<-- Venues

  The Bowery Ballroom
Address: 6 Delancey Street
City: New York
State: NY
Date Time Event Description
Aug-19-17 08:00 PM Punderdome 3000 Jo Firestone and her Rodney Dangerfield impersonator father, Fred, host this beloved competition, in which the first 18 individuals or duos to sign up at the door attempt to pun-up each other’s spontaneously-produced wordplay. Winners are determined by the Human Clap-O-Meter and go home with a Mystery Box prize. Get ready to laugh—and groan. For more check: Operation Management Service Video
Aug-26-17 08:30 PM ELEMENTS by BangOn! Five stages featuring electronic music acts, 3D projections, food trucks, vendors, death-defying aerialists, circus performers and a giant inflatable slide: Yeah, BangOn!NYC goes all out for this annual bash. Get pumped for DJs such as Griz, The Knocks, The Golden Pony, Motum and plenty more. This mind-blowing music and arts festival is not one to be missed, so grab your tickets and keep your eyes peeled for the secret NYC waterfront location announcement. For more check: Home Automation Video
Aug-30-17 09:00 PM PJ Morton with MAJOR. Mr. Why I Love You, ASH
PJ Morton (b.March 29, 1981, New Orleans, Louisiana, USA) is an American R&B singer, musician, record producer, songwriter and one of the keyboardists in the pop rock band Maroon 5.
Sep-05-17 09:00 PM Lukas Nelson & Promise Of The Real
Lukas Nelson has no more footsteps to follow other than his own.On the new Lukas Nelson & Promise of the Real album, Something Real, he and his band take us further down the path Nelson been blazing since 2008, when he and drummer Anthony LoGerfo met at a Neil Young concert and began laying the groundwork for Promise of the Real. Now theyve reached a point where the past and present have fused into one extraordinary personality.As with all creative artists, Nelsons course has been somewhat unpredictable. Though born to country music royalty, he has followed a different muse. Or, more accurately, he has introduced a bunch of muses to each other and locked them into an imaginary room to spend some wild time together.Something Real is what came out of that room once the party had ended one vision, rich in its influences, unique and irresistible. Which is to say, Lukas Nelson & Promise of the Real.One reason for that is that Nelsons music transcends time. Something Real explodes with a 21st-century urgency. It hits grooves hard on the up-tempo tracks and digs into dark emotional depths in its moodier moments. Its also haunted by spirits of the past. If the music of Hendrix, Waylon, Duane Allman and other archangels haunt your dreams now and then, youll find plenty to love in Something Real.Music is like color, says Nelson, whose intellectual ramblings are as freewheeling as his music. When I listen to the musicians who affected me when I was growing you, I take from the primary colors to find my foundation. Then I apply secondary colors and the music becomes more and more complex.And yet much of Something Real is stripped down and direct. With the addition of Lukass brother (honorary member, special guest) and guitarist Micah Nelson, to the lineup of bassist Corey McCormick, percussionist Tato Melgar, and drummer LoGerfo, POTRs sound has acquired more muscle and musical substance, its rhythm more groove. Even so, the group still emanates a primal energy on the riff-driven Surprise, the galloping blues shuffle of Something Real and other tracks.But theres an emotional complexity in simplicity, Nelson counters. Simplicity is never as simple as it seems. Sometimes, if you can hide the complexity inside the simplicity, you get a result that covers a lot of the spiritual spectrum.Maybe Nelson didnt quite articulate his approach that way when he began writing at age 11. Still, that notion has been guiding him since that day he finished his first song, You Were It. That was the birth of my songwriting, right there, he remembers. I said, Oh, OK. I seem to be good at this. I wonder if I can open myself up to this channel.Willie Nelson, his dad, apparently agreed. After all, he included You Were It on his album It Will Always Be.I always recognized what a good song was, Nelson continues. Ive had a lot of inspiration in that regard, being the son of one of the greatest songwriters ever. Another piece of the puzzle was this book that my dads manager, Mark Rothbaum, gave me when I was a kid. It was called King of the World and it was about Muhammad Ali, who said that every fighter has to believe that theres one thing in themselves that will help them rise above the rest and become the greatest. When I read that, I felt that songwriting was that for me, in the sense that I understood the way songs and lyrics are