The Roots Ensemble is Christopherâs performance group in Southwestern Pennsylvania and does originals from his five albums. Christopher has busked in Paris, toured Europe and the U.S. as a songwriter, and led bands in London, Boston and Pittsburgh. Members of the Roots Ensemble include Vince Camut (electric and pedal steel guitars), Eric Kurtzrock (drums and vocals) and Jim Spears (bass).
Guy Russo (formerly half of Broken Fences) will bring his intricate guitar work, spiritual take on existence and his high lonesome voice to start the evening.
(Late Show) The Princess Jafar Hour Featuring Gia Gunn
In the world of bluegrass and folk, where the collaborative possibilities are endless, what draws some musicians together in formal collaborations is hard to pinpoint. For Joe K. Walsh, Grant Gordy, and Danny Barnes, a newly formed bi-coastal trio, curiosity is the rule, and tunes are just a starting point. âWe approach every tune with an open attitude everyday. Thereâs a sort of tacit undiscussed flexibility that we all honor when we play togetherâ, explains Walsh. For three musicians who have vibrant solo careers, as well as multifaceted musical collaborations under their belts, the trio has sparked a new level of creative inspiration, a venue to push and pull, learning and speaking with one another through improvisation. âWe are in some ways three very different musical pieces, but the thing that unites us is a deep respect and affinity for anybody who is improvising,â says Walsh. The trio is anchored by banjo player and singer/songwriter Danny Barnes. Barnes is best known as the frontman of the Bad Livers, for his collaborations with Dave Matthews and Bill Frisell, and as the 2015 winner of the Steve Martin Prize for Excellence in Banjo and Bluegrass. He is an innovative banjo player and songwriter originally from Texas whose solo album âPizza Bozâ, garnered him a sort of cult following, and led Sam Bush to describe him as âThe Great American Un-Sung Heroâ. The elder of the group, Barnes brings an element of fierce individuality to the trio, with wisdom-infused vocals and straightforward, no nonsense banjo picking.
Gordy and Walsh come from a more jazz and swing influenced background, having first bonded over their mutual obsession with learning David Grisman solos. For Walsh, hearing some of the earl Dawg records was his first impetus to learn the mandolin. However, he is now equally renowned for his bluegrass and old-time sensibilities. Growing up in Illinois and later Minnesota, Walsh first established himself on the East Coast as the co-founder of progressive bluegrass band Joy Kills Sorrow, and as a long time member of The Gibson Brothers. He went on to become a faculty member at The Berklee College of Music, and launch a solo career with his albums Sweet Loam and Borderland.
Gordy, who is originally from Colorado and now lives in Brooklyn, went from being a fan of David Grisman, to playing in his band. Having spent six years in the David Grisman Quintet, Gordy released a self titled solo album to in 2010 to critical acclaim, and has been featured on NPRâs Morning Edition, Tiny Desk Concerts, and All Things Considered as well as The Fretboard Journal, Acoustic Guitar Magazine, and Flatpicking Guitar Magazine. Darol Anger, with whom Gordy has collaborated frequently, describes his playing as containing âKaleidoscopic excellence, startling emotion, and personal revelationâ.
The three friends first crossed paths at a music camp in Grand Targhee, Wyoming, where there were each employed separately to teach and perform. But rather than sitting down to play together, they first bonded during a game of disc golf, which became a venue for philosophical musing and discussion. A desire for intellectual growth and challenge became a theme for the three, and their tours often involve car discussions on everything from French Literature to meditation. Perhaps because of this, their music feels like an infinitely extending plane. âWhen we play, everybody is leading with their ears, and everything is possible, itâs hugely omnivorousâ, says Walsh.
Bailen with Special Guest Hailey Knox - Presented by Opus One & 91.3 WYEP
BAILENâs gorgeous harmonies, striking arrangements and evocative songwriting springs from a very deep well. Growing up in NYC, the siblings, David, Daniel (twins!) and Julia Bailen were raised by their professional orchestral musician parents, and the young trio immersed themselves in a record collection that included Simon & Garfunkel, Joni Mitchell, Carole King and The Band. Their amazing three-part harmonies have been compared to The Staves and Fleet Foxes, however, on their debut album, Thrilled To Be Here, BAILEN have created something all their own. Produced by GRAMMY-Award winner John Congleton (St. Vincent, Manchester Orchestra, The War on Drugs), BAILENâs shiny gleam and meticulous songcraft combine with the groupâs unusual self-awareness, musicality and bite.
