string.” Final track “foolssong” is like an encyclopedia of Destroyer neatly contained in one track-there’s mention of a woman’s name\, celestial trumpets\, signature “la da das\,” an ambient fade. There’s even a bit of a resolution\, that you can dread all day but you still have to keep yourself entertained. \nAtmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record-certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise\, gliding deftly into territory that marries the old strident Destroyer with the new\, aged crooning one of late. \nLinks: Website | Facebook | Instagram | Spotify | YouTube \n\n\n Related URL:https://artsorange.org/event/destroyer/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200305T200000 DTEND;TZID=America/New_York:20200306T000000 DTSTAMP:20260524T115721 CREATED:20200212T160958Z LAST-MODIFIED:20200212T160958Z UID:14666-1583438400-1583452800@artsorange.org SUMMARY:Molly Tuttle DESCRIPTION:A virtuosic\, award-winning guitarist with a gift for insightful songwriting\, Molly Tuttle evolves her signature sound with boundary-breaking songs on her compelling debut album\, When You’re Ready. Already crowned “Instrumentalist of the Year” at the 2018 Americana Music Awards on the strength of her EP\, Tuttle has broken boundaries and garnered the respect of her peers\, winning fans for her incredible flatpicking guitar technique and confessional songwriting. Graced with a clear\, true voice and a keen melodic sense\, the 26-year-old seems poised for a long and exciting career. When You’re Ready\, produced by Ryan Hewitt (The Avett Brothers\, The Lumineers) showcases her astonishing range and versatility and shows that she is more than simply an Americana artist. \nSince moving to Nashville in 2015\, the native Californian has been welcomed into folk music\, bluegrass\, Americana\, and traditional country communities – even as When You’re Ready stretches the boundaries of those genres. Over the past year\, Molly has continued to accumulate accolades\, winning Folk Alliance International’s honor for Song of the Year for “You Didn’t Call My Name” and taking home her second trophy for the International Bluegrass Music Association’s Guitar Player of the Year (the first woman in the history of the IBMA to win that honor). \n“I love so many types of music\,” she says “and it’s exciting to be a part of and embraced by different musical worlds\, but when I’m creating I don’t think about genres or how it will fit into any particular format – it’s just music.” \nWhen You’re Ready is infused with an intoxicating wash of drums and electric guitar while still keeping Tuttle front and center. “I wanted to keep the focus on the songs\,” she says\, “but also make an interesting guitar record.” \nThe album opens with “Million Miles\,” a song that her songwriting collaborator Steve Poltz brought to her\, mentioning that he and Jewel started it in the ’90s and didn’t complete it. With their blessing\, she finished the song and enlisted Sierra Hull to play mandolin and Jason Isbell to sing background vocals. The wistful track sets the tone for an album that offers subtle moments of reflection as well as dazzling musicianship. \nTuttle wrote or co-wrote all 11 tracks since moving to Nashville\, giving the project a unified feeling. “A lot of the songs are more personal than I’ve written before\, and many of them are conversational\, like one person talking to another\,” she says. But\, when it comes to the messages of the songs\, each one stands apart. “Take the Journey” provides encouragement\, even as “The High Road” finds two individuals going their own way. Later\, the subdued “Don’t Let Go” concludes with a spaced-out slow groove\, while “Lights Came On (Power Went Out)” amplifies the album’s youthful energy. “Sleepwalking\,” a gentle love song\, may be the album’s most impassioned and emotionally intense moment. \nLinks: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music \n\n\n Related URL:https://artsorange.org/event/molly-tuttle/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200228T200000 DTEND;TZID=America/New_York:20200229T000000 DTSTAMP:20260524T115721 CREATED:20200212T160957Z LAST-MODIFIED:20200212T160957Z UID:14660-1582920000-1582934400@artsorange.org SUMMARY:Junior Brown DESCRIPTION:This is a seated show. \nWith his unique voice\, more unique song writing\, and even more unique double necked “Guit-Steel” guitar\, there has absolutely never been ANYONE like Junior Brown. He’s an American Original. Born in 1952 in Cottonwood\, Arizona\, Junior Brown showed an affinity for music at an early age when the family moved to a rural area of Indiana near Kirksville. In the following years\, Junior began to experience Country music and remembers it as “growing up out of the ground like the crops – it was everywhere; coming out of cars\, houses\, gas stations and stores like the soundtrack of a story\, but Country music programs on TV hadn’t really come along much yet; not until the late fifties.” Discovering a