Vita and the Woolf is the sound of operatic vocals meeting neo-soul synth pop. Driven by the anthemic voice of front woman, Jennifer Pague and supported by the dynamic drumming of Adam Shumski, Vita and the Woolf has been melding cross-genre influences in their powerhouse electronic style since their first EP Fang Song came out in 2014.
The bandâs head-turning live show has since grown to reflect both the range of Pagueâs vocals and the musicâs shape shifting energy.
Originally inspired by the love relationship between novelists Vita Sackville-West and Virginia Woolf, the name âVita and the Woolfâ was chosen while Pague was studying abroad in Europe in 2012. Upon returning to the states and going through a variety of line-up changes, the band has since solidified as a collaboration between Pague and Shumski. In the past year this configuration of Vita and the Woolf has been featured on the Urban Outfitters Music Blog, NYLON Magazine, and other regional and national media outlets as the band gears up for their upcoming album release in 2017.
Stay tuned for more info about âTUNNELSâ, the bandâs new full length record.
Vita and the Woolf recently toured as direct support for Rasputina on a 17-date cross country tour. In addition they have performed at XPoNential Music Festival in 2015 on the same lineup as St. Vincent, My Morning Jacket, and Courtney Barnett. And have opened up for Milk & Bone, Christine Perri & Colbie Caillat, Hamilton Leithauser, and The Parlour Tricks.
Christopher Mark Jones - 'Incantations' CD Release with Special Guest Mark Williams
Christopher Mark Jones brings The Roots Ensemble (Vince Camut, guitar & pedal steel, Mark Perna, bass and Eric Kurtzrock, drums and vocals) and 13 new songs from his fourth release since 2010âIncantationsâback to Club Cafe. Some early returns:
âFrom the simple country storytelling of âField of Dreamsâ to the brooding, bluesy âFire So Soon,â Christopher uses the palate of American roots music to weave his tales of families, lovers, workers, travel and hope.â Robin Greenstein, songwriter.
ââ¦ captivating lyrics, wide-ranging textures and exquisite instrumentation. The tracks incorporate talented accompanists that, like the mix itself, add layers and depth to the recording while still allowing Christopher's voice, lyrics and intricate guitar-playing to shine through.â Larry Berger, Saturday Light Brigade.
âChristopherâs new CD Incantations is filled with the things that make him a Pittsburgh pleasure â comfortable song settings in tight arrangements, brought to life by the Roots Ensemble (Jones and Vince Camut on guitars, pedal steel and banjo, Mark Perna on bass and Mark Weakland on drums and percussion) and several other contributors, all supporting Jonesâ voice as husky and warm as carded wool.â Brian Junker, SongSpace
âChristopher Mark Jones is a bonafide storyteller in the mold of the classic folk troubadour. With Greg Brown's pacing and a Lyle Lovett attitude Jones revels in catchy choruses and solid song structure. Case in point is "Lordstown," which deftly follows a rustbelt family through several generations ending in job losses, college debt, and economic insecurity. With "Incantations" Jones lays out a west coast funk inspired groove to underscore a pointed, dark, and self deprecating autobiography of his genealogical and spiritual coming of age as a white male folksinger. With lines such as, "My mother kept her Christmas cards and the titles to our slaves, wrote Pentecostal histories in which we all were saved," Jones both indicts his privilege and bears it like a curse which has him singing "these incantations, revelations to no one," where his "only hope of happiness is to step right off this earth." There is a hopeful romantic streak on this album as well, highlighted by the tender "Field of Dreams." You'd need to have a heart as cold as a January night on Lake Erie to not feel the warmth of these two lovers.â Ben Shannon, songwriter.
Pittsburgh singer-songwriter Mark Williams will bring his passion and rhythm for an opening set.
KINKY FRIEDMAN: RESURRECTED
Public Demands More Of Governor Of The Heart Of Texas
Kerrville, Texas - Yep, renowned raconteur and Governor Of The Heart Of Texas Kinky Friedman has been resurrected.Â And he's hitting the road to prove it.Â The legendary outlaw country singer/songwriter, novelist and Texas Jewboy's latest cd, The Loneliest Man I Ever Met (Avenue A Records/Thirty Tigers),Â mixing originals with interpretations of the music of his greatest contemporaries, is a hit.Â It has received rave reviews across the board, making it Kinky's best and most popular release ever.Â Yes, the Kinkster has been resurrected.
