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DTSTART;TZID=America/New_York:20200314T200000
DTEND;TZID=America/New_York:20200315T000000
DTSTAMP:20260524T120426
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<!– \nLinks: Website | Facebook | Twitter | Instagram | Bandcamp | SoundCloud | Spotify | YouTube | Apple Music–><!– \n\n–><!–Links: Website | Facebook | Twitter | Instagram | Bandcamp | SoundCloud | Spotify | YouTube | Apple Music–> \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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200311T200000
DTEND;TZID=America/New_York:20200312T000000
DTSTAMP:20260524T120426
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200305T200000
DTEND;TZID=America/New_York:20200306T000000
DTSTAMP:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20200218T203000
DTEND;TZID=America/New_York:20200219T000000
DTSTAMP:20260524T120426
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:20200219T200000
DTEND;TZID=America/New_York:20200220T000000
DTSTAMP:20260524T120426
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:20260524T120426
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:20200214T190000
DTEND;TZID=America/New_York:20200215T000000
DTSTAMP:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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:20260524T120426
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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200125T200000
DTEND;TZID=America/New_York:20200126T000000
DTSTAMP:20260524T120426
CREATED:20200113T160132Z
LAST-MODIFIED:20200113T160132Z
UID:14069-1579982400-1579996800@artsorange.org
SUMMARY:The Road to Now
DESCRIPTION:This is a seated show \nThe 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. \nLinks: Website | Facebook | Twitter | Instagram | Stitcher \n\n\n	Related
URL:https://artsorange.org/event/the-road-to-now/
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:20200121T203000
DTEND;TZID=America/New_York:20200122T000000
DTSTAMP:20260524T120426
CREATED:20200113T160132Z
LAST-MODIFIED:20200113T160132Z
UID:14066-1579638600-1579651200@artsorange.org
SUMMARY:Too Many Zooz
DESCRIPTION: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. \nThe 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). \n“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.” \nOr 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.” \nIt’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. \nAfter 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. \nAnd 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. \nThen\, 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. \nBut 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. \nThough 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. \nYet 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. \n“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.” \nBut for everything that’s happened in the last couple of years\, the trio aren’t actually all that surprised by their success. \nLinks: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify \n\n\n	Related
URL:https://artsorange.org/event/too-many-zooz/
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:20200122T200000
DTEND;TZID=America/New_York:20200123T000000
DTSTAMP:20260524T120426
CREATED:20200113T160132Z
LAST-MODIFIED:20200113T160132Z
UID:14067-1579723200-1579737600@artsorange.org
SUMMARY:Marco Benevento
DESCRIPTION: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. \nAcceptance 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. \nDubbed “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.” \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/marco-benevento/
LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States
GEO:35.910023;-79.0688137
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200120T200000
DTEND;TZID=America/New_York:20200121T000000
DTSTAMP:20260524T120426
CREATED:20200113T160131Z
LAST-MODIFIED:20200113T160131Z
UID:14064-1579550400-1579564800@artsorange.org
SUMMARY:Cracker and Camper Van Beethoven
DESCRIPTION: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. \nDespite 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. \nAs 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.” \n“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.” \nCracker 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. \nLinks: Website | Facebook | Spotify | YouTube \n\nCamper Van Beethoven Links: Website | Facebook | Spotify | YouTube \n\n\n	Related
URL:https://artsorange.org/event/cracker-and-camper-van-beethoven/
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:20200118T200000
DTEND;TZID=America/New_York:20200119T000000
DTSTAMP:20260524T120426
CREATED:20200113T160130Z
LAST-MODIFIED:20200113T160130Z
UID:14058-1579377600-1579392000@artsorange.org
SUMMARY:AMERICAN AUTHORS and MAGIC GIANT – Band of Brothers Road Show
DESCRIPTION:American Authors Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube \n\nMagic Giant Links: Website | Facebook | Instagram | Spotify | YouTube \n\n\n	Related
URL:https://artsorange.org/event/american-authors-and-magic-giant-band-of-brothers-road-show/
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:20200117T203000
DTEND;TZID=America/New_York:20200118T000000
DTSTAMP:20260524T120426
CREATED:20200113T160129Z
LAST-MODIFIED:20200113T160129Z
UID:14053-1579293000-1579305600@artsorange.org
SUMMARY:Cosmic Charlie – High Energy Grateful Dead from Athens\, GA
DESCRIPTION:“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.”\n-David Gans\, Grateful Dead archivist \n———————–\nCosmic 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. \nMoving 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. \nLinks: Website | Facebook \n\n\n	Related
URL:https://artsorange.org/event/cosmic-charlie-high-energy-grateful-dead-from-athens-ga/
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:20191125T190000
DTEND;TZID=America/New_York:20191126T000000
DTSTAMP:20260524T120426
CREATED:20191114T152518Z
LAST-MODIFIED:20191114T152518Z
UID:13150-1574708400-1574726400@artsorange.org
SUMMARY:New Found Glory
DESCRIPTION:Links: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music \n\n\n	Related
URL:https://artsorange.org/event/new-found-glory/
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:20191127T190000
DTEND;TZID=America/New_York:20191128T000000
DTSTAMP:20260524T120426
CREATED:20191114T152518Z
LAST-MODIFIED:20191114T152518Z
UID:13151-1574881200-1574899200@artsorange.org
SUMMARY:La Dispute
DESCRIPTION: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.  \nA 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.  \nRecorded 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.  \nPanorama 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. \n“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.” \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/la-dispute/
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:20191122T220000
DTEND;TZID=America/New_York:20191123T000000
DTSTAMP:20260524T120426
CREATED:20191114T152516Z
LAST-MODIFIED:20191114T152516Z
UID:13144-1574460000-1574467200@artsorange.org
SUMMARY:Office Hours
DESCRIPTION: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.  \n10% of proceeds will benefit the Compass Center. \nStarting 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.  \nArtists 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. \nCollaborators include Elinor Walker\, Amy Vaughn\, Roi Plotkin\, James Creissen\, Michael Gu\, Maxwell Bryn\, John Vance\, Austin Robichaud\, Gentry Fitch\, Karma\, J Dasani\, and Funeral. \nBy blurring audio-visual boundaries\, Office Hours aims to create a fun and immersive concert experience.  \nIf you have any questions\, just come to Office Hours. \nLine-up: \n9:30-10:15: DJ New Camper\n10:15-11:00: Pixel Princess\n11:00-11:45: DJ Tex\n11:45-12:30: Amy Daytona + DJ River Rat\n12:30-1:15: ARTS+CRAFTS\n1:15-2:00: DJ Chooch \n\nInstagram: @officehours.tv \n\n\n	Related
URL:https://artsorange.org/event/office-hours/
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:20191117T200000
DTEND;TZID=America/New_York:20191118T000000
DTSTAMP:20260524T120426
CREATED:20191114T152513Z
LAST-MODIFIED:20191114T152513Z
UID:13135-1574020800-1574035200@artsorange.org
SUMMARY:Crumb
DESCRIPTION:AdHoc Presents \nCrumb 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. \nIn 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. \nCrumb 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. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/crumb/
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