guitar in his grandparent’s attic\, he spent the next several years woodshedding with records and the radio. Junior was also able to tap into music he couldn’t hear at home which older\, college aged kids were listening to. This was possible due to his father’s employment at small campuses throughout the next decade as the family moved twice again. As a young boy he was able to experience the thrill of performing before live audiences\, at parties\, school functions even singing and playing guitar for five thousand Boy Scouts at an Andrews Air Force Base jamboree; then while still a teenager\, getting the chance to sit in with Rock and Roll pioneer\, Bo Diddley. Armed with this broad spectrum of influences\, he began to develop a storehouse of musical chops. \nEarly on\, Junior realized he had to keep his interest in Country music a secret; “it was like a secret friend I carried around\, being careful not to tell anyone (especially girls) about my love for it because I thought they would laugh at me.” It wasn’t until the late 1960’s that Junior Brown would proudly explore the passion for the music he had loved since his early childhood in Indiana. With many prominent figures as his inspiration (Country legends\, some who he would work with years later)\, he spent his nights in small clubs across the southwest. “I played more nights in honkytonks during the Seventies and Eighties than most musicians will see in a lifetime… I did so many years of that\, night after night\, four sets a night\, fifteen minute breaks; I mean after that\, you’ve gotta get good or you gotta get out. The early 1970’s California Country dance club scene was particularly competitive\, but I learned professionalism and stage demeanor which has served me well to this day.” More recently however\, Junior has shown himself to be equally adept at a wide variety of American music styles beyond Country. These include Rock and Roll\, Blues\, Hawaiian\, Bluegrass and Western Swing. \nLinks: Website | Facebook | Twitter \n\n\n Related URL:https://artsorange.org/event/junior-brown/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200229T203000 DTEND;TZID=America/New_York:20200301T000000 DTSTAMP:20260524T115721 CREATED:20200212T160957Z LAST-MODIFIED:20200212T160957Z UID:14662-1583008200-1583020800@artsorange.org SUMMARY:of Montreal DESCRIPTION:Kevin and Christina make out in a car at the airport\, flipping off the police officer that tells them to keep moving. Kevin and Christina discuss taking ecstasy as couple’s therapy. Kevin and Christina break down and then reconnect. The new love we heard about on the last of Montreal record\, White is Relic/Irrealis Mood\, issettling.Ifthatwasthefalling-in-loverecord\,thenthisisthestaying-in-loverecord.Thatwasthe easy part; this is the interesting part\, the challenging part\, the next chapter of Kevin Barnes’ autobiographical album streak\, UR FUN. \nThe public diary that started with of Montreal’s classic album Hissing Fauna\, Are You The Destroyer? has continued into a growing string of increasingly personal works. On UR FUN\, Barnes is more candid than ever\, presenting ten concise electro-pop songs that expose the depths of his current life\, his private thoughts-both optimistic and brooding-and his passionate relationship with songwriter Christina Schnieder of Locate S\,1. This ramped-up vulnerability has inspired Barnes to strip his stage persona of costumes and drag\, just appearing as himself on recent tours for the first time in many years. \nAfter several albums recorded with collaborators and various band members\, Barnes opted to record this one completely alone. In his home studio in Athens\, Georgia\, Barnes isolated himself in creative hibernation\, working obsessive 12-plus hour days arranging manic synth and drum machine maps on a computer screen with bouncy\, melodic basslines\, glam guitars and layered vocal harmonies. Inspired by albums like Cyndi Lauper’s She’s So Unusual and Janet Jackson’s Control\, Barnes set out to make UR FUN into the kind of album where every song could be a single\, complete with huge hooky choruses and nostalgic dance grooves. The result is an unstoppably fun album that could also pass for a carefully sequenced greatest-hits collection if taken out of context. \nUR FUN contains a fundamental contradiction that will be familiar to of Montreal fans. The songs have a youthful\, contemporary dance-pop feel\, but contain dense\, multidimensional\, adult lyrics. The album’s opener and first single\, “Peace To All Freaks” is a “protest song against totalitarianism\, familial terrorism and wastefulness in all its forms” (says Barnes) that expresses love to the outcasts and the gentle people in this world\, leaving us with this reminder: “Hush\, hush/ Don’t let’s be cynical/ don’t let’s be bitter/ If you feel like you can’t do it for yourself then do it for us”. On “Polyaneurism”\, Barnes playfully meditates on the ups and downs of polyamory and unconventional relationships: “Playing musical