The Resurrected Tour tour starts in mid-April and will continue to the middle of May.Â Kinky will be performing with his uber sideman, Joe Cirotti.Â Kinky's cd producer, Brian Molnar will be opening the show.Â Kinkster's long time pal, Brian Kanof, will be auctioning off bottles (first half of the tour only) of Man In Black Tequila (which is co-owned by Brian, Kinky and a third party) to benefit Kinky's award-winning animal rescue group Utopia Animal Rescue Ranch.
Nobody could invent a character quite likeÂ Kinky Friedman, the stogie-waving, black-hat-wearing Texas Jewboy singer, storyteller, tequila purveyor, animal rescuer and full-time iconoclast.
But what he hadn't done in 39 years was write brand new songs and record a new studio album around them. Friedman'sÂ The Loneliest Man I Ever Met, has to have been one of the longest-awaited follow-ups in recent memory. Not that fans have complained; the continued popularity of tunes such as Sold American, Nashville Casualty and Life and Ride 'Em Jewboy (the Holocaust-referencing song that soothed Nelson Mandela in prison) prove Kinky is that rare talent whose work withstands the test of time. Friedman still delivers those songs - interspersed with his inimitable blend of politically incorrect quips, jokes and tales both tall and true - to appreciative audiences around the world.
And new chapters of Kinky's fable life are just around the corner - literally.Â Coming soon from Backbeat Books will be Mary Lou Sullivan's comprehensive Kinky bio (holy cow: 450+ pages!) and a brand new book by Kinky about Bob Dylan, which is not so much a biography as a group of "tales from the Bob."Â To top it off, Kinky has nearly a dozen more brand new tunes for a follow up cd.Â There are simply more sentiments he needs to express - his own and those of what country music was all about, according to Kinky, before it came "homogenized and trivialized and sanitized."
Railing against such perceived evils - whether cultural, political, social or in any other realm of human experience - is one of Friedman's favorite pastimes, which is why he callsÂ Warren Zevon's My Shit's Fucked Up possibly that album's most important song. The late Zevon wrote it as a commentary on his own failing health, but Friedman finds it a perfect allegory for the current state of world affairs. As a man who has traveled much of the planet, quotes Winston Churchill, and calls two presidents pals, he's in a position to know.
And on tour Kinky will be, traveling from village to village, perhaps proving the truth of resurrection itself, definitely railing against evil.Â Upon his return from the road, Kinky will dive into that next cd recording project.Â To be titled Zoey, it should be available in late 2017.Â "Maybe I'll just have to stick with songwriting," he says, stifling a sigh.
(Late Show) Steeltown Horns with Special Guest Gene Stovall
"The Steeltown Horns band is Pittsburgh's premier instrumental funk band playing powerful original and classic funky instrumentals, and featuring a truly all star lineup. The eight piece band is fronted by the three man international touring horn section The Steeltown Horns: Reggie Watkins - trombone, Rick Matt - saxophone, and JD Chaisson - trumpet. The group also features many of the areas most talented musicians including iconic drummer Poogie Bell. The other members are Anton Defade - bass, Anthony Ambroso - guitar, Justin Bechak - Keys, and David Glover - percussion. The band made a big splash on the Pittsburgh scene when they formed in 2016 and played the official Feastival afterparty, several well attended shows at The Rex Theater, and finishing off the year at First Night Pittsburgh in Downtown Pittsburgh. The group has recently hit the studio and is currently producing their first studio EP."
O'Hara EP Release & Farewell Show with special guests Some Kind of Animal, Searights, Portrait People, Johnny Wall
Acid Mothers Temple & The Melting Paraiso U.F.O.
Formed in 1995 by Makoto Kawabata at the same time as the Acid Mothers Temple Soul Collective. The group released its debut album in 1997 on PSF Records (Japan), and it was selected as one of the year's best albums in the The Wire magazine (UK). In 1998 the group played their first tours of the US and Europe. Since then the group has released a huge number of albums on labels from many different countries. As of 2017, the group has released around 80 albums. Every year since 1998, they have toured extensively in the US and Europe, and more recently have started performing around Asia and in Japan too.
The group has performed in collaboration with many musicians including psychedelic originators Gong and Guru Guru, Simeon (Silver Apples), Nik Turner (Hawkwind), and the Occitanian trad sinder Rosina de Peira. Japanese collaborators have included Afrirampo, Tatsuya Yoshida (Ruins), Maso Yamazaki (Masonna), Seiichi Yamamoto (Boredoms), Jun Kuriyama (The Ox), and many others.
