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DTSTART;TZID=America/New_York:20191116T200000
DTEND;TZID=America/New_York:20191117T000000
DTSTAMP:20260524T122900
CREATED:20191114T152510Z
LAST-MODIFIED:20191114T152510Z
UID:13131-1573934400-1573948800@artsorange.org
SUMMARY:Gaelic Storm
DESCRIPTION:This is a seated show. \nIt’s hard to imagine a band just coming into their own after 20 years of success\, but that’s exactly what makes a true anomaly. This multi-national\, Celtic juggernaut grows stronger with each live performance\, and as you can imagine\, after two decades and over 2000 shows\, it is a true force to be reckoned with. With their latest release\, Go Climb a Tree\, their music has never sounded more representative of themselves as musicians and as live performers. \nThe band attributes their continued success to their fanatic audience\, and it’s a well-diversified crowd for sure. The country-music folks adore the storytelling\, the bluegrass-heads love the instrumentals\, Celtic fans love their devotion to tradition\, and the rockers simply relish the passion they play their instruments with. Each band member\, in their own way\, expresses a deep gratitude for their fans\, but it’s best summed up in the words of Patrick Murphy: “The fans are the ones that have given us this life. We’re here for them.” \nOn Go Climb a Tree\, co-founders of Gaelic Storm\, Steve Twigger and Patrick Murphy\, along with longtime friend and co-writer Steve Wehmever\, are again at the helm of song-writing duties. The album has everything-party drinking songs  (“The Beer Song”)\, patriotic anthems (“Green\, White and Orange”)\, beautiful folk songs (“Monday Morning Girl”)\, spritely instrumentals “”The Night of Tomfoolery”)\, perfectly poppy songs (“Shine On”)\, and even a raucous pirate song (“Shanghai Kelly”). When speaking of the overall concept of the album\, Patrick Murphy gives some insight: “With all the craziness and division in the world\, we wanted to make an album about ‘contemplative escapism.’ Go Climb a Tree certainly isn’t about dropping out of the conversation\, it’s just about taking a short hiatus to recharge the batteries before you take on the world again.” \nGaelic Storm takes a true blue-collar\, hard-nose approach to touring\, consistently traveling the US and internationally over 200 days a year\, forging a unique path in the Celtic music world. “You have to see us live. We are the true working-mans’ band\,” says Ryan Lacey\, who joined the lineup in 2003. “We still\, and most likely always will\, tour most of the year\, and that’s how we constantly hone our craft.” \nThe dedication to live shows date all the way back to the mid-1990s\, when Gaelic Storm kicked off its career as a pub band in Santa Monica\, California. Due to their discovery at the pub\, by the end of the decade\, the musicians had appeared in the blockbuster film Titanic (where they performed “Irish Party in Third Class”). This laid the groundwork for a career that would eventually find them topping the Billboard World Chart six times\, making appearances at mainstream music festivals\, and regularly headlining the largest Irish Festivals across the country\, all the while gaining a reputation as a genre-bending Irish rock band\, whose songs mix Celtic traditions with something uniquely creative. \nLooking to the future\, Gaelic Storm is excited about what lies ahead. They’ve added a new fiddle player\, Katie Grennen\, and she has affectionately become the “purple squirrel” of the band\, meaning she is the perfect new addition. Pete Purvis who joined the band in 2005 said\, “With the addition of Katie\, the band has never sounded better\, we’re gelling on a whole new level\, and the idea of sharing these new songs with our fans is exciting!” \nLinks: Website | Facebook | Twitter | Instagram | YouTube \n\n\n	Related
URL:https://artsorange.org/event/gaelic-storm/
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:20191114T200000
DTEND;TZID=America/New_York:20191115T000000
DTSTAMP:20260524T122900
CREATED:20191114T152509Z
LAST-MODIFIED:20191114T152509Z
UID:13128-1573761600-1573776000@artsorange.org
SUMMARY:Turnover & Men I Trust
DESCRIPTION:Turnover Links: Website | Facebook | Twitter | Instagram | Bandcamp | Spotify | Apple Music–> \n\nMen I Trust Links: Website | Facebook | Tumblr | Bandcamp | YouTube \n\nRenata Zeiguer Links: Facebook | Instagram | Bandcamp \n\n\n	Related
URL:https://artsorange.org/event/turnover-men-i-trust/
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:20191115T200000
DTEND;TZID=America/New_York:20191116T000000
DTSTAMP:20260524T122900
CREATED:20191114T152509Z
LAST-MODIFIED:20191114T152509Z
UID:13130-1573848000-1573862400@artsorange.org
SUMMARY:Allah-Las
DESCRIPTION:Links: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/allah-las/
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:20191113T200000
DTEND;TZID=America/New_York:20191114T000000
DTSTAMP:20260524T122900
CREATED:20191114T152508Z
LAST-MODIFIED:20191114T152508Z
UID:13126-1573675200-1573689600@artsorange.org
SUMMARY:Kikagaku Moyo
DESCRIPTION:“Masana” is a fictional word created by Kikagaku Moyo to express a Utopian feeling; an existence where everything can interact harmoniously and offer inspiration and understanding. Their fourth album Masana Temples radiates this vision\, architecting a vibrating world that isn’t confined to the known limits of what came before it. \nKikagaku Moyo progressed from early days in Tokyo’s experimental scene to traveling the world with their mind-bending sounds\, exploring different facets of psychedelia on each new release and blowing minds with a live show that was just as searching as their records. The shifting dimensions of Masana Temples are informed by various experiences the band had with traveling through life together\, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The songs came together in the wake of the band breaking up the communal house most of them had shared in Tokyo\, with some members relocating to Amsterdam\, and others moving to different parts of Japan. Transitioning from being based in the scene they had roots in to scattering around various locales made for an even more enhanced understanding of how mystically connected the sum of their parts were when the band reunited to record new material. The music is the product of time spent in motion and all of the bending mindsets that come with it. \nThe band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples\, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout Masana Temples\, but they’re sharper and more defined. Without sacrificing any of their experimental impulses\, songs are more composed and cohesive. Pernadas’ bright production meets with nearly telepathically locked-in performances\, on both lazy cloud-like jaunts like “Nazo Nazo” or fuzzed-out expeditions like lead single “Gatherings”. Drummer/vocalist Go Kurosawa\, guitarist/vocalist Tomo Katsurada\, bassist Kotsuguy\, sitar and keyboard player Ryu Kurosawa and guitarist Daoud Popal Akira act as a unit\, with an intuitive attention to space and dynamics that could only come from years of playing together in every imaginable setting. \nMore than the literal interpretation of being on a journey\, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses\, with languages\, cultures\, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all\, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives\, the group reflects the emotional impact of their nomadic paths. \nComing together in a way more deliberate than the beautifully floating improvisations of their Stone Garden EP or the sometimes hushed dreamstate of 2016 album House In The Tall Grass\, Masana Temples is focused and clear in its vision in a way that feels unlike any of Kikagaku Moyo’s earlier sounds. \nLinks: Website | Facebook| Bandcamp \n\n\n	Related