Named one of Sofar Soundsâ Artists to Watch in 2018, BAILEN has toured or collaborated with The Lone Bellow, Amos Lee and Joseph, among many others. Modern, melodic and soulful, BAILEN is twisting pop music in new directions, an undeniable, and welcome new arrival.
Secret Eyes CD Release Show with Special Guests Ovtlier, Saving Vice, Haven State, Danvers
Secret Eyes is an alternative, melodic rock band based out of Pittsburgh, PA. With a sound venturing along the realm of Saosin, for their hard rock, progressive energyâwhile fashioning the catchy, pop sensibility of Fall Out BoyâSecret Eyes offers a taste of nostalgia, while mantling their own trademark sound. Secret Eyes is composed of Seth Cooper (Lead Vocalist/Guitarist), Brian Caine (Backup Vocalist/Bassist), Patrick Gallagher (Drummer) and new member Eric Lewis (Lead Guitarist).
(Late Show) Hunty Lytes with Special Guest Sean Harris
As civilisation continues to eat itself, heavy musicâs dark spiritual quest has never seemed more vital. Emerging from the shadows of eastern Poland back in 2015, Batushka have already established themselves as one of the modern eraâs most powerful and evocative bands. Harnessing the fire and fury of arcane black metal and channelling it through the reverberant grandeur of ancient rituals of worship, the bandâs debut album Litourgiya stood apart from the extreme metal hordes: a monument to originality, depth and dark mysticism that swiftly cast its spell over the metal underground and beyond.
As Batushka took their music to the people, its power seemed to multiply tenfold, forging a profound connection with an increasingly rabid international fan base. As a result, the bandâs imminent return in 2019, with their second and most devastating ritual to date, is set to be an event of undeniable significance.
âThe last few years were a very intense and busy period for us,â the bandâs nameless spokesperson states. âWe've played a lot of shows around the world. We received a huge amount of support from the audience in return. And I guess we, as a band, have also matured. It was a great time to gain experience and to gather some of the inspirations that shaped us and who we are today.â
More than four years on from Litourgiyaâs extraordinary opening statement, the second Batushka album is destined to be 2019âs most transformative metal release. Named after an Old Church Slavonic word for God, Hospodi enhances all the unique qualities that made the band such an instant phenomenon, while offering an entirely distinct and fresh sensory experience, replete with the most ferocious and bewitching songs the Poles have penned to date and a newfound sense of rock swagger.
âWe didnât want to copy the first record nor its sound. Litourgiya was unique and we decided to leave it that way. As for our sophomore release, we decided to record it the old-fashioned way, with analogue and âliveâ sound, without any digital interferences or boosters. I would say that the new album has a more rock vibe than the first one. It has melodies, of course, but itâs also a furious black metal record. We were inspired by the Orthodox music, the so called âwhite singingâ and also some old Byzantine sounds that are really present on this record. As far as guitars go, there are a lot of classic rock influences and some early 90âs metal in there, too.â
Fiercely conceived and audaciously executed, Hospodi takes the epoch-shattering essence of Batushkaâs debut to a new level of idiosyncratic intensity. From the mesmerising chants of the opening Wozglas to the blazing bombast of Dziewiatyj Czas and the pulsing, dark rock melodrama of Wieczernia, this is an album full of wildly dynamic, divergent moments, wherein the bandâs otherworodly, inspirational fervour meets the whip-crack precision of 21st century brutality. Perhaps most importantly, Batushkaâs deft conjuring of religionâs synaptic shock ânâ awe looms large over every scything riff and bellicose scream. By the time fans reach the overpowering climax of the closing Liturgiya, a true Damascene conversion is practically guaranteed.
