<-- Venues

  The Bowery Ballroom
Address: 6 Delancey Street
City: New York
State: NY
Date Time Event Description
Jun-22-18 09:00 PM Red Wanting Blue with Liz Brasher, Anthony D'Amato
Hailed as Midwestern rock heroes by American Songwriter, Red Wanting Blue has spent the last twenty years establishing themselves as one of the indie worlds most enduring and self-sufficient acts, notching appearances everywhere from Letterman to NPR and reaching #3 on the Billboard Heatseekers chart, all while operating largely outside the confines of the traditional music industry. For their powerful new album, The Wanting, the band handed production duties over to acclaimed singer/songwriter Will Hoge, who helped them create their most ambitious, fully realized collection yet. Recorded in Nashville, TN, the record draws on many of the groups traditional strengthsindelible melodies, infectious hooks, explosive performanceseven as the making of it pushed them far outside their comfort zone and forced them to take an unprecedented, nearly year-long break from touring.Alternately triumphant and melancholic, the songs on The Wanting are both muscular and nuanced, with frontman Scott Terrys epic, heartfelt vocals soaring above the bands gritty brand of driving rock and roll. The record opens with the rousing High and Dry, a feel-good rocker that also serves as something of a mission statement for a fiercely independent group thats as much a band as they are a family, with Terry singing, I want to stand on my own two feet again / And when I mess up / Thats when I hope my friends will pick me up. On Ulysses, the band channels early Phil Collins with pulsing synths and larger-than-life drums, while the tender Glass House crescendos from a delicate whisper to a triumphant roar, and the dreamy Ive Got A Feeling It Hurts calls to mind the hypnotic drive of REM mixed with a touch of Jayhawks jangle.This is really the most collaborative album our band has ever made, Terry says of the wide range of influences. Its the first record where every member contributed to the writing, and I feel like we all matured as artists because of it.Over the course of ten previous studio albums, Red Wanting Blue brought their passionate, unforgettable live show to every city and town that would have them, blazing their own distinctive trail through the American heartland as they built up the kind of fanatically dedicated audiences normally reserved for arena acts. In 2016, they celebrated with a 20th anniversary retrospective album/concert film entitled RWB20 Live at Lincoln Theater, which captured the band in all their glory at a sold-out hometown show in Columbus, OH.Red Wanting Blue is:Scott Terry (Vocals, Tenor Guitar, Ukulele) Mark McCullough (Bass, Chapman Stick, Vocals)Greg Rahm (Guitar, Keyboards, Vocals)Eric Hall (Guitar, Lap Steel, Vocals)Dean Anshutz (Drums & Percussion)
Jun-23-18 09:00 PM Mac Ayres with Braxton Cook, Jack Dine, Jay Wile
Mac Ayres is a self-taught producer, singer, and multi-instrumentalist from Sea Cliff, NY. Drawing inspiration from D'Angelo, Stevie Wonder, and J.Dilla, he has created a sound that tastefully blends Soul, R&B, Jazz, and Hip-Hop.
Jun-25-18 09:00 PM Kylie Minogue
Now that I've been to Nashville, Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us, she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something, she recalls, that you repeat it an octave higher and double the decibels? I was like that. 'Nashville?! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.'Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti. However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... theres plenty of platinum discs of her, and others on his walls.There's something of the spirit of Peggy Lee's Is That All There Is?, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come.You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but theres depth within the song.The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place withsuch enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, thats where the street was filled with music and it was just amazing.Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain. She also relished the chance to wander around unrecognised, visit afew venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like TheBluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...'It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me, she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. Id been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right?'When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Headsounds more like Outer Space than London. But Shelby 68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby 68and Radio On without having had that Nashville experience.The latter, she says, is about music being the one to save you. Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway. That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists. If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton. Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light, she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do?' Maybe that should be my mantra. And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album, she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like When hes fallen off the wagon wed still dance to our favourite slow song', Ten sheets to the wind, I was all confused, Ill take the ride if its your rodeo. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world my real world how will this work?, Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay popenough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We cant be anyone else, we cant be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...Her incredibly loyal fans to whom one Golden song, Sincerely Yours, is intended as a love letter will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger. And if there's an overriding theme to the record, it is one of acceptance. Were all human and its OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.I was able to both lose and find myself whilst making this album.
Jun-27-18 09:00 PM Lera Lynn with John Paul White, Peter Bradley Adams
Lera Lynn will perform songs from her new duets record Plays Well With Others at NYC's Bowery Ballroom, with album guests John Paul White and Peter Bradley Adams. "This is a unique tour and show of duets, for which I hope to share the stage in a collaborative way, with all of the artists on the bill," says Lynn. Many know Lera Lynn from her television appearances. Lera received praise for her role in shaping the dark direction of True Detectives second season, appearing in the popular HBO series as a barroom singer and contributing a handful of original songs to the shows soundtrack. Her music has also been heard in HBOs The Young Pope, the Late Show with David Letterman, and Later with Jools Holland as well as numerous other American TV shows. Over the course of five years, with three albums, a self produced EP, and a soundtrack under her belt, this fiercely independent musician has developed into a distinguished and multi-talented artist.After the success of her critically-acclaimed 2016 release, RESISTOR, Lynn has been busy writing and recording her new album.Lera Lynn has performed extensively in listening rooms, concert halls, and festivals in North America and the UK which included stops at Hardly Strictly Bluegrass, Celtic Connections, showcases at the Americana Music Fest, Stagecoach Festival and the Cambridge Folk Festival.My favorite part of this job is performing in a live setting, and seeing the potential to move people through music. Lynns shows are intimate regardless of venue type and feature songs spanning from her earliest recordings to the most current, including some unexpected covers.