URL:https://artsorange.org/event/kikagaku-moyo/
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:20190926T203000
DTEND;TZID=America/New_York:20190927T000000
DTSTAMP:20260524T122900
CREATED:20190915T151042Z
LAST-MODIFIED:20190915T151042Z
UID:11662-1569529800-1569542400@artsorange.org
SUMMARY:The Motet: Speed of Light Tour
DESCRIPTION:Throughout history\, unity starts on the dancefloor. From ancient tribal cultures to neon night clubs\, beats bring bodies together. Once grinding and grooving in unison\, the movement generates friction\, sparks\, and light. That might just be the purest form of energy on the planet. The Motet harness such energy on their ninth full-length\, Death or Devotion. In fact\, the Denver septet-Dave Watts [drums]\, Joey Porter [keys]\, Garrett Sayers [bass]\, Ryan Jalbert [guitar]\, Lyle Divinsky [vocals]\, Drew Sayers [sax]\, and Parris Fleming [trumpet]-encode a message in their energetic mélange of boisterous badass funk\, swaggering soul\, and thought-provoking pop. \nIn the process\, they challenge convention and arrive with a dynamic\, diverse\, and definitive statement. \n“The essence is always going to be the groove\, but we wanted to expand the idea of what a funk album could be\,” says Lyle. “Of course\, you want a driving backbeat. However\, with the division that’s going on in this country and the world\, I think it’s every artist’s responsibility to create a conversation. That conversation doesn’t have to be political either. It can be about love or an introspective journey. I think the commentary should be on what it’s like to be alive today. By drawing on funk\, we create a fun\, palatable musical vehicle for the message to go down. Our goal is for you to recognize we’re all dancing on the same dance floor-even though our steps may look a little different.” \nDeath or Devotion earmarks an important point in the band’s own journey. Since emerging in 1998\, the boys have cooked up eight full-length albums and entranced countless crowds. 2016’s Totem saw them welcome Lyle behind the mic and Drew on sax. Shortly after\, they kicked off what has become an annual tradition by selling out the legendary Red Rocks Amphitheater for the first time. “It was my six-month anniversary and first show for a hometown crowd\,” recalls Lyle. “I’ve got 10\,000 people looking at me like\, ‘Who the hell is that?’\,” he laughs. \nThat night would be chronicled on the fan favorite Live at Red Rocks. In the meantime\, the group maintained a prolific pace of 100 shows per year in support of Totem. Along the way\, The Motet started recording Death or Devotion during intermittent sessions at Scanhope Sound in 2017. \nFor the first time\, Lyle\, Drew\, and Parris (who joined in 2018) worked on a Motet record together from start-to-finish. \n“On Totem\, the train was already moving\, and I was just a train hopper\,” says Lyle.\n“Drew\, Parris\, and I came onboard within the same year. Now\, we’re all bringing our pieces to the puzzle. For me\, I brought that R&B style. Funk is the common ground\, but the music is a result of different inspirations: namely Drew’s hip-hop and reggae knowledge\, Ryan’s psychedelic jamming\, Dave with the worldbeat\, Joey with his encyclopedic understanding of punk\, and Garrett being the best bass player to exist. We found a really cool balance between the funkiness and songs that challenge your emotional headspace more than typical pop.” \nThe Motet Links: Website | Facebook | Twitter | Instagram | SoundCloud | Spotify | YouTube \nMellow Swells Links: Website | Instagram \n\n\n	Related
URL:https://artsorange.org/event/the-motet-speed-of-light-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:20190927T200000
DTEND;TZID=America/New_York:20190928T000000
DTSTAMP:20260524T122900
CREATED:20190915T151042Z
LAST-MODIFIED:20190915T151042Z
UID:11664-1569614400-1569628800@artsorange.org
SUMMARY:RIDE
DESCRIPTION:Andy Bell\, Mark Gardener\, Loz Colbert and Steve Queralt formed Ride in Oxford in 1988. A defining act of the shoegaze scene and signed to Creation Records in 1989\, they went on to release four albums: ‘Nowhere\,’ ‘Going Blank Again\,’ ‘Carnival of Light’ and ‘Tarantula.’ \nAfter a lengthy hiatus\, Ride reformed in 2014. Comprised of Andy Bell\, Mark Gardener\, Loz Colbert\, and Steve Queralt\, the band sold out headline tours around the world to a plethora of critical acclaim\, as well as show stopping turns at festivals including Coachella\, Primavera and Field Day. \nProduced by Erol Alkan\, new album ‘Weather Diaries’ is packed with all the classic elements that made Ride one of the defining bands of the early ’90s. Trembling distortion\, beautiful harmonies\, pounding rhythms\, shimmering soundscapes and great songwriting all combine to make an album that’s ambitious in scope\, timeless and thoroughly addictive. The album is out now through Wichita Recordings and sees the band reunited with label co-founders Dick Green and Mark Bowen\, who worked with Ride during the band’s early years on Creation Records. It also brings the band back together with mixer Alan Moulder (Arctic Monkeys\, Smashing Pumpkins\, The Killers) who mixed their seminal 1990 album ‘Nowhere’ and produced it’s follow up ‘Going Blank Again.’ \nLinks: Website | Facebook | Twitter | Instagram | Spotify \n\n\n	Related
URL:https://artsorange.org/event/ride/
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:20190921T203000
DTEND;TZID=America/New_York:20190922T000000
DTSTAMP:20260524T122900
CREATED:20190915T151033Z
LAST-MODIFIED:20190915T151033Z
UID:11653-1569097800-1569110400@artsorange.org
SUMMARY:Whitney
DESCRIPTION:Whitney make casually melancholic music that combines the wounded drawl of Townes Van Zandt\, the rambunctious energy of Jim Ford\, the stoned affability of Bobby Charles\, the American otherworldliness of The Band\, and the slack groove of early Pavement. Their debut\, Light Upon the Lake\, is due in June on Secretly Canadian\, and it marks the culmination of a short\, but incredibly intense\, creative period for the band. To say that Whitney is more than the sum of its parts would be a criminal understatement. Formed from the core of guitarist Max Kakacek and singing drummer Julien Ehrlich\, the band itself is something bigger\, something visionary\, something neither of them could have accomplished alone. The band itself is something bigger\, something visionary\, something neither of them could have accomplished alone. \nEhrlich had been a member of Unknown Mortal Orchestra\, but left to play drums for the Smith Westerns\, where he met guitarist Kakacek. That group burned brightly but briefly\, disbanding in 2014 and leaving its members adrift. Brief solo careers and side-projects abounded\, but nothing