âThe whole album is a concept based on the Liturgy of Death, the prayers for the dead, and Orthodox funeral rites and dirges. Itâs all about a ritual that involves the dead and the mourners. We also used a lot of old folk songs and elegies from our homeland. These are sung during the wake, around the casket, in the deceased personâs home. Nowadays only few older people know them and still sing them accordingly in our region. We decided to cherish that tradition and Iâm glad that with our album these songs and rites will survive.â
Poised to deliver their second monumental liturgy to the unknowable and unseen, Batushka are the perfect antidote to modern musicâs vapid superficiality. As Hospodi exerts its enigmatic allure, the only sane response is to surrender and succumb. Let the ritual begin!
âOur new live shows will be based on the concept of the new album,â the band conclude. âYou will experience the Liturgy of Death, a funeral rite, crude, sad and bitter! Beyond that, our great hope is to do what we love doing and to continue to share this with the people we can rely on.â
Joe Grushecky & The Houserockers (Love's So Tough 40th Anniversary)
Songwriter. Guitarist. Singer. Bandleader. At only 23 years of age, Marcus King has been writing songs and performing onstage for half his lifetime, delivering a blistering fried brand of Americana and blues inspired by rock nâ roll. All five members of the band â drummer Jack Ryan, bass player Stephen Campbell, trumpeter/trombonist Justin Johnson, sax player Dean Mitchell and the keyboard player â create a blistering, yet soulful unit that has honed their synergy through endless touring.
Common Holly with Special Guests Vireo & Scratchy Blanket
Holding fast to the emotional honesty of Playing House (2017), Common Hollyâs sophomore record, When I say to you Black Lightning is a look outward; an exploration of the ways in which we all experience pain, fear and self-delusion, and how we can learn to confront those feelings with boldness. A swift change of course, WISTYBL couples a submergence into the dark and dissonant with its consolation in harmony, and a dose of dry humour.
The record is more experimental than Brigitte Naggarâs debut. It is rougher, looser, louder and more atonal. It feels edgy, but still kind. WISTYBL ditches fear without losing vulnerability, and trades in sadness for the healing powers of anger, and the strength of observing, recognizing and confronting. Through its 9 labyrinthian yet catchy tracks, shaped sonically by the seriously unique visions of Devon Bate, Hamish Mitchell, and Naggar herself, the album observes the complexities of mental health, the precarity of life, and the challenges of finding strength in the face of grave misunderstanding.
On its own, When I Say to you Black Lightning is a phrase which holds authority-- it does not apologize for itself, it stands boldly where it is, and yet it also laughs at itself for daring to take up that space. The title phrase is directiveâit suggests a thought without completing it, engaging you to contemplate what comes next and pointing the finger away from itself to somewhere undefined. If Playing House was about personal turmoil, WISTYBL is about humanityâs emotional challenges and how we each approach them as individuals. The former centered around one person and one heartbreak, while the latter circles different characters that Naggar has observed or interacted withâromantically or otherwise, whose stories cumulate in a whimsically entertaining tale of struggle, and the resulting emotional growth.
âThis record isnât one singular statement, it documents a period of growth. The songs were written mainly over two years and they all reflect potent moments from that time. While itâs obviously personal and based off of my own experience, I want this album to feel familiarâ life gets complicated as we grow, people form relationships to each other, they lose things, they discover pain, fear, self-delusion; sometimes itâs funny, sometimes itâs weird, often it sucksâand we have to navigate our way through all of that.â
This narration of experience is first introduced on the orchestral opener âCentral Booking,â (slang for jail), where Naggar illustrates the story of someone whose troubled past forces them to pick up and start over in Canada. Whispering the hook Iâm sorry New York broke you, she coyly pairs empathy with aloofnessâsuggesting perhaps that for once, someone elseâs concerns might not need to be hers as wellâwhile also playing on the stereotype that Canadians canât help themselves for apologizing wherever they go.
This playfulness is also demonstrated in âJoshua Snakes,â using sounds composed of quirky materials like bouncy balls, fidget spinners, and accidental recordings of roommatesâ an area where electroacoustic producer Devon Bate (Jean-Michel Blais, Jeremy Dutcher) thrives. Joshua Snakes works through the themes of restlessness, jealousy, even mild obsession, and paints a picture of the damsel in distress tied to the tracks, but this time without the need to be rescued.
