We require proof of full vaccination for Covid-19 for entry to this show. Masks are required for entry and the duration of the event. By purchasing a ticket, you agree to this policy. An Evening with Joan OsborneOn her tenth studio album, the masterful Trouble and Strife, Joan Osborne has issued a clarion call. With stunning vocals, a diverse range of sonics, and incisive lyrics, this deeply engaging collection of new original songs is her response to “the crazy, chaotic times we’re living in,” she says, and “a recognition of the important role music has to play in this moment. Music has a unique ability to re-energize people and allow us to continue to hang on to that sense of joy of being alive.”Since she broke through 25 years ago with the multi-platinum Relish and its touchstone mega-smash “One of Us,” the seven-time Grammy nominee has never played it safe. Osborne has followed her restless musical heart, exploring a diverse range of genres: pop rock, soul, R&B, blues, roots rock, gospel, funk, and country – all of which can be heard on Trouble and Strife, along with the Western side of C&W and a touch of glam and disco. Tackling serious subject matter in her writing while crafting music to “uplift,” Osborne assembled “a great live band” (including several musicians who played on her acclaimed last album, Songs of Bob Dylan): guitarists Jack Petruzzelli, Nels Cline, and Andrew Carillo, keyboardist Keith Cotton, bassist Richard Hammond and drummer Aaron Comess. For vocal harmonies, she enlisted exquisite vocalists Catherine Russell, Ada Dyer, Martha Redbone and Audrey Martells, whom she’s “had the great privilege to work with over many years.” The result is a Trojan horse of a record – music that is energizing, melodic, and hummable, with lyrics that call out the corrupt, the despicable and the destructive.It’s been quite the journey since the woman AllMusic.com declared “the most gifted vocalist of her generation” moved from small-town Kentucky to attend NYU film school in the 1980s. Osborne’s astounding voice drew attention when she joined the fun at open mic nights in downtown clubs, which eventually led to 1995’s Relish, “that rare breed of album where critical consensus, popular approval and enduring appeal unite,” according to American Songwriter. She has amassed a loyal fan base as she’s continuously traveled the country. Through it all, she sees more clearly now than ever the essential role our troubadours play.“I feel like music has this important job to do right now,” Osborne says. “Part of that job is to help imagine a better future – and to hang on to hope. I want to play for people and get them up on their feet and dancing. To let music do that thing it does – bring joy and energy because we really need that right now.” With Trouble and Strife, she intends to do just that.
We require proof of full vaccination for Covid-19 for entry to this show. Masks are required for entry and the duration of the event. By purchasing a ticket, you agree to this policy. Madeleine PeyrouxSelf-reflection and spiritual sensitivity are assets to any musician in the process of starting a career, of establishing one’s musical identity and direction. They don’t, however, necessarily lock into the typical velocity of career-building. There were other things Peyroux had to handle. She underwent surgery on her vocal cords. She healed and worked with a vocal coach. As the ‘90s gave way to the first years of a new century, she continued to question the how and, significantly, the why of what she was doing. (Her choice of the Dylan Thomas quote below, from his 1946 poem “In my Craft and Sullen Art,” helps explain her creative motivation.) By 2004, Peyroux had found the answers to her questions. She signed to Rounder Records. Her distinctively updated blend of swing-era jazz, country blues, gospel, and other acoustic forms made sense on a label with a reputation for standing by singular artists dealing in, or drawing inspiration from roots Americana. It was a good fit from the start, and would lead to a run of three career-defining albums. It also led Peyroux to work with Larry Klein, a bassist whose experience covered a wide stylistic range, from rock and R&B to jazz. Peyroux herself is in top, mature form on Careless Love—an apotheosis of that hushed, one-to-one affect she inherited from the likes of Billie Holiday, a stylistic bequest. By 2004, her way of conveying confessional expression was truly her own. She had developed an updated rhythmic pliability and an emotional depth that could explore the complexities lying beneath the surface of the songs. Check out how she suspends time and hovers on “I’ll Look Around,” associated with Holiday’s mid-career, pop years recording for Decca. It’s an overlooked gem on the album, Peyroux’s phrasing more in line with a Blossom Dearie ballad than Billie, way downtempo and nakedly revealing of her story-telling skill (in which Goldings points to yet another standard, “The Nearness of You.”) Peyroux transforms “Between the Bars” with a similar, open-hearted treatment, and reimagines the Hank Williams waltz, “Weary Blues,” as a prayer whispered to one’s pillow. The album’s showstopper is its opener—a cabaret-ready reading of “Dance Me to the End of Love”—which bestows Cohen’s poetic imagery with a world-weariness that can only come from experience. 2004…2005…the date stamp on any music performance can be a distracting thing. The more inspired and singular the music, the less that seems to matter. Timeless is what we call music that reaches the heart and stops the clock. Few are able to attain that, fewer with consistency. For the ones who do, it can take a while navigating one’s career path to get there, to make timeless happen. Madeleine Peyroux achieved it on her second album.