To begin with the group had a floating line-up with contributions from many members of the AMT Soul Collective. But as tours became more frequent, the group began to coalesce around a core touring line-up. Other bands were created with Acid Mothers Temple as part of their name (AMT & The Cosmic Inferno, AMT SWR, AMT & The Space Paranoid, Acid Mothers Gong, Acid Mothers Guru Guru, etc.), but AMT & The Melting Paraiso U.F.O. has continued to function as the mothership and main lineage for all our activities.
In 2016, 21 years since the group's founding, there was a major shift in the line-up and "Next Generation" was added to the name. We now view the first 20 years as chapter one in our story, and we are now turning the page to start chapter two. The current touring line-up is: Makoto Kawabata (the sole original member), Hiroshi Higashi, Mitsuko☆Tabata, Nani Satoshima, and S/T.
Pissed Jeans with Special Guests S.L.I.P. and Peace Talks
Dave Alvin, Grammy Award winning singer-songwriter and self-described âbarroom guitarist," is widely considered to be one of the pivotal founders of the current Americana music scene. A fourth generation Californian, Dave Alvin grew up in Downey, California as the local landscape quickly evolved from orange groves and dairy farms to tract homes and freeways.
Since forming the highly influential roots rock/R+B band The Blasters, with his brother Phil in 1979, and throughout his long and critically acclaimed solo career, Dave Alvin has mixed his varied musical and literary influences into his own unique, updated version of traditional American music. Combining elements of blues, folk, R+B, rockabilly, Bakersfield country and garage rock and roll with lyrical inspiration from local writers and poets like Raymond Chandler, Gerald Locklin and Charles Bukowski, Alvin says that his songs are "just like California. A big, messy melting pot."
Dave Alvin's songs have been recorded by a who's who of contemporary roots artists from Los Lobos, Little Milton, Robert Earl Keen, Marshal Crenshaw and Joe Ely to Dwight Yoakam, James McMurtry, Buckwheat Zydeco, Alejandro Escovedo and X. His songs have also been featured in many movies and television shows including Justified, The Sopranos, True Blood, The Wire, Six Feet Under, Crybaby, Miss Congeniality and From Dusk To Dawn.
Welcome to Night Vale with Special Musical Guest Erin McKeown
WELCOME TO NIGHT VALE is a twice-monthly podcast in the style of community updates for the small desert town of Night Vale, featuring local weather, news, announcements from the Sheriff's Secret Police, mysterious lights in the night sky, dark hooded figures with unknowable powers, and cultural events.
Turn on your radio and hide.
Written by Joseph Fink and Jeffrey Cranor. Narrated by Cecil Baldwin. Music by Disparition. Logo by Rob Wilson.
"A geeky cultural gem" â CBC
"Incredible, spooky, funny, and monumentally charming" â BoingBoing
Maybird was born in the summer of 2013 when singer/songwriter Josh Netsky performed at a small concert in the woods of upstate New York called the Stone Mill gathering. It was there that serendipity brought Netsky and his brother (drummer) Adam Netsky together with long-time guitarist Sam Snyder and new addition Kurt Johnson â and things clicked.
Mostly recorded in the basement studio at the Stone Mill, as well as various apartments in the Rochester area, their debut âTurning Into Waterâ EP paints a picture of the sonic array that resulted from that night. The track âBig Sun Explosionâ was discovered by Danger Mouse and released on his label 30th Century Recordâs first compilation in late 2015. The EPâs release followed shortly after. Currently, the band is recording a follow up LP and exploring some new sounds.
Northeast native Parker McKay is a soul-bearing, country pop/rock singer-songwriter. Influenced by everyone from Sheryl Crow to Aerosmith to Shania Twain, her career got its official start after Parker attracted the attention of booking giant Live Nation. Now Nashville-based, she released her debut, self-titled EP in August 2016 - some of which co-written with up-and-comer Lucie Silvas. In November 2016, the video for the first single "Rolling Stone" premiered exclusively with Rolling Stone and Rolling Stone Country. Parkerâs currently in the studio recording new material for her upcoming project, due out later this year.
Parker press quote - "rootsy, heartland version of new wave rock with a feather-soft vocal delivery" -Rolling Stone
It's hard to tell whether Frank Vieira found country music, or whether country found him, but there's no denying it's a perfect fit.