âMeasuredâ feels more sober, a tone not unfamiliar to the album. Itâs what Naggar calls her âthesis statement on love + pain,â where she documents a new cynicism, the disillusionment in discovering that romance belongs to a strict formula of loving = losing = hurting = healing = loving again, in perpetuity. The track is sparse and confrontational, and despite its progression always returns to the same verse form, the same quiet moments, and the same last line: I think weâve been measured out for pain since birth.
In a self-deprecating and painfully catchy final statement, Naggar sings Donât leave me, Iâm crazy, ok. âCrazy Okâ is voiced in the first person, but Naggar explains that the line wasnât actually her own when she first took her inspiration from it, bringing home the idea that most of the record could be as much about her as about anyone else.
WISTBYL feels like Naggarâs conversation with herself, meticulously penned to work through challenges as they unfold. Itâs cool, and more than that, it feels important. Itâs about finding the seeds of strength to navigate adult life, and about the ways in which we all find ourselves in that place of struggle when life starts to show you its cards and you begin to understand, in the artistâs words, âjust how real shit can get.â
The Sunburst School of Music Winter Showcase features a variety of awesome and talented student performers taking the stage at Mr Smalls. In addition to taking private lessons, students at Sunburst School of Music learn and perform in groups including the Sunburst Rocks program, Band Coaching, a cappella group The Suntones, Drum Ensemble, Recording Club, and the Sunburst House Band. In these programs kids come together for weekly band rehearsals to work on everything from songwriting, to stage presence, to branding and marketing, all in preparation for big events like this one! To learn about Sunburst visit sunburstmusic.com
Corey Harris is a guitarist, vocalist, songwriter and band leader who has carved out his own niche in blues. A powerful singer and accomplished guitarist, he has appeared at venues throughout the North America, Europe, Brazil, The Caribbean, West Africa, Asia, Australia and New Zealand.
He began his career as a New Orleans street singer, travelling throughout the southern U.S. In his early twenties he lived in Cameroon, West Africa for a year, which had a profound effect on his later work. He has recorded many old songs of the blues tradition while also creating an original vision of the blues by adding influences from reggae, soul, rock and West African music. His 1995 recording, Between Midnight and Day, is a tribute to the tradition of acoustic blues. Subsequent recordings, such as Greens From the Garden (1999), Mississippi to Mali (2003), and Daily Bread (2005) show Harrisâ maturation from interpreter to songwriter. Some of his imaginative compositions are marked by a deliberate eclecticism; other works stay true to the traditional blues formula of compelling vocals and down-home guitar. With one foot in tradition and the other in contemporary experimentation, Harris is a truly unique voice in contemporary music.
He has performed, recorded, and toured with many of the top names in music such as BB King, Taj Mahal, Buddy Guy, R.L.Burnside, Ali Farka Toure, Dave Matthews Band, Tracy Chapman, Olu Dara, Wilco, and others. His additional recordings include Fish Ainât Bitinâ (1996), Vu-Du Menz (with Henry Butler, 2000), Downhome Sophisticate (2002), Zion Crossroads (2007), and blu black (2010).
In 2003 Harris was a featured artist and narrator of the Martin Scorcese film, âFeel Like Going Home,â which traced the evolution of blues from West Africa to the southern U.S. In 2007, he was awarded a $500,000 MacArthur Fellowship â commonly referred to as a âgenius awardâ â from the John D. and Catherine T. MacArthur Foundation. The annual grant, which recognizes individuals from a wide range of disciplines who show creativity, originality and commitment to continued innovative work, described Harris as an artist who âforges an adventurous path marked by deliberate eclecticism.â That same year, he was also awarded an honorary Doctor of Music degree from Bates College, in Lewiston, Maine.
Todd Albright is a country blues, twelve string guitar player and vocalist based in Detroit, Michigan. Grounded in the pre-war era of the blues tradition (1880-1939), Todd is a mindful purveyor of blues history. His repertoire upholds musical pillars such as Blind Willie McTell, George Carter, Blind Lemon Jefferson and Leadbelly. His lifeâs work continues the distinguished tradition of the very roots of American music as told by the African American musicians who created it.
Todd's vigorous, gritty and soulful performances are accompanied by stories of the masters and a deep intuitive sense of respect for craft, providing audiences with a meaningful experience while creating a transcendent moment. One of the top blues guitarists in the world, Todd is the only contemporary twelve string player in his genre.