We require proof of full vaccination for Covid-19 for entry to this show. Masks are required for entry and the duration of the event. By purchasing a ticket, you agree to this policy. Parker Millsap with Caroline SpenceThe fifth album from Oklahoma-bred singer/songwriter Parker Millsap, Be Here Instead emerged from a wild alchemy of instinct, ingenuity, and joyfully determined rule-breaking. In a departure from the guitar-and-notebook-based approach to songwriting that shaped his earlier work, the Nashville-based artist followed his curiosity to countless other modes of expression, experimenting with everything from piano to effects pedals to old-school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale). As those explorations deepened and broadened his musical vision, Millsap soon arrived at a body of work touched with both unbridled imagination and lucid insight into the search for presence in a chaotic world.Produced by John Agnello (Kurt Vile, Sonic Youth, Waxahatchee) and mainly recorded live with Millsap’s full band, Be Here Instead marks a stylistic shift from the gritty and high-energy folk of his previous output, including 2018’s acclaimed Other Arrangements and 2016’s The Very Last Day (an Americana Music Association Awards nominee for Album of the Year). With its adventurous yet immaculately detailed sonic palette, the album warps genres to glorious effect, at one point offering up what Millsap aptly refers to as a “disco-Americana showtune.” In another creative breakthrough, Be Here Instead forgoes the character-driven storytelling of his past in favor of a more introspective and endlessly revelatory form of lyricism, an element he traces back to the charmed nature of his songwriting process. “Because the lyrics were appearing seemingly out of nowhere and with no prior intent, some of them started to feel like transmissions from my subconscious, rather than the preconceived linear stories or waking thoughts of my earlier songs,” says Millsap. “They feel like words I needed to hear from myself, and not just things I wanted to say to someone else.”In looking back on the making of Be Here Instead, Millsap points out that his recently discovered love of painting also informed the free-flowing creativity he brought to the album. “My wife’s grandfather was an artist who did watercolor paintings, and a few years ago I decided I wanted to try it,” he says. “I very quickly found out that watercolors are really hard to work with: you have to embrace your mistakes, and then let them guide you along. It’s made me think about how when you mess up, you’re basically revealing your humanity, which is what music’s all about. When I listen to records, I love when Ray Charles’s voice cracks, or when you hear the squeaking of the kick-drum pedal on a Led Zeppelin song. Anything that shows the living, breathing quality of the whole thing—that’s always wonderful. That’s what we’re here for. So don’t be afraid to let it happen.”
We require proof of full vaccination for Covid-19 for entry to this show. Masks are required for entry and the duration of the event. By purchasing a ticket, you agree to this policy. An Intimate Evening of Songs and Stories with Suzanne VegaVega emerged as a leading figure of the folk-music revival of the early 1980s when, accompanying herself on acoustic guitar, she sang what has been called contemporary folk or neo-folk songs of her own creation in Greenwich Village clubs. Since the release of her self-titled, critically acclaimed 1985 debut album, she has given sold-out concerts in many of the world’s best-known venues. Known for performances that convey deep emotion, Vega’s distinctive, “clear, unwavering voice” (Rolling Stone) has been described as “a cool, dry sandpaper-brushed near-whisper” by The Washington Post, with NPR Music noting that she “has been making vital, inventive music” throughout the course of her decades-long career. Bearing the stamp of a masterful storyteller who “observes the world with a clinically poetic eye” (The New York Times), Vega’s songs have tended to focus on city life, ordinary people and real-world subjects. Notably succinct and understated, her work is immediately recognizable—as utterly distinct and thoughtful as it was when her voice was first heard on the radio over 30 years ago.
