Cat’s Cradle Back Room

3rd Annual Carrboro Django Reinhardt Festival Saturday, January 18th, 2020 11am – 12:30pm = Workshop #2 = Dave Smith guitar workshop. Open to ages 12+, must be fairly proficient at your instrument, but no experience in the style is necessary.

3rd Annual Carrboro Django Reinhardt Festival Saturday, January 18th, 2020 11am – 12:30pm = Workshop #1 = Gabriel Pelli violin workshop. Open to ages 12+, must be fairly proficient at your instrument, but no experience in the style is necessary.

Born out of the house show scene in Philadelphia, Mo Lowda & the Humble is an indie rock band that has since evolved into a nationally and internationally touring act. Coming off of their latest full-length release, ‘Creatures’ (2018), the band averages 100+ tour dates a year, including festivals like Firefly, Peach Fest, Mountain Jam, and more. Their tight grooves provide the foundation for textural guitars and memorable vocal melodies. Toeing the line between precision and spontaneity, the band creates a unique, interactive experience every time they hit the stage. They might go to the bar with you after the show… but be cool, man. They’re currently working on their third full-length album. Links: Website | Facebook | Twitter | Instagram | YouTube

Yan Westerlund is the composer and drummer of Quetico. Collaborators include Matt “Skinner” Peterson, Mark Paulson on keyboards, and Matt Douglas on reeds. Yan’s other collaborative bands include Canine Heart Sounds and Yandrew. His present/past touring bands have included: Mipso, Basia Bulat, Bowerbirds, Lost In The Trees, Grandma Sparrow, and Mount Moriah. Links: Website | Facebook | Twitter | Instagram | Bandcamp | SoundCloud | Spotify | YouTube | Apple Music

Uniontown — The Honey Pumpkins — Idle Hand No cover, but donations are encouraged

Zebbler Encanti Experience (aka “ZEE”) is an audio/visual collaboration between video artist Zebbler and electronic music producer Encanti, based out of Boston, USA and Valencia, Spain. The Experience is an immersive performance of mapped visuals on three custom winged projection screens, synchronized with heavy peak-hour psychedelic bass music, resulting in the creation of a fantasy world for audiences to lose themselves in. ZEE have seen a considerable amount of road time in the last few years, serving as integral members of multiple tour teams. The architect behind the projection mapped projects for Shpongle and EOTO, and assisting with Infected Mushroom’s stage construction, Zebbler has toured the United States nonstop producing visual shows and performing as a VJ at hundreds of high profile events. In addition to ZEE performing as direct touring support for EOTO in venues throughout the country, and performing in Shpongle Live band during their first few shows in the United States, Encanti has carved out some time to teach electronic music production to graduate students in Valencia, Spain wing of Berklee College of Music. Links: Website | Facebook | Instagram | SoundCloud

Beach Bunny is the singer-songwriter project and stage name of Lili Trifilio, with tunes reminiscent of alt-pop and “sadgirl” music, beginning in 2015. Adding musicians Matt Henkels (guitar), Jon Alvarado (drums), and Anthony Vaccaro (bass) to her live performances in 2017, Beach Bunny is a Chicago act you don’t want to miss. From people falling head over heels for Lili’s sweet voice and catchy composition style, her latest release Crybaby took Chicago by storm. Drawing inspiration from heartache, her brother fighting cancer, struggles of being a female in the scene, and everyday obstacles – you can listen to Beach Bunny on almost every streaming platform. Described as “Zooey-Deschanel-meets-the-Beach-Boys-type vibe” by Crafted, stay tuned for what’s to come from Beach Bunny this year.

Songwriters. Singers. Multi-instrumentalists. Brothers. At only 26, twins Eric Travers and Kyle Travers have been writing songs and stunning live audiences for well over half their lifetime. Presenting soulful, bluesy, rock n’ roll spun in psychedelic jam, Travers Brothership; also including singer, bassist, songwriter, Josh Clark, and keyboardist, songwriter, percussionist, Ian McIsaac, create a fierce and balanced team, strengthened by the 13 years they’ve spent together on and off the road. The band first met in 2007 on a school bus in the Blue Ridge Mountains of Western North Carolina. Soon after the Travers twins were invited by Josh and Ian to get off at their bus stop for a jam in Josh’s garage, little did they know this was history in the making. After numerous jams and a few lessons from Eric and Kyle’s father (and veteran touring musician) “Hurricane” Bob Travers, Travers Brothership was formed in 2012. With over 400+ shows across the United States and Europe under their belts, the band has become a well oiled machine, performing alongside acts such as; Gov’t Mule, Taj Mahal, J.J. Grey & Mofro, Moe., Kyle Hollingsworth Band, Blues Traveler, Charles Bradley, Leftover Salmon,The Marcus King Band, Dr. John, and many more. Travers Brothership are consummate musicians and live music aficionados with a deep understanding of their preferred genres. Utilizing the band’s unmatched live energy, they create a concert atmosphere that transforms an audience into a community and their enthusiasm, gusto, and talents carry the day. In 2018 Travers Brothership brought their instrumental prowess and tasteful songwriting to Echo Mountain Recording Studios and The Eagle Room in their hometown of Asheville, NC. The result, “Let The World Decide” adds to their already abundant catalogue, and sets a new bar for the band musically. “Travers Brothership ripped into seemingly every stage at FloydFest, with guitarist Kyle Travers displaying raw talent and six-string exploration in equal measure. Alongside his twin brother, drummer Eric Travers, the siblings and their two childhood friends revealed a mature sense of self.” – Rolling Stone (2019) “Travers Brothership, is captivating audiences across the United States.” – Relix Magazine (2017) Links: Website | Facebook | Twitter | Instagram | YouTube