clicked. Making everything seem all the more fraught: both of them were going through especially painful breakups almost simultaneously\, the kind that inspire a million songs\, and they emerged emotionally bruised and lonelier than ever. \nWhitney was born from a series of laidback early-morning songwriting sessions during one of the harshest winters in Chicago history\, after Ehrlich and Kakacek reconnected – first as roommates splitting rent in a small Chicago apartment and later as musical collaborators passing the guitar and the lyrics sheet back and forth. “We approached it as just a fun thing to do. We never wanted to force ourselves to write a song. It just happened very organically. And we were smiling the whole time\, even though some of the songs are pretty sad.” The duo wrote frankly about the break-ups they were enduring and the breakdowns they were trying to avoid. Each served as the other’s most brutal critic and most sympathetic confessor\, a sounding board for the hard truths that were finding their way into new songs like “No Woman” and “Follow\,” a eulogy for Ehrlich’s grandfather. \nIn exorcising their demons they conjured something else\, something much more benign-a third presence\, another personality in the music\, which they gave the name Whitney. They left it singular to emphasize its isolation and loneliness. Says Kakacek\, “We were both writing as this one character\, and whenever we were stuck\, we’d ask\, ‘What would Whitney do in this situation?’ We personified the band name into this person\, and that helped a lot. We wrote the record as though one person were playing everything. We purposefully didn’t add a lot of parts and didn’t bother making everything perfect\, because the character we had in mind wouldn’t do that.” \nIn those imperfections lies the music’s humanity. Whilst they demoed and toured the new songs\, they became more aware of the perfect imperfections of the songs\, and needing to strike the right balance\, they eventually made the trek out to California\, where they recorded with Foxygen frontman and longtime friend\, Jonathan Rado. They slept in tents in Rado’s backyard\, ate the same breakfast every morning at the same diner in the remote\, desolate and completely un-rock n roll San Fernando Valley\, whilst they dreamt of Laurel Canyon\, or maybe The Band’s hideout in Malibu\, or Neil Young’s ranch in Topanga Canyon. \nLinks: Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/whitney/
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:20190920T200000
DTEND;TZID=America/New_York:20190921T000000
DTSTAMP:20260524T122900
CREATED:20190915T151029Z
LAST-MODIFIED:20190915T151029Z
UID:11648-1569009600-1569024000@artsorange.org
SUMMARY:The Fab Four at 55: Across the Universe
DESCRIPTION:Beatles tribute featuring:\nThe Backbeat\, Sam Frazier. Rebecca Newton\, Nancy Middleton\, Jefferson Hart\, Barry Gray\, Glenn Jones\, Lance White\, Steve Eisenstadt\, Jim Roberts\, Tim Smith\, Armand Lenchek\, Mike Nicholson\, Rob Sharer\, Mike Babyak\, Tom Collins-Meltzer\, Charles Latham\, Danny Gotham & many more. \n\n\n	Related
URL:https://artsorange.org/event/the-fab-four-at-55-across-the-universe/
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:20190919T200000
DTEND;TZID=America/New_York:20190920T000000
DTSTAMP:20260524T122900
CREATED:20190915T151028Z
LAST-MODIFIED:20190915T151028Z
UID:11645-1568923200-1568937600@artsorange.org
SUMMARY:Snow Tha Product
DESCRIPTION:Bilingual rapper and singer Claudia Feliciano\, who goes by the name Snow tha Product\, switches between hardened rhymes and bright melodic hooks with an emphasis on the former. Easily mistaken for a drug reference\, Feliciano’s performing alias was inspired instead by Disney character Snow White and the artist’s desire to prevent her musical and personal lives from blurring into one another. Born in San Jose and raised in San Diego\, she appeared as Claudia White on “Alguien\,” a 2009 single by Latin pop artist Jaime Kohen\, prior to basing herself out of the Dallas-Fort Worth area. For several years she was an underground artist\, though she eventually attracted some high-level guest appearances on her mixtape releases\, including the likes of Tech N9ne and Ty Dolla $ign. In 2013\, she went aboveground and started issuing singles for major-label Atlantic\, such as “Play\,” “Doing Fine\,” and “Hola\,” which alternated between pop-oriented material and more aggressive\, lighter-hearted tracks tailored for club play. In 2016\, Atlantic released an eight-track EP\, Half Way There…\, Pt. 1. From there Feliciano had success with a series of singles and featured appearances. 2017 included the viral breakup anthem “Waste of Time\,” as well as “Nuestra Cancion\, Pt. 2\,” both showcasing a smoother and more pop-friendly side of her style. The next year she continued with trappy singles “Help a Bitch Out (featuring O.T. Genasis)\,” “Dale Gas\,” and “Today I Decided” as well as the more lighthearted “Goin’ Off” and “Myself (featuring DRAM).” She ended the year by contributing to several tracks on the VIBE HIGHER mixtape with Castro Escobar\, Lex the Great\, Jandro\, and others. ~ Andy Kellman \nLinks: Website | Facebook | Twitter | Instagram | Spotify | YouTube \n\n\n	Related
URL:https://artsorange.org/event/snow-tha-product/
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:20190918T200000
DTEND;TZID=America/New_York:20190919T000000
DTSTAMP:20260524T122900
CREATED:20190915T151028Z
LAST-MODIFIED:20190915T151028Z
UID:11644-1568836800-1568851200@artsorange.org
SUMMARY:Tinariwen
DESCRIPTION:The new album by Tinariwen could well have been called Exile on Main Street.  But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune\, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox\, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years)\, expanding their audience on all five continents\, becoming one of the latest musical phenomena of truly universal calibre\, the frontiers that encircle their desert home were closing down and double-locking\, forcing them into exile to record this their 8th album.  \nOver the past five years\, their beloved homeland in the Adrar des Ifoghas\, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has\, in effect\, been transformed into a conflict zone\, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time)\, have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home\, they were recorded a long way away from them. And\, as a result of this separation\, at a time when the political\, military and humanitarian situation in the region has never been so critical\, the feelings and the emotions that the band managed to capture on record have never been so vivid.   \nIn October 2014\, making use of a few days off in the middle of a long American tour\, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive\, and since then\, whether in use by P J Harvey or the Foo Fighters\, Iggy Pop or the Arctic Monkeys\, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen\, the geographical location of the studios – lost in the middle of that horizontal desert\, that mineral immensity\, where Man is reminded of his own insignificance in ways that can only\, in the end\, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/tinariwen/
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:20190916T200000