CLICK HERE TO WATCH SUZANNE PERFORM "LUKA" LIVE
We require proof of full vaccination for Covid-19 for entry to this show. Masks are required for entry and the duration of the event. By purchasing a ticket, you agree to this policy. The Bad PlusThe Bad Plus are the ultimate originals. A democratic unit with a clear vision and a refusal to conform to convention. For the past two decades they have played with spirit and adventure, made their own rules and done so with a bold sense of creativity and intent. Avoiding easy categorization, The Bad Plus has won critical acclaim and a legion of fans worldwide with their unique sound and flair for live performance.Now in their 21st year, The Bad Plus continues to push boundaries as founding members Reid Anderson (bass) and Dave King (drums) embark on a new piano-less incarnation of the band with Ben Monder (guitar) and Chris Speed (tenor saxophone) – instigating a new wave of excitement and anticipation within the band that is re-energizing their sound and inspiration. The Bad Plus have constantly searched to bridge genres and techniques while exploring the infinite possibilities of exceptional musicians working in perfect sync.This is The Bad Plus in their most creative and expressive form. This is The Bad Plus now.
We require proof of full vaccination for Covid-19 for entry to this show. Masks are required for entry and the duration of the event. By purchasing a ticket, you agree to this policy. The Heavy Heavy with Opening Act TBAThe Heavy Heavy create the kind of unfettered rock-and-roll that warps time and place, immediately pulling the audience into a euphoric fugue state with its own sun-soaked atmosphere. Led by lifelong musicians Will Turner and Georgie Fuller, the Brighton, UK-based band began with a shared ambition of “making records that sound like our favorite records ever,” and soon arrived at a reverb-drenched collision of psychedelia and blues, acid rock and sunshine pop. As revealed on their gloriously hazy debut EP Life and Life Only, The Heavy Heavy breathe an incandescent new energy into sounds from decades ago, transcending eras with a hypnotic ease.
We require proof of full vaccination for Covid-19 for entry to this show. Masks are required for entry and the duration of the event. By purchasing a ticket, you agree to this policy. An Evening with Victor Wooten featuring Steve Bailey & Derico WatsonBASS EXTREMES
Victor Wooten is a 5-time Grammy Award winner and a founding member of the supergroup Béla Fleck and the Flecktones. He has been called the most influential bassist of the last 2 decades and was listed as one of the Top Ten Bassists of All Time by Rolling Stone Magazine. Wooten was also the winner of Bass Player Magazine's reader poll 3 times and remains the only person to have won it more than once. Having released multiple solo recordings, he is also the author of the widely read novel The Music Lesson: A Spiritual Search for Growth Through Music.
Steve Bailey is a pioneer of the six string fretless bass whose techniques are studied around the world. Steve, an avid recording artist with two solo recordings under his belt, currently holds the position of Chair of the Bass Department at the prestigious Berklee College of Music in Boston. Bailey has played and recorded with Dizzy Gillespie, The Rippingtons, Jethro Tull, Paquito D’rivera, Larry Carlton, and Willie Nelson, to name just a few. Bass Player Magazine wrote: "Steve Bailey is to the 6 string fretless bass what Columbus is to America."
Together, they formed Bass Extremes in 1992, releasing their self-titled debut which remains one of the top selling musical/instructional bass products of all time. Subsequent DVD and CD releases followed as they toured the world performing clinics and concerts. They are also known and respected as the dynamic teaching duo who continue to teach together at events, colleges, and universities around the world. They were also instrumental in introducing the original "Bass Camp" idea when they ran their first Bass/Nature Camp in Tennessee in the year 2000 and Bass at the Beach in South Carolina a few years later- both intensive camps which attract students from all over the world.
This show has been rescheduled from May 21st, 2022 to November 19th, 2022. An email was sent to all ticket holders on 6/9/2022. Existing tickets will be honored for the rescheduled date and you will not need new barcodes. If you cannot make the rescheduled date, please email firstname.lastname@example.org from the email address the tickets are under and provide with your refund request. Refunds will be honored through June 30th, 2022; any requests made after that date will not be honored. Thanks for your support for Penny & Sparrow and the Armory and we look forward to see you later this year!