lovers is starting to feel kind of kitsch/ if you want monogamy are you just like some basic bitch?” According to Barnes\, the song “Get God’s Attention by Being an Atheist” is about “the pleasures of childlike destruction and reckless joy seeking.” \nLiterary and cultural references on UR FUN run thick. In the same manner that Barnes’ lyrics turned thousands of listeners onto the obscene French novel The Story of the Eye in the past\, UR FUN packs nods as diverse and obscure as the films of Itallian horror filmmaker Mario Bava\, queer novel Horse Crazy by Gary Indiana\, Panamanian pop star El General\, 80’s sci-fi movie Liquid Sky\, Big Star’s cover of “Femme Fatale\,” French death metal group Death Throne\, and the beautiful Brazilian love song “Cucurucucu Paloma” by Caetano Veloso\, to name just a few. \nLinks: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music \n\n\n Related URL:https://artsorange.org/event/of-montreal/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200227T200000 DTEND;TZID=America/New_York:20200228T000000 DTSTAMP:20260524T115721 CREATED:20200212T160956Z LAST-MODIFIED:20200212T160956Z UID:14657-1582833600-1582848000@artsorange.org SUMMARY:Dan Deacon DESCRIPTION:How do you make something solid\, beautiful\, and built to last in a time of cultural chaos and personal doubt? With Mystic Familiar\, Dan Deacon gives us the stunning result of years of obsessive work\, play\, and self-discovery. It’s at once his most emotionally open record and his most transcendent\, 11 kaleidoscopic tracks of majestic synth-pop that exponentially expand his sound with unfettered imagination and newfound vulnerability. \nSince 2015’s Gliss Riffer\, Deacon has branched out from his core body of work as a popular recording artist into a dizzying array of collaborative projects: scoring eight films\, including the feature documentaries Rat Film and Time Trial (both released as LPs on Domino Soundtracks) and HBO’s Well Groomed; collaborating with the New York City Ballet’s resident choreographer Justin Peck on the dance piece The Times Are Racing; performing expanded arrangements of his music with the Baltimore Symphony Orchestra; and for the first time producing and co-writing an album by another artist\, Ed Schrader’s Music Beat’s alt-rock dynamo Riddles. \nBut as varied and fulfilling as these projects were\, they all lacked one thing: Deacon’s voice. And in the midst of that whirlwind of activity\, he returned whenever he could to a personal oasis — the songs that would become Mystic Familiar\, informed by all these collaborations but built from within. Propelled by the unprecedented response to Gliss Riffer highlight “When I Was Done Dying” and the exquisite-corpse animated video that vividly amplified that song’s narrative odyssey of multiverse-traveling post-life energy\, Deacon’s writing took an exploratory new direction. He further developed this new material with daily prompts from Brian Eno’s deck of Oblique Strategies and the use of meditation to access that inner well of creativity David Lynch describes in Catching the Big Fish. These techniques\, in tandem with his newly adopted therapeutic practices of self-compassion and mindfulness\, produced Dan Deacon songs that go places far beyond those his music has traveled before — songs that wield the profundity of a philosopher and the absurdity of a court jester as they paint life as a psychedelic journey brimming with bliss and disruption\, darkness and light. \nMystic Familiar’s opening track “Become a Mountain” immediately announces itself as something new\, for the first time ever on record presenting Dan’s natural singing voice\, unprocessed and with only minimal accompaniment. When Deacon proclaims “I rose up” here\, it is Dan Deacon singing in the first person as Dan Deacon — a startlingly vulnerable shift in a songbook abundant with characters\, metaphors\, and distorted vocals. As other ornate voices answer this unadorned I\, we’re introduced to the album’s central concept and titular character: the Mystic Familiar\, that supernatural other being that we carry with us everywhere in our head\, which only we can hear and with whom we live our lives in eternal conversation. “Hypnagogic” takes us deeper into Deacon’s mind\, a synth swirl similar to those which have begun his recent performances\, absorbing the pulse of the room and extending that abstract moment in which a journey begins. \nLinks: Website | Facebook | Twitter | Instagram | Spotify \n\n\n Related URL:https://artsorange.org/event/dan-deacon/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200222T200000 DTEND;TZID=America/New_York:20200223T000000 DTSTAMP:20260524T115721 CREATED:20200212T160955Z LAST-MODIFIED:20200212T160955Z UID:14650-1582401600-1582416000@artsorange.org SUMMARY:Hayes Carll (Solo) DESCRIPTION:This is a seated show. \nWhat It Is \nThe chorus to the title track on the new Hayes Carll album\, What It Is\, is a manifesto. \nWhat it was is gone forever / What it could be God only knows.