Raleigh-based Thirsty Curses is garage rock outfit formed in 2017 as a vehicle for singer-songwriter Wilson Getchell’s material. Thirsty Curses is comprised of Wilson Getchell (vocals, guitar, piano) and Kelley Otwell (lead guitar), Phillip Harrington (drums), and Claytron Herring(bass). Thirsty Curses’ sound covers a fast array of rock ‘n roll subgenres including punk, folk, country, prog rock, 90s alternative, and pop. 
 Indeed, as was noted by Alternative Addiction in their review of the band’s sophomore record All Shook Up (2018), “the band has an eclectic sound that touches on everything from punk rock to folk. They sound like a cross between the Avett Brothers and Rise Against. On their new album that diverse sound is delightfully all over the place.” Dying Scene online music mag similarly raved
 “As schizophrenic as their genre influences seems to be, the one common denominator is that I dig every single track I’m hearing.” Thirsty Curses Links: Website | Facebook Sick Ride Links: Website | Facebook Housterino Links: Facebook

“King Buffalo is a psychedelic trio in the classic format of bass, drums, and guitar, whose expansive and thunderous music is anything but easily definable. Formed by three long-standing members of the blooming Rochester, NY rock scene, King Buffalo gathered in September of 2013 to start working on a new musical collaboration in a heavy rock vein. Their efforts spawned a demo release and several splits and one-offs which, coupled with their impressive live show, quickly gained them an international audience. Nearly exactly three years after their formation, written during and out of jam sessions, (King Buffalo released Orion)… nine tracks that are texturally rich and oozing with psychedelic goodness, yet honed and driving in the next blink of an eye. Lush, shimmering melodies á la Dead Meadow and free-flowing grooves… with the full force of fuzzed-out stoner rock riffs, all coinciding organically. Impressively, King Buffalo’s focus extends beyond composition and into the technical realm; Orion was recorded entirely by the band in the very same rehearsal room that played host to the songs’ creation.” – Sludgelord “The question of how… heavy psych upstart trio King Buffalo will follow-up their debut full-length, Orion, is answered in the form of the three-track Repeater EP. In the year-plus since the album’s first, (self-)release in 2016, the three-piece of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson signed to Stickman Records and oversaw an official issue of the record and have toured Stateside with All Them Witches and in Europe alongside labelmates Elder, and the EP brings three new cuts that represent the first new music they’ve produced following this productive time. It is 24 minutes of material, and more than 13 of that resides within the opening title-track (also the longest of the set; immediate points), but in terms of flow and conveying a sense of how their progression is unfolding, Repeater feels like the first chapter in a larger story more than a standalone offering. That is to say, the vibe is more mini-album than single-song showcase for throwaways or “extras” from a recording session. Part of that may of course owe to the fluidity in King Buffalo’s approach overall, which was certainly a factor on Orion and just as certainly hasn’t at all been diminished by the stretches of time they’ve spent on the road, but there’s a perceptible resounding in the molten aspects of “Repeater,” “Too Little too Late” and “Centurion” that underlines the purposefulness with which King Buffalo engage such an open feel in what they do. Jamming is a crucial part of it at their foundation, but as far out as they go, their chemistry is put to use in servicing a song, even in something as vast as “Repeater” itself, which is their longest single track to-date. I don’t know and won’t try to speculate where King Buffalo might go with their sophomore full-length when the time comes for it, how they might continue to grow, what they might push toward in terms of arrangements or execution or general sound, but Repeater finds them brimming with confidence both as individuals and as a unit, and their songwriting here hits a new level of craftsmanship that only raises one’s hopes even after such an impressive debut long-player. The question isn’t so much whether King Buffalo are prepared for their next step as it is whether their audience is ready to realize the special moment playing out in front of them.” – The Obelisk Links: Website | Facebook | Twitter | Instagram | Bandcamp