constructed.Nelson developed his songwriting diligently, devoting a part of each day to coming up with new ideas. Sometimes Ill walk into a room and a new song just pops into my head, like a thought, he says. That makes total sense to me because, really, songs are frequencies. Your brain is an antenna that picks up thoughts and energies. We receive this input from everywhere. Every place has its own sound imprint. If youre a musician, its your job to write down what you hear when that happens.Equally important, POTR was drawing tighter together, with each member playing a critical role. Over time, Nelson says, Weve reach a point where we could play together without having to speak much. Were in a zone now that requires minimal communication. We really feel each other as a band because weve gone through so much. Weve lived together for upwards of 250 shows a year for the last eight years. Anybody would get close together after something like that.We dont really think about it too hard; it always just kind of works for us, adds drummer LoGerfo. Because Lukas is the writer and were with him through the writing, were in the songs as they come together and we dont really have to rehearse much. I always wanted to get to the level of playing where were at right now.While developing his writing chops and building a band identity with his colleagues, Nelson also woodshedded on guitar, to the point that his command of the instrument began raising eyebrows and generating enthusiastic comments in early reviews of POTR. Certainly theres evidence all over Something Real that he is lets not mince words a virtuoso, in the sense of building a technique and command that allows him to express feelings powerfully and wordlessly.That said, Nelson sees his playing and his writing as separate facets of his process. To revisit his color metaphor, Its like you have this huge hose spraying separate streams of different-colored paint. I consider those colors to be different instruments. And our instruments are like paint brushes to apply that paint.But music is more than frequencies or, if you will, paint. However you describe it, life is the engine that drives Nelsons music. Throughout Something Real, buoyed by the intensity of the band, he pours emotion into his lyrics, recounting events too painful or personal to articulate matter-of-factly. Instead, he sings passionately, sometimes bordering on a scream, apparently to both communicate and to purge. Sadness permeates Dont Want To Fly, where over an earthy blues bed he confesses, I had a dream that I lost your love. / It disappeared like yesterday and then lets a searing guitar solo finish the thought. Later, on Georgia, he takes us into the heart of loneliness, mourning that Ray Charles is singing her name like rain on my window late on an empty night.Are the stories he shares drawn from actual experience? For the first time, Nelson hesitates. Then he answers, laughing slightly. Yeah, without getting in trouble, absolutely. Believe me, its all real.The one cover on Something Real tells its own truth too. Nelson has performed extensively with Neil Young in recent years as Neil Young + Promise Of The Real, which also features Micah Nelson as a full-fledged member. So it felt right for Nelson to welcome Young onto a rendition of Scott McKenzies San Francisco. In its original release back in the late Sixties, this was a starry-eyed, flower-power anthem, inviting kids to hitch to the coast and join the Summer of Love. Here, half a century later, the song takes on deeper hue, weathered by the loss of innocence and burden of wisdom.I love that song, Nelson reflects. Ive been hanging out in San Francisco, and it felt appropriate to belt this out on top of the Victorian mansion where weve been recording. San Francisco has always been home to incredible bursts of creativity and illumination followed by a complete overhaul of existing systems and subsequent revolution. Its kind of like a rotating magnetic pole. If Scott McKenzies version was the morning sunrise, then this one is an evening sunset.With the past so present in Nelsons artistry, its easy to wonder whether he feels a little out of place. You know what? he answers without hesitation. I feel at home in our time; I just have to look harder. There are musicians around today who are taking the work of older generations, building on it and going even deeper. Musicians have always done that.He mentions two contemporaries Jack White and Regina Spektor who inspire him. But all who immerse themselves in Something Real, regardless of where in history they feel most at home, know that this short list has to begin with Lukas Nelson & Promise of the Real, already a musical force for the ages.