Todd began playing the blues while still a teenager, some twenty-five years ago. Initially, he was drawn to the sound of the finger-picked style and has since immersed himself in the foundational music and narratives of American culture. Over the years, Todd has shared the stage with artists such as Roy Book Binder, Charlie Parr, Paul Geremia, and Dakota Dave Hull.
Todd's first full-length LP, Fourth Floor Visitor, was released by Jett Plastic Recordings out of Detroit, Michigan (2017). His latest album, Detroit Twelve String: Blues & Rags, is out now on Third Man Records (2017).
Turnover with Special Guests Men I Trust, Renata Zeiguer - Presented by Opus One & PromoWest North Shore
Front man Austin Getz doesnât blink when asked to sum up Turnoverâs third full-length, Good Nature.âLearning,â he replies. âThis whole record is about learning. Opening your eyes to new things, going out-side of your comfort zone, and learning to grow into something new.âThe albumâs unique blend of musical and spiritual growth is immediately audible on the opening track, âSuper Natural,â a late-summer idyll of intertwined guitar parts and laidback vocals. Listening to how the leisurely âNightlight Girlâ melts into a more propulsive selection like âBreeze,â and the way Good Nature flows together as a seamless whole, itâs also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums: the range of textures, tempos, and dynamics on Good Nature are influenced in part by bossa nova, cool jazz, electronic music, and psychedelic grooves. This influx of new influences and inspiration, navigated by Peripheral Vision producer Will Yip, results in the bandâs best album to date. Good Nature comes from a place of calm and contentment, nurtured by looking inward. [from: https://www.runforcoverrecords.com/artists/turnover]
Kate Voegele & Tyler Hilton with Special Guest Casey
Hailing from a little suburb of Cleveland, Ohio, Kate Voegele first picked up a guitar at age 15. Influenced by the rock and roll history of the city and her fatherâs songwriting, she began to pen her own songs from the minute she learned to play her first three chords. Voegele embraced this newfound passion, recording her first EP during her freshman year of high school, and soon after landed gigs alongside artists like Counting Crows and John Mayer. Those shows quickly led to attention from labels in New York and LA, and Kate spent the majority of her high school years diving headfirst into a career in music.
After high school, Voegele decided to attend Ohioâs Miami University, where she quickly found new inspiration, and simultaneously found herself uploading song after song to her MySpace page. Kate managed to get the attention of the social network's founder, Tom Anderson, and just a few weeks later, she became MySpace Recordsâ first signed artist. In spring of 2007 Voegele finished recording her first full-length record with Marshall Altman in LA and decided to swap her text books in for a tour bus and a year full of shows throughout the US.
Over the next couple of years Voegele toured the country playing hundreds of shows. While traveling through LA, Kate auditioned on a whim and would eventually land the role of Mia Catalano on the CW show, âOne Tree Hill.â What was supposed to be a two-episode run became a four-season recurrence, and Kate found herself performing eleven of her original songs to millions of viewers over the course of the show. Record sales jumped dramatically after Voegeleâs first appearance on the show, and she was subsequently upstreamed to Interscope Records in January of 2008. At this point Kate toured internationally with artists like Natasha Bedingfield and Jordin Sparks. She split her time between the road and the television set, and released a second full-length, âA Fine Mess,â in spring of 2009.
After her first two records sold over 500,000 units, Voegele signed with ATO Records in 2011, releasing "Gravity Happens.â She spent the next two years continuing to tour the US and Europe, writing new songs from airplane
window seats and ultimately embarking on a new chapter in her life.
In fall of 2013, Voegele moved her home base from LA to Nashville, getting back to her songwriter roots. Being in Music City has given Kate the opportunity to work with writers like Nathan Chapman and Liz Rose, and open up opportunities to work with the countryâs best creative talents. In November
â14 Voegele released the âWild Cardâ EP, which debuted in the top 10 on the top pop albums chart on iTunes, and received an average of a 5-star review across all major online distribution outlets.
Kate released her fifth full-length record, âLive In Londonâ, in the fall of 2015. âLive In Londonâ was a released as a thank you to her fans, and included Kateâs cover of âHallelujahâ, as well as âWhen The Stars Go Blueâ, sung as a duet with Tyler Hilton.