DTEND;TZID=America/New_York:20190917T000000
DTSTAMP:20260524T122900
CREATED:20190915T151027Z
LAST-MODIFIED:20190915T151027Z
UID:11642-1568664000-1568678400@artsorange.org
SUMMARY:Cat Power
DESCRIPTION:There are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power\, Marshall has released music for nearly 25 years now and her prowess as a songwriter\, a producer\, and most notably-as a voice-has only grown more influential with time. On her 10th studio album\, Wanderer\, Marshall resets her dials\, offering a collection of songs that function as pristine examples of her still-evolving creative practice. Held aloft primarily by Marshall’s own guitar and piano\, Wanderer is a collection of winding\, wondering narratives all perfectly imbued with the kind of yearning and warmth that have made her one of the most distinctive and beloved artists of her generation.  \nProduced by Marshall and mixed by Rob Schnapf (Elliott Smith\, Beck)\, the album includes appearances by longtime friends and compatriots\, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey. Wanderer is\, in many ways\, a kind of quintessential Cat Power record\, with Marshall’s clarion voice front and center in a set of songs that are remarkably stark and straightforward. Tracks like “Black” and “Me Voy” have the kind of haunted quality that recall the most emotionally harrowing moments of Moon Pix or You Are Free\, while the elegant lilt of “In Your Face” and the minimalist blues of “You Get” (“You Know there’s nothing like time\, to teach you where you have been” Marshall sings on the latter) have the same kind of playful\, soulful timbre of The Greatest. Meanwhile\, the album also showcases Marshall’s uncanny abilities as one of the great interpreters of songs\, with a stunning version of Rihanna’s “Stay”. “I love the tradition of interpreting songs”\, she says. “I think it’s one of the highest compliments you can pay another artist. It’s one of the great traditions in American music and one of the great pleasures.”  \nWhile Wanderer represents a hard-won stability for Marshall\, it’s also evidence that stability -emotional\, physical\, financial -is often fleeting. It’s a thing that must be cared for\, protected\, and can easily evaporate. Songs like “Robbin Hood” and “Nothing Really Matters” confront duplicity and  hopelessness in equal measure\, examining what it means to be taken advantage of (“Who Robbing\, who robbing who?”) and the nihilism of trying to do the right thing in a world where it often feels as if it truly makes no difference. In stark contrast\, the album’s first single\, “Woman\,” (featuring backing vocals from Lana Del Rey) is a full-throated push back against doubters and critics\, as well as a righteous claiming of space. “The doctor said I was not my past\, he said I was finally free\,” sings Marshall\, “I’m a woman of my word\, or haven’t you heard? My word’s the only thing I’ve ever needed.” Defiant\, unbowed\, and fantastically steadfast\, the song ends with the perfect\, beautiful coda: “I’m a woman.” \nIf old Cat Power records might have easily been viewed as repositories for pain\, Wanderer is\, at its heart\, a testament to the transformative nature of songs\, an album-length imagining of alternate paths\, redemptions\, connections\, and open-ended possibility. This is most evident on “Horizon”\, the album’s emotional centerpiece\, in which Marshall sings about the complicated\, emotionally elastic bonds between family members. For someone whose entire life has been predicated on movement -years of comings and goings with little time to pause and connect – the song offers a bittersweet reconciliation: “You’re on the horizon / I’m on my way / You’re on the horizon / I’m headed the other way.” \n\n\n	Related
URL:https://artsorange.org/event/cat-power/
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:20190914T170000
DTEND;TZID=America/New_York:20190915T000000
DTSTAMP:20260524T122900
CREATED:20190915T151026Z
LAST-MODIFIED:20190915T151026Z
UID:11637-1568480400-1568505600@artsorange.org
SUMMARY:Aid for the Bahamas
DESCRIPTION:Cat’s Cradle will be matching the first $1000 in advance sales and donations! \nThis performance will benefit the following charities:YachtAid Global | World Central Kitchen | American Red Cross \nFree entry \nDonations encouraged ($10 or larger)\nPlease note that there are no ticketing fees on your donation \nAid for the Bahamas\n5:00pm: Flesh Tuxedo / Kid Advay\n6:00pm:  Chris Frisina\n6:30pm: Simone Finally\n7:00pm: Love & Valor\n7:45pm: Matt Southern and Lost Gold\n8:30pm: Dissimilar South\n9:15pm: Gone Ghosts\n10:00pm: Texoma\n10:45pm: Charles Latham & the Borrowed Band \n\n\n	Related
URL:https://artsorange.org/event/aid-for-the-bahamas/
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:20190915T200000
DTEND;TZID=America/New_York:20190916T000000
DTSTAMP:20260524T122900
CREATED:20190816T150937Z
LAST-MODIFIED:20190915T151027Z
UID:10843-1568577600-1568592000@artsorange.org
SUMMARY:Penny & Sparrow
DESCRIPTION:“Almost everything changed for us in these last two years\,” says Andy Baxter\, one half of the acclaimed duo Penny & Sparrow. “It was a painful experience in a lot of ways\, but it was also a joyful one.” \nJoy and pain walk hand in hand on ‘Finch\,’ Penny & Sparrow’s magnificent sixth album. Written during their first major break from the road in years\, the record finds the band reckoning with a prolonged period of intense personal transformation\, a profound awakening that altered their perceptions of masculinity\, sex\, religion\, divorce\, friendship\, vanity\, purpose\, and\, perhaps most importantly\, self. Deeply vulnerable and boldly cinematic\, the resulting songs blur the lines between indie-folk and alt-pop\, with dense string arrangements and atmospheric production underpinning soaring melodies and airtight harmonies from Baxter and his longtime musical partner\, Kyle Jahnke. \nTexas natives\, Baxter and Jahnke first crossed paths at UT Austin\, where they developed both a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody\, Baxter an erudite lyricist with a mesmerizing voice and crystalline falsetto\, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom\,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of James Blake\, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve\,” while The World Café raved that they’ve “steadily built a sound as attentive to detail as Simon & Garfunkel and as open to the present day as Bon Iver\,” and Rolling Stone hailed their catalog as “folk music for Sunday mornings\, quiet evenings\, and all the fragile moments in between.” In addition to the mountain of glowing reviews\, the band also earned high profile fans-including The Civil Wars’ John Paul White\, who produced 2015’s ‘Let A Lover Drown You’-and extensive tour dates with everyone from Josh Ritter and Johnnyswim to Drew Holcomb and Delta Rae. \n\n\n	Related
URL:https://artsorange.org/event/penny-sparrow/
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:20190910T200000
DTEND;TZID=America/New_York:20190911T000000
DTSTAMP:20260524T122900
CREATED:20190815T182432Z
LAST-MODIFIED:20190816T150935Z
UID:10548-1568145600-1568160000@artsorange.org
SUMMARY:Black Pumas