Sep-06-17 09:00 PM The Neighbourhood
Sep-07-17 08:00 PM A R I Z O N A with GLADES
For all the climates and cities that bring people together, the boys in A R I Z O N A came together as a trio in an apartment in Boston, their makeshift studio the counterweight to the lofty halls of East Coast music scholarship. In a string of infinite sessions during their time at both Berklee College of Music and Emerson College, Nate (guitar) hopped on a session with David (keys) and Zach (vocals), and all the moving pieces came together in a way that would reincarnate itself in many different fashions before eventually becoming the group now known as A R I Z O N A.The three songwriter/producers from Jersey shared an obsession with the far left, sometimes even obscure side of music, but were even more romanced by the brutal honesty of pop topline and lyrics. Their music - including I Was Wrong, Where I Wanna Be, Let Me Touch Your Fire, and People Crying Every Night - creates new shapes and boundaries to span genres, time periods and styles, all focusing on the naked human tropes contained in the traditional pop narrative: love, loss, the need for raw unhinged expression.The years and cities came and went, and it took until just last year for these old friends to point their focus finally inward. Thus, the band was formed, and they were no longer just the writers or producers; they were the performers. Over the past few months, the trios music has incited an exponentially upward curve of massive fan engagement and early success with tens of millions of streams across Soundcloud, Spotify, YouTube and more. A R I Z O N A joined the social savvy co-conspirators at Atlantic Records and Artist Publishing Group at the close of 2015 and are currently working on their debut album.
Sep-07-17 08:00 PM Arizona
Sep-08-17 09:00 PM Diet Cig with SPORTS, Ratboys
Diet Cig are here to have fun. Theyre here to tear you away from the soul-sucking sanctity of your dumpster-fire life and replace it with pop-blessed punk jams about navigating the impending doom of adulthood when all you want is to have ice cream on your birthday.Alex Luciano (guitar and vocals) and Noah Bowman (drums) have been playing music together ever since Luciano interrupted the set of Bowman's previous band for a lighter. The New York duo have since released the infectious, 2015 Over Easy EP that introduced consistent sing-a-long lyrics with thrashing drums and strums that never held back.Swear Im Good At This is the first full-length from the band and accumulates their tenacity for crafting life-affirming, relatable tales with a gutsy heart at their core. Luciano has the ability to write lyrics that are both vulnerable and badass, perfecting a storm of emotive reflection that creates a vision of a sweaty, pumped-up room screaming these lines in unison. Diet Cig make it okay to be the hot mess that you are.But theres also a deeper, more powerful fuck-you among the bangers that see Diet Cig grow into an unstoppable and inspiring force. Im not being dramatic, Ive just fucking had it with the things that you say you think that I should be spits Luciano on Link in Bio; I am bigger than the outside shell of my body and if you touch it without asking then youll be sorry she yells on Maid Of The Mist. Its the sound of a band doing things on their own terms.Wrapping up Swear Im Good At This on Halloween 2016, exactly two years after they finished recording Over Easy on Halloween 2014, Diet Cigs first, full-length LP validates the experiences of punks who arent always accepted first time around; the punks who throw their deuces up at the dominating bro-dudes and ignite the importance of owning everything that you are.
Sep-09-17 09:00 PM Fionn Regan
People are going to ask, Why did you spend so long making such a short record? concedes Fionn Regan. But it feels like the idea for this record was in my head for a long, long, long, long time. Through all the other records something that Ive been evolving underneath.It is indeed close to five years since Fionn Regan last released an album 2012s The Bunkhouse Vol I: Anchor Black Tattoo was the fourth record since his 2006 award-winning debut The End of History, filled with all the lyrical and melodic mischief, warmth and wonder inherent to Regans work.Following the release of Anchor Black Tattoo, Fionn was awarded the Gold Medal of Honorary Patronage by Trinity College, Dublins Philosophical Society. The award had previously been honoured by Jack White, Seamus Heaney and Stephen Fry. It was a warming touch, and to Fionn, completed a full circle. It was time to re-evaluate, taking stock of the past whilst looking positively at the future. If the absence that followed seemed abrupt to his fans it was, for Regan, wholly necessary: the years between were due not to a want of material or lack of inspiration, but a re-evaluation of his creative life as a whole. At a certain point after the last record I was trying to figure out if I wanted to be in a band, so I wrote a lot of band songs, he explains. But for some reason it didnt happen. Around that time I was thinking about doing loads of different things I thought I might be a conceptual artist, I might paint. But the thing is I always get drawn back into songwriting. Somehow its just part of the way. Sometimes you have to step outside the walls of something in order to see it. So I think its necessary sometimes to have a little space and time away. After doing three records in a row