Born on Valentine's Day, 1990, in Schenectady, N.Y., Frank has put his heart into everything he's ever done. As he climbs his way up the country music ladder, you can hear the passion in his voice and see it in his face when he performs, from the heartfelt, " Iâm Right Here," to the everyman anthem, "Fill it Up." Songs that have lead to performances with national acts Dierks Bentley, Lady Antebellum, Marshall Tucker Band, Leon Russell, Craig Campbell, High Valley, and others. Frank's sophomore EP set to release in June reflects maturity as a songwriter and performer.
Maybe everyone should have seen this passion for country music coming, since Frank's perfect day has always included a fishing pole and a large mouth bass. But for 18 years, that passion took a backseat to different dreams. Since his first years of grade school, he played competitive football, hockey and baseball -- sports that would carry him through high school. Before he picked up his first guitar, he was a promising young quarterback and a hockey player who would go on to be a three-time high school all-star and play a year at the junior level.
However, senior year at Vestal High School -- and one class -- started to change everything. Kevin LaDue's guitar-making course was just too cool to pass up. Frank loved the idea of building his own guitar, piece-by-piece, one class session at a time. This wasn't a kit, this was hand craftsmanship right down to the finish, carefully monitored by LaDue, who had conducted this class for years. And by spring, Frank -- and each of his classmates -- had built an honest-to-goodness acoustic guitar, one that couldn't have sounded more perfect.
Frank describes it this way: "A little left of center, would describe my path into music. I grew up with no interest, no desire, to ever do anything musically, until my senior year In high school, where we were offered an elective to build an acoustic guitar ... I took the class, fell in love with the guitar, and haven't put it down since."
The Whistles & The Bells with Special Guests Ryan Hoffman & Bindley Hardware Co.
"I wanted to make a record that sounded like some great cosmic dinner party," explains Bryan Simpson (aka The Whistles & the Bells) of his sophomore LP fittingly dubbed Modern Plagues. "Not a gross, homogenized one where people bludgeon their intellect with one-sided conversation but more of a 'if you could invite four people from history over for dinner who would it be?' kind of shindig. Where some strange collection of human heavyweights sit around discussing the odd pilgrimage that is life. I wanted to sonically interpret what a cosmic intersection of such varied DNA might sound like. Except fast forward the evening past the pretense and the niceties of the appetizer course and push record as the party polishes off the last drop of an encore bottle of wine."
Modern Plagues' 11 expansive tracks find singer / songwriter / producer / multi-instrumentalist Simpson delivering eye-opening lyrical insights and audacious verbal imagery, while displaying a freewheeling sonic sensibility that draws inspiration from a bottomless well of genres and textures. Collaborations with The Raconteurs' Brendan Benson resulted in such out-of-the-box tunes as "Harry Potter," "Small Time Criminals," and "Zombie Heartz," where Simpson's revealing lyrics and richly compelling soundscapes mix to create a singular, personally-charged vision of organized chaos. This extends to remarkably candid tracks like "Year of the Freakout" and "Playing God" when Simpson's satirical observations call into question how we all cope with the turbulent times in which we live; and, more introspectively, to songs such as "Good Drugs" and "Highlight Reel" that sonically grasp, and for that matter, celebrate the fragility and ferocity of man. As the album culminates with the funky, almost playful, apocalyptic closer "40 Years," Modern Plagues leaves no deadly sin untouched, no false idol unexposed.
"I wanted to make an immediate record, one that people would get from the first listen," asserts the Nashville-based Fort Worth native. "I was dead set on not making some kind of 'ninja' record, where the enjoyable bloodletting doesn't begin until the fourth listen when it sneaks up out of nowhere and cuts your throat. I wanted to make something more forthright, more honest. I've made records that are slower to blossom, and some of my favorite records are like that. But I wanted this one to jump out and make its point. I want listeners to be able to imagine and feel the spirit of a night where the air is thick with cigar smoke and opinions, brazen jokes and deep truths. With the whimsical, the mundane, and the transcendent all sharing the same bed of nails."
Simpson's route to Modern Plagues has been an unconventional one. Prior to launching The Whistles & the Bells, he had already won substantial success as a bluegrass mandolinist, serving a seven-year, three-album stint with the acclaimed progressive-bluegrass quartet Cadillac Sky. That group was broad-minded enough to collaborate with both bluegrass icon Ricky Skaggs and the Black Keys' Dan Auerbach, which eventually led to an in-demand spot on Mumford and Sons' 2010 North American Tour. Meanwhile, Simpson also carved out a lucrative sideline as a mainstream country songwriter, composing hit tunes for the likes of Tim McGraw, Blake Shelton and George Strait.