Jun-30-18 09:00 PM SSION
Jul-03-18 09:00 PM Blac Rabbit with The Post Nobles, Big Sweater
Born and raised in Bed Stuy, Brooklyn, identical twin brothers Amiri and Rahiem Taylor do not make the type of music that their borough of origin is usually associated with. Growing up surrounded by hip hop culture and all it's glory, the Taylor brothers had more exposure in their house to pop, funk and soul music from the 60's, 70's and 80's. So naturally when they began writing songs in high school, they decided "why not learn from arguably the greatest song writing duo of all time?" and proceeded to teach themselves how to play guitar and write songs based off of the Beatles. After high school they formed Blac Rabbit, bringing in former metal and church drummer Patrick Jones, followed by resident shredder Josh Lugo on bass (and sometimes guitar) to play their original psychedelic rock tunes. In order to make some pocket money, Rah and Amiri decided to start performing music on the NYC subway. They soon discovered that people really enjoy hearing them sing Beatles songs, so they kept doing that, slowly building a reputation around the city while also performing their original material at some of New York's best venues for up and coming acts. They maintain that sort of dual life to this day. On December 23rd, 2017, the band release their debut self-titled EP, which was also self recorded and self mixed. On January 26th, 2018, they were filmed performing Beatles songs on the train by New York Nico, the self proclaimed "Unofficial talent scout of New York City," who posted the video to his 121K followers on Instagram. Since then, the band has seen their fan base increase significantly and will be releasing new music, and hitting the road in 2018.
Jul-06-18 07:30 PM Hello Halo, Quantum Split, Tempest City with Wild Planes, Wake the Sun
Jul-07-18 09:00 PM The Sons & Heirs
These guys love the band, and they're really passionate about it" - Andy Rourke, The Smiths"Twice as fun as an actual Morrissey show" - Rob Sheffield, Rolling Stone"New York's best Smiths tribute" - New York Post"By all accounts, the greatest tribute to the Manchester group making music today. Far from a novelty cover band, The Sons & Heirs are a genuine loveletter to one of the greatest rock acts of all time." - No Country for New NashvilleFor over a decade, the world's premiere tribute to The Smiths has performed everywhere from Tel Aviv to Los Angeles to Austin to Nashville, having shared the stage with The Smiths' bassist Andy Rourke, Morrissey's longtime drummer Spencer Cobrin, and guitarist Doug Gillard (Nada Surf, Guided by Voices).The Sons & Heirs July 7 performance at New Yorks legendary Bowery Ballroom will pay special tribute to the 30th anniversary of The Smiths live album Rank and Morrisseys solo debut Viva Hate, both released in 1988.
Jul-11-18 08:00 PM Katie Herzig with Liza Anne
To put Katie Herzig in any sort of box is for it to be broken, as shecontinues to outdo herself with each new release. Her music is as intimateas it is epic - something that her fans have come to expect. Herzig grew upin Colorado and found her way to Nashville upon starting her solo career in2006. Fresh off the 2018 release of her 6th album, Moment of Bliss, Herzigtours the US this summer for the first time in 4 years on herhighly-anticipated Moment of Bliss Tour. Herzig has performed at Bonnaroo,on VH1, toured extensively both as a headliner and as support for artistssuch as Brandi Carlile, Sara Bareilles, Ingrid Michaelson, The Fray, and asa member of 10 out of Tenn. She has had her music licensed for many film,TV, and commercial uses including over 10 songs on Greys Anatomy. Hersong Free My Mind reached top 20 on AAA radio which led to acollaboration with RAC on their song We Belong, earning a lot of lovefrom LAs KCRW and the like and a remix of the song by Odesza. Herzig hasalways been very hands on in the production of her own music which has ledto opportunities to co-write and produce music for other artists as well,including Ingrid Michaelsons platinum-selling single Girls ChaseBoys." ASCAP awarded Katie the Sammy Cahn Award for her song Closest IGet. In 2017 Katie was nominated for an Emmy for her song MorseCode written for Netflixs The Mr. Peabody and Sherman Show. Aneclectic career for an artist who has always relied on her own instincts toconsistently release music that goes deep and asks you to feel something atevery turn.