DESCRIPTION:Sometimes\, a mystical\, life-changing connection can be closer than you think.\nIn 2017\, Grammy Award-winning guitarist/producer Adrian Quesada had recorded some instrumentals in his Austin studio\, and he started looking around for a vocalist — he knew a lot of singers\, but he wanted something different. He reached out to friends in Los Angeles\, in London\, but nothing seemed right.  \nMeantime\, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley\, he grew up in church and then got heavily involved in musical theater. He started busking at the Santa Monica pier\, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin — setting up his busking spot on a downtown street corner\, at 6th Street and Congress\, for maximum exposure. \nA mutual friend mentioned Burton to Quesada\, saying that he was the best singer he had ever heard. The two musicians connected\, but Burton took a while to respond (“My friends were like ‘Dude\, you’re a mad man\, you need to hit that guy back!’”) Finally\, he called Quesada\, and started singing to one of the tracks over the phone. “I loved his energy\, his vibe\, and I knew it would be incredible on record\,” he says. “From the moment I heard him on the phone\, I was all about it.” \nThe results of that inauspicious beginning can now be heard on the self-titled debut album from Black Pumas\, the group that Quesada and Burton assembled\, which has become one of the year’s most anticipated projects. Described as “Wu-Tang Clan meets James Brown” by KCRW\, Black Pumas were the winner of Best New Band at the 2019 Austin Music Awards. \nQuesada has a storied reputation from playing in bands like Grupo Fantasma and Brownout\, accompanying artists from Prince to Daniel Johnston\, and producing such acclaimed projects as 2018’s Look at My Soul: The Latin Shade Of Texas Soul. For the tracks that kicked off this project\, though\, he had a different direction in mind. “I was looking for somebody with their own identity\,” says Quesada\, “who liked Neil Young as much as Sam Cooke.” \nBurton’s taste\, range\, and experience proved to be exactly what Quesada was seeking. “We just take to the same kind of music\,” he says. “I listen to East Coast hip-hop\, old soul music\, folk music. When Adrian sent me the songs\, it was like I had already heard them before. We were on the same wavelength from the get-go.” \nThe first day they got together in the studio\, they recorded the dusty funk that would become the Black Pumas’ first two singles\, “Black Moon Rising” and “Fire.” Quesada had written the music for “Black Moon Rising” on the day of the 2017 solar eclipse\, and Burton took that concept and ran with it. “Right away\, the hair stood up on the back of my neck\,” says Quesada. “I knew\, ‘This is it — this is the guy.’” \nBurton sensed the potential\, as well. “When I saw that Adrian played with Prince and had a Grammy\,” he says\, “that he was a serious\, respected artist\, I knew that I would do my best not to squander that. If you can do it on the street\, for a long time\, without making yourself crazy\, you can do it with a guy who’s won a Grammy.”  \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/black-pumas/
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:20190913T213000
DTEND;TZID=America/New_York:20190914T000000
DTSTAMP:20260524T122900
CREATED:20190815T182432Z
LAST-MODIFIED:20190816T150936Z
UID:10550-1568410200-1568419200@artsorange.org
SUMMARY:Who’s Bad: The Ultimate Michael Jackson Tribute Band
DESCRIPTION:Who’s Bad’s live performance is an unrivaled celebration of pop music’s one true King. Their power-packed performance of Michael Jackson’s expansive catalog has ignited crowds on every continent and can only be described as a jaw-dropping\, musical must-see. As the longest-running Michael Jackson tribute band\, and the only one to predate his untimely passing\, Who’s Bad has awed even the skeptics\, selling out nearly 50 venues in the United Kingdom including London’s O2 in December of 2010\, the venue where the King of Pop was slated to end his career with a 50-show “This Is It” concert series. Beyond this unparalleled achievement\, Who’s Bad has checked some of the world’s most famous pavilions off their ‘to-do’ list\, selling out their first tour of China with stops at Ningbo’s Grand Theatre and Hunan Grand Theatre in Chengsha. Never neglecting Michael’s U.S. fans\, Who’s Bad has packed The House of Blues in Houston\, Dallas\, and New Orleans; rocked DC’s 930 Club and returned to their native Chapel Hill\, NC boasting larger\, more eagerly-awaited performances with every romp around the globe. Sold-out shows from Colorado’s Bluebird Theatre  and LA’s Gibson Amphitheatre and Romania’s Sala Palatalui to Teatro do Bourbon Country (Porto Alegre\, Brazil) tell the story: no corner of the earth is safe from this infectious party production. \nWho’s Bad has earned its name by paying studious attention to Michael Jackson’s every original groove and gravity-defying dance move\, boasting over 100 years of professional experience and a team of dancers with resumes that include Broadway productions such as Phantom of the Opera. Vamsi Tadepalli (Who’s Bad founder\, composer\, and saxophonist) assembled a cast of North Carolina’s premiere musicians and\, from Who’s Bad’s inception\, believed in the band’s boundless possibilities.  The velvety vocals and pinpoint choreography of frontmen Joseph Bell and Taalib York’s combined with the six-piece band’s synchronized dance routines\, blaring horns and down-deep rhythms\, results in a performance delivered with soul and precision superseded by no one but the King himself.  They’ve shared stages with the Queen of Soul\, Aretha Franklin\, The Backstreet Boys\, The Four Tops\, Boys II Men\, and hip hop superstar\, Pitbull. Captivated fans include LIVENATION’s Anthony Nicolaidis who calls Who’s Bad\, “the real deal\,” and Michael Jackson’s longtime friend and manager Frank DiLeo who proclaimed after Who’s Bad show in Nashville\, TN\, “the show was great….Michael would have been proud!” \nWhether you idolized the Jackson 5\, fell in love to Human Nature\, or learned to moonwalk to Billie Jean\, Who’s Bad is THE ULTIMATE music-and-dance driven Michael Jackson homage. This band of professionals relentlessly elevate the legacy of pop music’s King\, always pushing themselves to be more precise\, to raise the level of excitement and awe\, while  embodying Michael Jackson’s mission to bring people together of all races\, genders\, and  cultures through music. As the curtain opens on a Who’s Bad performance\, every MJ fan feels the adrenaline\, screams at the sight of that unmistakable silhouette\, and succumbs to a surefire Michael Jackson sing-along. The energy is purely magnetic\, the musicianship is first-rate\, the dance moves deftly inspired. Who’s Bad is a tribute befitting a King and their high-octane execution of MJ’s music and dance has catapulted them to the exclusive rank of Ultimate! \nLinks: Website | Facebook | Twitter | Instagram | YouTube \n\n\n	Related
URL:https://artsorange.org/event/whos-bad-the-ultimate-michael-jackson-tribute-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:20190826T200000
DTEND;TZID=America/New_York:20190827T000000
DTSTAMP:20260524T122900
CREATED:20190815T182419Z
LAST-MODIFIED:20190816T150933Z
UID:10534-1566849600-1566864000@artsorange.org
SUMMARY:WHY?