\nWhat it is is right here in front of me / and I’m not letting go. \nHe’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. \nWith 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. \nHayes 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. \n“Repeating myself creatively would ultimately leave me empty. Covering new ground\, exploring\, and taking chances gives me juice and keeps me interested.” \nHe knew he wanted to find the next level. On What It Is\, he clearly has. \nIt 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. \n“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.” \nAnd 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. \nBold enough to not surrender bold enough to give a damn\nBold enough to keep on going or to stay right where I am\nThere’s a whole world out there waiting full of stories to be told\nI’ll heed the call and tell’em all if I may be so bold \nLinks: Website | Facebook | Twitter | Instagram \n\n\n Related URL:https://artsorange.org/event/hayes-carll-solo/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200219T200000 DTEND;TZID=America/New_York:20200220T000000 DTSTAMP:20260524T115721 CREATED:20200212T160954Z LAST-MODIFIED:20200212T160954Z UID:14644-1582142400-1582156800@artsorange.org SUMMARY:YBN Cordae DESCRIPTION: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 [Atlantic Records]. \nBorn 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. \nAlong 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” [feat. Chance the Rapper]\, he unleashed the follow-up “RNP” [feat. Anderson Paak] with production by J. Cole. Everything set the stage for a major mainstream breakthrough in 2019. \nLinks: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube | Apple Music \n\n\n Related URL:https://artsorange.org/event/ybn-cordae/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200221T210000 DTEND;TZID=America/New_York:20200222T000000 DTSTAMP:20260524T115721 CREATED:20200212T160954Z LAST-MODIFIED:20200212T160954Z UID:14647-1582318800-1582329600@artsorange.org SUMMARY:Archers of Loaf DESCRIPTION:Links: Facebook | SoundCloud | Spotify | YouTube \n\n\n Related URL:https://artsorange.org/event/archers-of-loaf/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200218T203000 DTEND;TZID=America/New_York:20200219T000000 DTSTAMP:20260524T115721 CREATED:20200212T160954Z LAST-MODIFIED:20200212T160954Z UID:14642-1582057800-1582070400@artsorange.org SUMMARY:Drive-By Truckers DESCRIPTION: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. \nWhile 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. \nOur 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. \nMy 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. \nEventually 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. \nI 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. \n“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. \nMeanwhile “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. \n“In the end we’re just standing\, watching greatness fade into darkness /\nAwaiting Resurrection” \nIf the writing was a long and brutal process\, the recording was a joyous celebration. Another of our band’s many dualities\, perhaps. \nWebsite | Facebook | Twitter | Instagram | YouTube \n\n\n Related URL:https://artsorange.org/event/drive-by-truckers/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200214T190000 DTEND;TZID=America/New_York:20200215T000000 DTSTAMP:20260524T115721 CREATED:20200212T160953Z LAST-MODIFIED:20200212T160953Z UID:14636-1581706800-1581724800@artsorange.org SUMMARY:Thrice DESCRIPTION:Links: Website | Facebook | Twitter | Instagram | YouTube \n\n\n Related URL:https://artsorange.org/event/thrice/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200215T200000 DTEND;TZID=America/New_York:20200216T000000 DTSTAMP:20260524T115721 CREATED:20200212T160953Z LAST-MODIFIED:20200212T160953Z UID:14638-1581796800-1581811200@artsorange.org SUMMARY:Colony House – Leave What’s Lost Behind Tour DESCRIPTION: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. \nLinks: Website | Facebook | Twitter \n\n\n Related URL:https://artsorange.org/event/colony-house-leave-whats-lost-behind-tour/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200217T200000 DTEND;TZID=America/New_York:20200218T000000 DTSTAMP:20260524T115721 CREATED:20200212T160953Z LAST-MODIFIED:20200212T160953Z UID:14640-1581969600-1581984000@artsorange.org SUMMARY:Kyle Kinane: The Spring Break Tour DESCRIPTION:This is a seated show. \nKyle 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. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n Related URL:https://artsorange.org/event/kyle-kinane-the-spring-break-tour/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200212T200000 DTEND;TZID=America/New_York:20200213T000000 DTSTAMP:20260524T115721 CREATED:20200113T160147Z LAST-MODIFIED:20200212T160952Z UID:14089-1581537600-1581552000@artsorange.org SUMMARY:Ross Mathews DESCRIPTION:This is a seated show. \nPretend 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. \nTelevision 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. \nIn ​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. \nFilled 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. \nAnd 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. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n Related URL:https://artsorange.org/event/ross-mathews/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200208T160000 DTEND;TZID=America/New_York:20200209T000000 DTSTAMP:20260524T115721 CREATED:20200113T160141Z LAST-MODIFIED:20200113T160141Z UID:14082-1581177600-1581206400@artsorange.org SUMMARY:Abbey Road LIVE! – Family Matinee DESCRIPTION: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. \nAbbey 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. \nThis rare event will be big fun for the whole family. \n\n\n Related URL:https://artsorange.org/event/abbey-road-live-family-matinee/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200208T203000 DTEND;TZID=America/New_York:20200209T000000 DTSTAMP:20260524T115721 CREATED:20200113T160141Z LAST-MODIFIED:20200113T160141Z UID:14084-1581193800-1581206400@artsorange.org SUMMARY:Abbey Road LIVE! DESCRIPTION:“one of the world’s premier Beatles cover bands”\n-US News and World Report \n“unquestionably expert at what they do”\n-Indyweek \nSince 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. \nAbbey 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. \nA splendid time is guaranteed for all! \n\n\n Related URL:https://artsorange.org/event/abbey-road-live/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200131T210000 DTEND;TZID=America/New_York:20200201T000000 DTSTAMP:20260524T115721 CREATED:20200113T160140Z LAST-MODIFIED:20200113T160140Z UID:14078-1580504400-1580515200@artsorange.org SUMMARY:Beach Fossils DESCRIPTION: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. \nThe 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. \nAs 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. \nOrchestral 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. \nRecorded 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. \nFlowing 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. \nLinks: Website | Facebook | Twitter | Instagram | Spotify \n\n\n Related URL:https://artsorange.org/event/beach-fossils/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200201T210000 DTEND;TZID=America/New_York:20200202T000000 DTSTAMP:20260524T115721 CREATED:20200113T160140Z LAST-MODIFIED:20200113T160140Z UID:14079-1580590800-1580601600@artsorange.org SUMMARY:Jawbox DESCRIPTION:Jawbox: An Impartial Overview \nJ. Robbins: voice\, guitar\nBill Barbot: guitar\, voice\nKim Coletta: bass guitar\nZach Barocas: drum kit \nJawbox 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. \nGrippe\, 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. \nZach 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. \nTours 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. \nThey 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.\nThe 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. \nIn 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. \nIt’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. \nThe 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. \nLinks: Website | Facebook | Twitter | Instagram | Bandcamp \n\n\n Related URL:https://artsorange.org/event/jawbox/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200129T200000 DTEND;TZID=America/New_York:20200130T000000 DTSTAMP:20260524T115721 CREATED:20200113T160138Z LAST-MODIFIED:20200113T160138Z UID:14072-1580328000-1580342400@artsorange.org SUMMARY:Anamanaguchi DESCRIPTION:Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube | Apple Music \n\n\n Related URL:https://artsorange.org/event/anamanaguchi/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200130T200000 DTEND;TZID=America/New_York:20200131T000000 DTSTAMP:20260524T115721 CREATED:20200113T160138Z LAST-MODIFIED:20200113T160138Z UID:14073-1580414400-1580428800@artsorange.org SUMMARY:Yonder Mountain String Band / The Travelin’ McCourys DESCRIPTION:Yonder Mountain String Band \nFor 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. \nLinks: Website | Facebook | Twitter | Instagram | Spotify | Apple Music \n\nThe Travelin’ McCourys \nFrom 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. \nThe 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. \n“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.” \nWith 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. \nLinks: Website | Facebook | Twitter | Instagram | Spotify | Apple Music \n\n\n Related URL:https://artsorange.org/event/yonder-mountain-string-band-the-travelin-mccourys/ LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States GEO:35.910023;-79.0688137 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cat’s Cradle 300 E Main St. Carrboro NC 27510 United States;X-APPLE-RADIUS=500;X-TITLE=300 E Main St.:geo:-79.0688137,35.910023 END:VEVENT END:VCALENDAR