Kateâs latest album, âCanyonlandsâ, was released in the fall of 2016.
Tyler Hilton bio:
Tyler Hilton was singing and playing in coﬀee houses as a 15 year old, when a chance encounter with Los Angeles radio personalities Mark and Brian from KLOS led to multiple appearances on their radio show, live concert dates with the duo, and national exposure. He released his first album independently shortly thereafter, which led to major label interest and eventually signing to Maverick/ Warner Records where he released "The Tracks of Tyler Hilton" which garnered two singles on the Billboard Top 40 charts. While on tour promoting the album, Tyler was cast as his child hood hero Elvis Presley in "Walk the Line" where he worked with T-Bone Burnett on the soundtrack, and for which he received a gold record.
An opportunity to sing on TV's "One Tree Hill,â a notorious breeding ground
for new musical talent, led to a series long run, several appearances on MTV's "TRL" with the cast, and a national tour with Gavin DeGraw and Michelle Branch who also sang on the show. Taylor Swift admitted to being a fan, and asked Tyler to star in her music video "Tear Drops on My Guitar" which became a huge crossover hit. The two appeared together live several times and later Tyler appeared via interactive video on her stadium tour. The independent comedy "Charlie Bartlett" followed with Robert Downey Jr. and Anton Yelchin and where Tyler met his wife, Megan Park, who was also in the
Tyler moved to Nashville where he began exploring his family's country roots and made several records with notable producers including Dan Huﬀ, Nathan
Chapman, Matt Serletic, and John Alagia. Sadly, non of these records saw the light of day, as staﬀ and roster upheaval plagued Warner Brother Records,
and eventually led to Tyler's departure from the label. One of these unreleased songs made their way to Joe Cocker, who recorded it on his final album. Tyler then started his own label, Hooptie Tune Records, and released "Forget the Storm" the following year. It became the first record of Tyler's to gain international success and led to several European tours and a new fervent fan base. His follow up, the mellow folky country album âIndian Summer,â was recorded live in studio with a bluegrass band including his uncle, Tommy Hilton, on guitar. While recording, Tyler landed a role in Halle Berry's "Extant" on CBS and continued to film the show over the course of its two season run, touring and filming the holiday movie âChristmas on the Bayouâ with Randy Travis, Ed Asner, and âOne Tree Hillâ alum, Hilarie Burton, for which he also recorded the single âOne Foot in the Bayouâ.
Following the end of âExtant,â Tyler worked on a pilot for the ABC sitcom, "The Fluﬀy Shop" alongside Gabriel Iglesias. Tyler is currently based in Los
Angeles, where heâs working on a new album.
J. Robbins (band) 'Un-Becoming / Tour 2019' with Special Guest Nightmarathons
Dischord Records released singer/guitarist/producer J. Robbinsâ first full-length solo album Un-Becoming on May 31, 2019, just as J.âs best-known project Jawbox emerged from a 23-year hiatus to do a joyful reunion tour that spanned the USA. Meanwhile the post-punk-inflected rhythmic push, melodic dissonance, and contrarian lyrical catharsis of Un-Becoming has been received by many as Robbinsâ strongest work to date, and this December, J. Robbins (band) will finally play a limited run of shows to support the release. The band on this tour is the same band featured on the album: drummer Pete Moffett (frequent collaborator and former drummer of Government Issue, Burning Airlines, Wool, and many others), bassist Brooks Harlan (Jâs former bandmate in Office of Future Plans, but best known as the guitarist of War On Women), and cellist/guitarist Gordon Withers (and currently garnering attention for his âJawbreaker on Celloâ album, also an Office of Future Plans alumnus, featured cellist on too many albums to list).
Opus One Comedy Presents Jon Daly (Bob's Burgers / Big Mouth / Kroll Show)
Jon Daly is is an American actor, comedian, writer, and producer best known for his sketch comedy work on the Comedy Central series Kroll Show. In 2013 he starred as Hobbes in the Amazon Studios original series Betas, and also played Agent Filippo in Zoolander 2. Jon provides an assortment of voices in Family Guy including the adult Leo the Lion in "Brian's a Bad Father" and Sasha Whiteman in Bob's Burgers.