DESCRIPTION:The final words sung on the sixth album by WHY? are an apt place to begin: “Hold on\, what’s going on?” Because while there’s much familiar about the oddly named Moh Lhean-mastermind Yoni Wolf’s sour-sweet croon\, his deadpan poet’s drawl and ear for stunningly fluid psych-pop-folk-whatever arrangement-a great deal has changed in the four years that’ve passed since 2012’s Mumps\, Etc.\, an LP that honed the band’s orchestral precision and self-deprecating swagger to a fine point. It’s significant that this is the first fully home-recorded WHY? album since the project’s 2003 debut. Made mostly in Wolf’s studio and co-produced by his brother Josiah\, the result is obsessive\, of course\, but also intimate\, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world\, in part\, with a cynical squint\, Wolf here learns a new mode. While Moh Lhean never stoops to outright optimism\, it chronicles our hero finding peace in the unknowing\, trading the wry smirk for a holy shrug\, and looking past corporeal pain for something more cosmic and\, rest assured\, equally weird. \nA low tone opens the album on “This Ole King” as acoustic pluck and upright bass form a Western bedrock beneath Wolf’s fragile voice. But as the song pushes on\, the playing gets brighter and the vocal becomes a mantra-like hum inspired by Ali Farka Touré’s blues\, before rolling into a second part rich with chiming keys and twisting harmony-Brian Wilson’s kaleidoscopic vision of pop. If there’s new litheness here\, it’s probably because Wolf spent much of the time between albums collaborating-with ex/muse Anna Stewart as the fuzz-pop duo Divorcee\, and MC Serengeti as the puckishly depressive Yoni & Geti. And if there’s a lithe newness\, it may be that Wolf excised some nostalgia via his 2014 solo tapes-one re-recording choice raps from his own catalog\, and another covering cuts by artists like Bob Dylan and Pavement. It’s no wonder\, then\, that “The Water” handily morphs a moody folk tune into some strange new form of full-band dub. Or that “One Mississippi” bounces along happily over a flurry of bizarre percussion\, whistled melodies\, and trippy synthesizer blips. Perhaps most impressive is “Consequence of Nonaction\,” which vacillates between a quiet meditation for guitar/voice/clarinet\, and wild\, sax-strewn astral art-funk. \nMovement is a key theme of Moh Lhean. It’s a breakup album without a romantic interest-coded within the lyrics is a tale about fleeing the seductions of a wintry figure for something synonymous with spring. “Easy” plays like a ward against the old ghost who haunts “January February March\,” while “George Washington” places our host in a tiny watercraft\, “paddling for land/hand on heart and heart in hand” as that faceless malevolent force stays ashore. While writing these songs\, Wolf suffered a severe health scare far from home. Rather than drive him to depression\, his brush with mortality imparted an incongruous impression of peace and connection to the living. At the end of “Proactive Evolution\,” wherein WHY? enlists mewithoutYou’s Aaron Weiss to celebrate the stubborn persistence of humankind\, Wolf samples not only thinkers like Sharon Salzberg and Ram Dass\, but his actual doctors-the voices that helped shape his new outlook. Sure\, Wolf poses as many questions as ever. Moh Lhean’s gorgeously psychedelic closer\, “The Barely Blur” with Son Lux\, puzzles over the nature of existence. But rather than leave us with the macabre chill of death\, as many a WHY? LP has\, the song dissolves into the infinite-the sound of the Big Bang. \nLinks: Website | Facebook | Twitter | Instagram \n\n\n	Related
URL:https://artsorange.org/event/why/
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:20190827T200000
DTEND;TZID=America/New_York:20190828T000000
DTSTAMP:20260524T122900
CREATED:20190815T182419Z
LAST-MODIFIED:20190816T150933Z
UID:10535-1566936000-1566950400@artsorange.org
SUMMARY:Electric Hot Tuna
DESCRIPTION:This is a general admission seated show. \nHot Tuna\, Jorma Kaukonen and Jack Casady\, perform with a well-honed and solid power – always in the groove from their years of experience and mutual inspiration. Started as a side project during Jefferson Airplane days\, the constant\, the very definition of Hot Tuna\, has always been Jorma Kaukonen and Jack Casady. The two boyhood pals have never wavered in one of the most enduring friendships in Rock history. \nFrom their days playing together as teenagers in the Washington\, DC area\, through years of inventive Psylodelic rock in San Francisco (1996 Rock and Roll Hall of Fame Inductees)\, to their current acoustic and electric blues sound\, no one has more consistently led American music for the last 50 years than Jorma Kaukonen and Jack Casady\, the founders and continuing core members of Hot Tuna. At the 2016 Grammys\, Jorma Kaukonen and Jack Casady were honored with Lifetime Achievement Awards. \n“Jorma Kaukonen is a force in American music\, equally adept at fingerpicked acoustic folk and blues as he is at wailing on an electric.”  – Acoustic Guitar \nGuitarist and vocalist\, Jorma Kaukonen is a highly respected interpreter of roots music\, blues\, Americana\, and popular rock-and-roll.  Jorma’s repertoire goes far beyond psychedelic rock; he is a music legend and one of the finest singer-songwriters in music. Jorma tours the world bringing his unique styling to old blues while writing new songs of weight and dimension. \n“Jack Casady is virtually unparalleled–and yet he has one of the most truly unique electric-bass voices in rock…he can melt into a supportive role but when opportunity knocks\, he bursts forth with creative lines–both simple and ornate–that are unlike any you’ve heard”  – Premier Guitar \nOne of the most unique innovators in the sixty-year history of the bass guitar\, Jack Casady made his sweeping melodic mark helping to create the “San Francisco Sound” with legendary rock group Jefferson Airplane. Jack went on to track with Jimi Hendrix\, Crosby\, Stills\, Nash & Young\, Warren Zevon\, members of the Grateful Dead\, John Lee Hooker\, and Gov’t Mule. Casady\, regarded as one of rock’s greatest bassists\, is certainly one of its most original. \n“Hot Tuna is a Psychedelic-Blues Institution” – Rolling Stone Magazine \nElectric Hot Tuna Website | Rob Ickes & Trey Hensley Website \n\n\n	Related