it just felt right to have a break somehow.The record that heralds Regans return, The Meetings of the Waters, is perhaps his finest to date. It feels at once unlike any of Regans previous material, and at the same time lies a bedfellow or a bookend to The End of History; while it holds the same irresistible wit and poetic eye that characterised his debut, it has a new sense of musical exploration, wrapping the acoustic bones of his earlier records in a warm, inquisitive form of electronica.For me to make a completely acoustic record now would not be honest, Regan explains. Because theres so many things that Ive listened to and soaked up that it has to find its way in. Its just what you hear, its the bleeding in of everything, its the landscape that were in. Just a voice and a guitar doesnt tell the whole picture for me right now, its everything that Ive taken in sitting around listening to electronic music. The albums title is, he says, an acknowledgement that the record is kind of a meeting of both things that are influential. That meeting is the two things actually arriving. Thats what I was trying to get to, and thats why it took a little bit longer, to work out how to do that and for it to evolve naturally, and for it to feel timeless, and like it comes from the same source.Regan had demoed several tracks at his home studio in rural Ireland, all of which were by his estimation good enough to mix. But the thing was the production, he says. I was trying to get somewhere further with it, better landed, it felt it like a wider screen thing going on, so I went on to make studio recordings.Understanding electronic music and its production was, Regan says, like learning a new language for me. I suppose theres another spirit in electronic music, its like colours, electrical currents, a different feeling, and obviously theres a different structure to it and a different way to approach it. He worked hard to grasp it, he says, while also following his intuition. My approach to all of that is quite unconventional, he explains. I suppose my approach to everything is. I just go on an instinct, not following any sort of form Ive not had any sort of formal training, similarly if Im setting up to record live instruments I dont know where you are supposed to place microphones, I just find the sound I like, so it might seem crazy to someone elsePerhaps it is this unconventional approach, as well as the records largely pastoral beginnings, that allows the electronic and the acoustic elements of these new songs to meet so well particularly on songs such as Book of the Moon, Cormorant Bird and Euphoria. Most of it was written in the countryside, living on the side of a mountain Regan recalls Its one of those places it feels like theres songs there. And the Meeting of the Waters is a real place, its two rivers, very near where I was writing a lot of the songs. So all that stuff feels like the countryside; I suppose the silence of the countryside; and how when youre in the countryside the elements are all there, you dont have streetlights and time is different when you stop to talk to someone you talk to them for two hours, and you talk about very simple things. I think theres a simplicity thats definitely on the record. It feels like theres a lot of reverb in the countryside, theres more space, and more space to think about things. I think its a different currency of reflection.But there are other elements at play here too what Regan calls the sea shanty quality of Up Into the Rafters, for instance, which captures the way that in Ireland you always feel youre in the sea air. And the string-led instrumental moments that spring up throughout the album, prettily, but always with purpose the albums final track, for instance, which acts a kind of farewell: At the end of records I sometimes do things where theres some sort of meditative quality going on Regan explains. I suppose its to say goodnight, thank you very much. Otherwise you hear the front door closing and you realise you didnt say goodbye.Elsewhere, Ai acts like a wardrobe to go through into the albums big city song Babushka -Yai Ya, a track Regan can recall Writing really fast, going from one side of Dublin to the other across the river. I remember leaving a place and tearing a beer mat in half and writing on it, straight away, the whole thing, bang, done.This is in truth how most of these songs arrived - how all songs arrive for Regan: suddenly and unbidden. The thing about songs is that I definitely think that I could sit down every day three or four hours and write, but none of the songs that ever mean anything to me ever happen that way, he says. Most things that happen seem to happen when I dont really go looking for it.Even this record is not entirely something Regan went looking for; it is something that rose up as his eye was elsewhere, that led him in a different direction, picked him up and carried him to a new place. I think with this record I feel like Ive landed where I wanted to be, is how he describes it.I feel like theres a certain kind of peace to the record. He hesitates and tries to think of its themes. Theres a lot of things, the mending of bones, a certain renewal, he says slowly. I think theres a turning over of the ground to this record, he says, theres a peacefulness.Fionn Regan releases his new album The Meetings Of The Waters on 14th April on his new imprint: TSUNENI AI - Through Abbey Records/Sony Red.
Sep-12-17 08:00 PM Picture This