With those achievements under his belt, a long-gestating musical and spiritual awakening pushed Simpson in a more iconoclastic direction, resulting in The Whistles & the Bells' independently released self-titled 2014 debut. That album chronicled the artist's bold reassessment of his personal and creative choices, and struck a responsive chord with those fortunate enough to hear it, winning acclaim from such notable outlets as Rolling Stone and American Songwriter.
"I don't necessarily feel like this is me, but it's a portion of me that I'm willing to unveil and explore, "Simpson notes. "I could say, 'Go listen to that Bryan Simpson record,' but that idea is just confusing to me. I don't know what Bryan Simpson sounds like, but I'm starting to understand what The Whistles & the Bells sounds like. It's more of an idea than an identity, and I had to get to a certain point in my life where I had the keys to unlock that vault."
The Whistles & The Bells' debut effort won an impressive amount of attention for an indie release, leading to Simpson's current deal with New West Records, which gave the first album a national release and set the stage for Modern Plagues.
"The first record was about spiritual transformation, and about me coming to a place of recognition of my own humanity and a better understanding of my place in the universe," Simpson says. "And as much as it has liberated me elsewhere in my life, perhaps the greatest tangible increase has been creatively. I know the record that I probably should have made. The sophomore record that would have been a much easier transition for everybody involved. But we kept asking ourselves: what record CAN we make?! If there's a sound or an idea we hear, why not chase it? I want to continue to stir up conversations within myself, and within the people who listen to the music."
For Modern Plagues, Simpson collaborated with co-producer/engineer Eddie Spear (Judah & the Lion, Lake Street Dive, Rival Sons), and a crew of like-minded players, including his longtime cohort and former Cadillac Sky member Matt Menefee. In addition to co-writing "Year of the Freakout," Menefee plays banjo, electric guitar, synthesizer, piano and mandocello on the album. Also contributing to the sessions are rising singer/songwriters Brooke Waggoner and Phoebe Cryar, who trade co-lead vocals with Simpson on "Supadope." Many of the album's players will join Simpson when he takes Modern Plagues on the road.
"My cosmic dinner party might have ultimately turned out a little more like a muggy Saturday night in Coney Island with Soren Kierkegaard and Malcolm Muggeridge eating hot dogs and nervously climbing in for a second ride on the Tilt-A-Whirl only to exit 40 minutes later the best kind of woozy." Simpson divulges while reflecting upon the finished work. "But this record is where I openly embrace the weirdness of my existence. Eleven songs, till death do us part. Hope it does something to ya."
The Orbiting Human Circus featuring The Music Tapes
The Air Sex Championships is an event that routinely sells out shows all over the country. It's a comedy show that appeals to the voyeur in all of us. It's a competition where the audience is invested in the outcome. It's a safe, respectful, and thought-provoking show about how awesome sex is.
Air Sex was born in 2008 at the Alamo Drafthouse in Austin, TX. Once comedian Chris Trew (Comedy Central, Americaâs Got Talent) discovered Air Sex, he immediately transformed from a casual competitor to the show's host/producer, giving the show a unique format, flavor, and creating a cheap, spectacular touring live experience.
The show itself is simple - roughly a dozen competitors pretend to make love onstage with a partner who isn't there while a panel of comedians/sex experts/celebrities judge their performances. The judges choose three people (sometimes four in the case of a tie) to move on to the final round. Then all three must perform to mystery songs and a winner is chosen by the audienceâs cheers. No nudity, no physical contact with another person onstage.
A non-traditional concept for any live-performance or music venue, the Air Sex World Championships quickly became one of the hottest tickets in whatever town it rolled through. People of all ages (over 21 of course), genders, nationalities, religions, and sexual orientations signed up, cobbled together embarrassing or hilarious routines, and people's minds were blown.
As the brand built and spread, more and more fans started taking the competition seriously, crafting elaborate costumes and choreographed routines â some are silly and bizarre and others feel like you're watching an extremely intimate, private moment that you shouldn't be seeing. Yet, because anyone can compete (karaoke-style), sometimes a drunk, rowdy onlooker hops up onstage and blows all of the well-practiced competition out of the water. And that's what makes Air Sex so fun, enigmatic, and unpredictable.