URL:https://artsorange.org/event/electric-hot-tuna/
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:20190824T193000
DTEND;TZID=America/New_York:20190825T000000
DTSTAMP:20260524T122900
CREATED:20190815T182404Z
LAST-MODIFIED:20190816T150931Z
UID:10528-1566675000-1566691200@artsorange.org
SUMMARY:Be Loud! ’19
DESCRIPTION:You can buy tickets for the both nights for $40. \nTickets for individual shows are also available – $25 for Friday and $25 for Saturday.  All shows are all ages. And remember all proceeds will go to the Be Loud! Sophie Foundation. \nTickets: Both Nights/Weekend Pass $40 |  Friday Night $25 | Saturday Night $25 \nLadies and gentlemen…it is time to BE LOUD again! \nBe Loud! ’19 is the weekend of August 23 and 24th at Cat’s Cradle in Carrboro\, with all proceeds benefiting the Be Loud! Sophie Foundation. \nThis is our 6th Anniversary show (yes\, we said 6th!) and we’re pleased to announce that Chatham County Line is headlining Friday night with The Old Ceremony\, The Tan & Sober Gentlemen and Alive at 27 rounding out a super fine bill. Saturday night features Preeesh! plays Joe Jackson (Ladd\, Plymale\, Sledge\, Dennis doing songs from the first two Joe Jackson records…more on that below) with Greg Humphreys Electric Trio\, PopUp Chorus and Pajama Day. A great weekend of music! \nMore information over at the website for Be Loud! \nFriday headliner Chatham County Line has been crossing borders musically and literally since they formed in the Triangle in the early ’00s. Call them “newgrass”\, “guerilla bluegrass” or whatever you like…they’ve been at the forefront of an insurgence of Carolina bluegrass and have taken their incredible music throughout the world.  The Old Ceremony are another local treasure who also bend genres\, make incredible records and put on a mighty fine show.  The Tan & Sober Gentlemen produce an avalanche of Scotch-Irish hillbilly insanity they dub “Celtic punk-grass.” Alive at 27 rocked the stage at our annual spring high school showcase and just released their first EP this summer. \nSaturday night features Preeesh!\, a supergroup comprised of John Plymale\, Rob Ladd\, Robert Sledge and Brian Dennis\, who will be performing songs from Look Sharp! and I’m the Man\, Joe Jackson’s first two records from 1979 (which was 40 years ago!). Be Loud regulars will recognize these four from previous festivals and the songs are equally memorable. Greg Humphreys has also played Be Loud before\, fronting Dillon Fence and Hobex\, and we’re thrilled to have his current band the Greg Humphreys Electric Trio come down from New York City to perform this year. Get ready for a little soul\, a little funk and a lot of fun. If you’ve never seen or been involved in a PopUp Chorus show you are in for a treat. The whole audience learns\, rehearses and sings a song in 40 minutes and (drumroll) we’ll be singing Tom Petty’s “American Girl”.  Pajama Day’s indie pop was a big hit at our high school showcase. \nThanks for your support and Be Loud! \n\n\n	Related
URL:https://artsorange.org/event/be-loud-19-2/
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:20190823T193000
DTEND;TZID=America/New_York:20190824T000000
DTSTAMP:20260524T122900
CREATED:20190815T182401Z
LAST-MODIFIED:20190816T150930Z
UID:10525-1566588600-1566604800@artsorange.org
SUMMARY:Be Loud! ’19
DESCRIPTION:You can buy tickets for the both nights for $40. \nTickets for individual shows are also available – $25 for Friday and $25 for Saturday.  All shows are all ages. And remember all proceeds will go to the Be Loud! Sophie Foundation. \nTickets: Both Nights/Weekend Pass $40 |  Friday Night $25 | Saturday Night $25 \nLadies and gentlemen…it is time to BE LOUD again! \nBe Loud! ’19 is the weekend of August 23 and 24th at Cat’s Cradle in Carrboro\, with all proceeds benefiting the Be Loud! Sophie Foundation. \nThis is our 6th Anniversary show (yes\, we said 6th!) and we’re pleased to announce that Chatham County Line is headlining Friday night with The Old Ceremony\, The Tan & Sober Gentlemen and Alive at 27 rounding out a super fine bill. Saturday night features Preeesh! plays Joe Jackson (Ladd\, Plymale\, Sledge\, Dennis doing songs from the first two Joe Jackson records…more on that below) with Greg Humphreys Electric Trio\, PopUp Chorus and Pajama Day. A great weekend of music! \nMore information over at the website for Be Loud! \nFriday headliner Chatham County Line has been crossing borders musically and literally since they formed in the Triangle in the early ’00s. Call them “newgrass”\, “guerilla bluegrass” or whatever you like…they’ve been at the forefront of an insurgence of Carolina bluegrass and have taken their incredible music throughout the world.  The Old Ceremony are another local treasure who also bend genres\, make incredible records and put on a mighty fine show.  The Tan & Sober Gentlemen produce an avalanche of Scotch-Irish hillbilly insanity they dub “Celtic punk-grass.” Alive at 27 rocked the stage at our annual spring high school showcase and just released their first EP this summer. \nSaturday night features Preeesh!\, a supergroup comprised of John Plymale\, Rob Ladd\, Robert Sledge and Brian Dennis\, who will be performing songs from Look Sharp! and I’m the Man\, Joe Jackson’s first two records from 1979 (which was 40 years ago!). Be Loud regulars will recognize these four from previous festivals and the songs are equally memorable. Greg Humphreys has also played Be Loud before\, fronting Dillon Fence and Hobex\, and we’re thrilled to have his current band the Greg Humphreys Electric Trio come down from New York City to perform this year. Get ready for a little soul\, a little funk and a lot of fun. If you’ve never seen or been involved in a PopUp Chorus show you are in for a treat. The whole audience learns\, rehearses and sings a song in 40 minutes and (drumroll) we’ll be singing Tom Petty’s “American Girl”.  Pajama Day’s indie pop was a big hit at our high school showcase. \nThanks for your support and Be Loud! \n\n\n	Related
URL:https://artsorange.org/event/be-loud-19/
LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States
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UID:10523-1566331200-1566345600@artsorange.org
SUMMARY:The Bird and the Bee