Jul-13-18 09:00 PM Rayland Baxter with Okey Dokey
Thoreau had Walden Pond. Kerouac had Big Sur. Rayland Baxter? He had an old rubber band factory in Franklin, Kentucky, and it suited him just fine. As one of the hardest-touring artists on the road today, Baxters spent most of his professional life in transit, but ever since he was a kid, he dreamed of creative seclusion someplace lonely and isolated, somewhere he could sit still and devote his every waking hour to writing without interruption or distraction. When the opportunity finally presented itself in late 2016, the Nashville native pounced. I packed everything in my van and moved to Franklin for three months, says Baxter. It was the fist time I ever got to be alone and focus solely on songs like that. All I did was write, write, write all day every day. I was obsessed.By the time Baxter emerged, hed penned more than 50 tunes and crafted a detailed blueprint for his spectacular new album, Wide Awake. Deftly produced by Butch Walker, the record infuses Baxters easygoing, soulful sound with British Invasion melodies and rock and roll swagger, marrying lean, muscular songwriting with adventurous, inventive arrangements. Its a cutting, insightful collection, one that takes a sardonic view the violence, greed, and division that seem to define the modern American landscape. Rather than point a finger, though, the music holds up a mirror, offering a sober reflection of the times thoughtfully bundled in bright, infectious hooks. Theres no judgment here, only keen observation, and Baxter implicates himself as much as his neighbor through it all.This is an album about decision making, he explains. Its about being a human at the crossroads. Do I do good or do I do evil? Do I lie or do I tell the truth? Am I going to be happy or am I going to be sad? All of these questions and emotions are things I see in myself, and theyre the same things I see in everyone else no matter where I go.Baxters built a career on capturing those sorts of timeless, deeply human sentiments, bringing colorful characters to vivid life with equal parts humor and pathos. His debut album, feathers & fishhooks, was a critical hit praised by Interview for its well-worn maturity, while NPR described Yellow Eyes, the lead single from his 2015 follow-up, Imaginary Man, as close-to-perfect. Stereogum dubbed the record an impeccable sophomore break-out, and Rolling Stone hailed its pairing of whimsical narrative with often deceptively complex arrangements. The music earned Baxter festival appearances from Bonnaroo to Newport Folk in addition to tours with an astonishing array of artists, including Jason Isbell, The Lumineers, Kacey Musgraves, The Head and The Heart, Shakey Graves, Lauryn Hill, and Grace Potter. The six months leading up to the release of Imaginary Man, that was the first time I really started playing electric guitar and performing with a band, says Baxter. We did my first headline run and toured that album for a year-and-a-half, and the experience really opened up this whole new sound for me. It helped me figure out more of who I was as an artist and a songwriter and a traveler and a human being.It was with that newfound sense of self that Baxter entered Thunder Sound, the abandoned rubber band factory-turned-studio in the cornfields of Kentucky that would become his home for three months of intensive soul searching and songwriting.I blanketed the windows so no one could see inside, he explains. I laid a mattress down next to an old Wurlitzer so I had somewhere to sleep. I had a guitar, a desk with a lamp and some paper and pencils, and that was it. For fifteen hours a day, I wrote.When it came time to record his mountain of new songs, Baxter relocated to Santa Monica, California, where he wrangled an all-star studio band that included Dr. Dogs Erick Slick on drums, Butch Walker on bass, Cage The Elephants Nick Bockrath on guitar, and piano wizard Aaron Embry (Elliott Smith, Brian Eno) on keys. A producer and artist equally at home working with massive pop stars and indie stalwarts, Walker immediately embraced Baxters vision for the album, and the result is a sunny and altogether charming collection. Scratch beneath the surface, though, and youll find its populated by a cast of characters who project a vision of the good life as they struggle to keep it all together behind closed doors. On the punchy Casanova, the singer reckons with debts he knows hell never be able to repay, while the volatile Amelia Baker charts the narrators descent into near-madness as he pines for a starlet perpetually out of reach.We have this society where were obsessed with celebrity and living on the top of the mountain, says Baxter. But whats at the top? Maybe its a lonely place to wake up.Late 2016 was a particular tumultuous time in the country, and though Baxter did his best to isolate himself from the outside world while he wrote, it was inevitable that some of the chaos would seep in. On album opener Strange American Dream, a chiming piano and spare Motown groove give way to lush harmonies and unexpected melodic twists as Baxter sings, I close my eyes and realize that Im alive inside this strange American dream. Meanwhile, the soaring 79 Shiny Revolvers finds him reflecting, you really wanna save the world, man / well, I wanna save it, too / we can blow em away / the American way.While Wide Awake offers plenty of broad, wide-angle musings, some of its most arresting moments arrive bundled inside deeply personal memories and snapshots. The heartfelt Everything To Me is a tender tribute to family (Baxters father Bucky, who played pedal steel with Bob Dylan and Ryan Adams among others, contributes to the record), and the laidback Let It All Go Man is a reminder that theres beauty in simply being alive.I actually started that song two years ago on a trip to South America, says Baxter. I was sitting on the porch of a house in this little town in Colombia, and I was all alone playing a gut string classical guitar, just staring out at the ocean and the beach in the middle of the night. It made me realize how much unnecessary stuff we hold on to, all the grinding away we do chasing success and money and missing the big picture. It made me realize what an incredibly beautiful gift it is to be human.That empty South American beach may have been a world away from the rubber band factory in Kentucky, but for Baxter, the effect was the same. The solitude offered a chance to observe, to reflect, to grow, to appreciate, and most importantly, to write.