Clap Your Hands Say Yeah With Special Guest Laura Gibson
Like previous Clap Your Hands Say Yeah records, The Tourist nods to Ounsworth's musical heroes-a group that includes artists such as John Cale, Robert Wyatt, Tom Waits and Nick Cave. However, this album also shows a natural progression from previous records. "Better Off" and "The Vanity Of Trying" are lush, keyboard-augmented songs, while "A Chance To Cure" and "Ambulance Chaser" are rhythmically askew, and the sighing "Loose Ends" is delicate, acoustic-based folk-rock.
The Tourist emerged from a period where Ounsworth was doing a lot of intense soul-searching, and processing personal events that irrevocably shaped his life and future. But although most of these songs came together during this time of reflection, he considers the record to be cathartic-an exhale of sorts, rather than a collection of songs where he was indulging in self-pity or letting things stagnate or fester.
Appropriately, The Tourist's lyrics reflect how complex upheaval can be ("We can beat around this bush together/Sometimes it's all I think of/Other times I can forget") and explore the imperfect nature of blame ("The car left the road and was found without its mirrors/You play the victim/And I'll play the blind man"). Other songs try to make sense of the present time ("Now that the past is on fire/How can I look around and find I can't remember who I was") or employ clever wordplay- "Black cat let's not split hairs/I'm tethered to the weather/I assure I don't care about no lucky streak"-for effect.
Ounsworth spent about a week recording The Tourist at Dr. Dog's Philadelphia-based studio with a drummer and bassist. After that, he and engineer Nick Krill spent a few months "tidying things up" and recording additional embellishments: backup vocals, keyboards, guitars and more percussion. That gives The Tourist more of a band feel than the last album, and contributes to why the record possesses a musical lightness. The dreamy opening track "The Pilot" especially has a lilting edge, courtesy of Smiths-reminiscent acoustic guitars strums and Ounsworth's hiccupping, conspiratorial vocals.
The Tourist was then mixed by Dave Fridmann, who also worked on two previous Clap Your Hands Say Yeah albums, 2007's Some Loud Thunder and 2014's Only Run. Ounsworth says he and Fridmann are on the same musical wavelength, which makes their long-time working relationship an anchor of sorts. "Dave and I don't necessarily stick with what's easiest which is fine and anxiety-inducing, in a good way," he says. "He challenges me to do something a little bit different."
"I am a relatively solitary person and seem to work best alone," he says. "I do count on others to help the project as the process of making and releasing an album moves forward, but if it doesn't match what I have in mind, it's hard for me to really be there for it. I guess this is one reason why the project has been independent all this time. Trust me, I understand that thinking this way is both an asset and a liability."
However, this stubborn independence also reflects Ounsworth's commitment to musical integrity. Clap Your Hands Say Yeah's career arc is all about building on previous successes while staying true to a core artistic vision. And although The Tourist may have emerged from challenging times, it reflects Ounsworth's uncanny ability to move forward, no matter what the circumstances.
"I'd rather not say that it was a dark time, but it was a difficult time in my life-among the most difficult," he says. "But I needed and need to try to let it go. And this is how I let things go. Though it's the same for any album-this one probably more than the others.
"But I have to try to do something each time that's new and engaging for me," he adds. "I mean, I could very well just write songs the way they were early on. But I don't think that people would appreciate listening to someone just going through the motions. We have to build something to last, rather than just build it because it looks good at the moment."
â Annie Zeleski
Devin Townsend Project with Special Guests Thank You Scientist and ONI
Blending a soulful sound with bright pop-piano sty lings, Nick Barilla brings an inspiring and uplifting experience to every stage he performs on. His passion shines through his outgoing personality, and his genuine likeability connects with audiences of all ages. Barilla sings about love, life, and heartbreak, often stemming from personal experiences, and aims to stay true to himself. Uniquely marketable and relatable, Nick Barilla seeks to influence the future of live music one song at a time.
(Late Show) Opus One and Puzzlepax Present Lex Fest I featuring Matt Pavich, Christina Galston, Mike Sasson, Ossia Dwyer, Alex Homyak and Hosted By Norlex Belma
An epoch is defined as an extended period of time typically characterized by a distinctive development or by a memorable series of events, and Scott Hansen, leader of the band Tycho, has named their new album Epoch (Ghostly International) with that in mind. The last installment in a trilogy, Epoch is the culmination of more than a decadeâs work that has seen the band evolving and maturing through two sublime releases Dive (2011) and Awake (2014), and developing from featuring Hansen as a delicate solo performer into the iconic frontman of a powerful multi-layered live band performing on the worldâs largest stages.