DESCRIPTION:Inara George and Greg Kurstin\, alias the bird and the bee\, are an army of two. \nThey listen to everything\, and answer to no one.  \nOver the course of 3 years\, they whiled away scattered afternoons in Greg’s studio in Echo Park\, California\, sequestered in a little world of their own making\, and creating the ten sunshine-drenched\, semi-psychedelic ditties you hold before you.  \nWere these compositions intended for public consumption? Inara and Greg never gave it any thought; they made music together simply for the joy of it. the bird and the bee\, their self-titled debut for Metro Blue Records\, an imprint of Blue Note Records\, is a labor of love. \nIf you know anything about the backgrounds of Inara George and Greg Kurstin\, the accomplishments of the bird and the bee might not seem quite so casual as all that. Both are blessed with extraordinary intuitive musical abilities\, which have been bolstered by years of practice. \nMulti-instrumentalist Greg was a jazz piano prodigy by the time he started shaving; he moved to New York specifically to study with leftist Jaki Byard\, a jazz icon best known as Mingus’ pianist. He returned to Los Angeles and became one of the city’s most well respected musicians\, lending his skills to the likes of Beck and Robert Moog\, as well as writing with and/or producing The Flaming Lips\, Peaches\, and Lily Allen\, to name a few. \nAs for Inara\, she grew up in Los Angeles in a musical household\, the daughter of Lowell George\, frontman of the eclectic ’70s Southern rock band Little Feat. For several years she was in different bands in the Los Angeles area until she began her solo career releasing 2005’s critically acclaimed All Rise. During the making of that record was when Greg and Inara first met. \nIt was through mutual friend and All Rise producer\, Mike Andrews\, that Inara and Greg made a connection. “I like to sing standards\, and Greg likes to play them\,” recalls Inara. “He was working on my record\, and one day\, after a rehearsal\, we hung out near a piano and\, for three or four hours\, played all the old songs we knew.” \nWhen they ran short of material\, it dawned on them to augment the repertoire with a few originals and put their own stamp on the traditions established by the greats who had gone before. Like the Tropicalia revolutionaries of ’60s Brazil\, who both revered and reacted against the traditions of bossa nova\, the bird and the bee wanted to put their own spin on classic pop conventions. \nAlthough they composed as a team\, Inara was responsible for vocals\, while Greg oversaw almost all instrumental parts. Neither party assumed a secondary role; in the creative process\, it was purely give-and-take. “Melodies would dictate chord progressions\, or sometimes vice-versa\, depending on where the vocal part wanted to go\,” recalls Inara. “The writing was almost improvised in nature.” \nThis was a change from many of their other gigs\, especially for Greg; there was no pressure to deliver a hit song\, or capture a signature sound. With the bird and the bee\, any idea was fair game. \nThe first song the duo collaborated on\, “Again & Again\,” became a template for the material to come. Handclaps and tambourines\, a bumblebee bass line\, and Inara’s beguiling vocals blend together in a summery concoction. \nEach of the songs that follows similarly and slyly unveils its own unique charm. \nLinks: Website | Facebook | Twitter | Instagram | Spotify | YouTube \n\n\n	Related
URL:https://artsorange.org/event/the-bird-and-the-bee/
LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States
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DTSTART;TZID=America/New_York:20190819T200000
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UID:10521-1566244800-1566259200@artsorange.org
SUMMARY:Pedro The Lion / mewithoutYou
DESCRIPTION:Capping off a fruitful 12-year long solo career\, David Bazan resurrects both the moniker and mindset of his profoundly influential indie rock outfit\, Pedro The Lion. The band’s new album and Polyvinyl debut\, Phoenix\, marks a return to form as the follow up to their 2004 opus\, Achilles Heel. Phoenix maps out the emotional intricacies of growing up in Arizona with the songs themselves a darkly hopeful introspection into home and what it means to go back\, if you ever can. \nSince their formation in 2001\, mewithoutYou have become a standard-bearer for their genre. Across six full-length albums and a handful of EPs\, the Philadelphia band— alternately labeled experimental punk\, post-hardcore\, indie rock\, etc.—have long put a premium on progression\, never anchoring themselves to a single sound and instead gracefully wandering across stylistic lines. It’s that same spirit that informed the band’s upcoming seventh album [Untitled]\, their second for Run For Cover Records\, as well as its accompanying EP [untitled]. \nPedro The Lion links: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music \nmewithoutYou links: Website | Facebook | Twitter | Instagram | YouTube \n\n\n	Related
URL:https://artsorange.org/event/pedro-the-lion-mewithoutyou/
LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States
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DTSTART;TZID=America/New_York:20191117T200000
DTEND;TZID=America/New_York:20191117T230000
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CREATED:20190812T175149Z
LAST-MODIFIED:20190815T204127Z
UID:9715-1574020800-1574031600@artsorange.org
SUMMARY:Crumb\, Divino Niño\, Shormey
DESCRIPTION:Crumb\, Divino Niño\, Shormey \n\n\n	Related
URL:https://artsorange.org/event/crumb-divino-nino-shormey/
LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States
CATEGORIES:Performance
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DTSTART;TZID=America/New_York:20191023T200000
DTEND;TZID=America/New_York:20191023T230000
DTSTAMP:20260524T122900
CREATED:20190812T175147Z
LAST-MODIFIED:20190815T204603Z
UID:9713-1571860800-1571871600@artsorange.org
SUMMARY:Oh Sees\, Prettiest Eyes\, No Whammy!
DESCRIPTION:Oh Sees\, Prettiest Eyes\, No Whammy! \n\n\n	Related
URL:https://artsorange.org/event/oh-sees-prettiest-eyes-no-whammy/
LOCATION:Cat’s Cradle\, 300 E Main St.\, Carrboro\, NC\, 27510\, United States
CATEGORIES:Performance
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