NEXT NIGHT: FRIDAY APRIL 20 2018 // click here --
https://www.facebook.com/events/157702134903937/?event_time_id=157702154903935

// all ages welcome
// limited capacity, reserved seating recommended
// advanced guaranteed seating starting at $5

// host - Dennis Malley (www.DennisMalley.com)
// feature - Mike Why (www.OneMouthMusic.com)
// introducing - D-Ham (Dave Hamilton)
// doors 6:30pm, music 7-9pm

Live Looping is the intersection of live music and modern technology. Artists layer their sounds live to create their own accompaniment while playing onstage. The technique encompasses every genre and style of music. Find out more: http://en.wikipedia.org/wiki/Live_looping

PHILLTER: Live Music + Technology Community re-introduces its LIVE LOOP MUSIC NIGHTS, now conveniently located in Lawrenceville Pittsburgh in "The Living Room" at Hambone's. Each month, we will feature at least two artists from every sound in our area and walk and introduce a new or developing artist making their live looping debut -- who will serve as the host the following month!

// third or fourth Friday each month (see schedule for dates)
// full bar and menu available
// music listeners & lovers of all ages welcome

#PHILLTERband festival passholders from the PHiLLTER International Music Festival // 5.30 - 6.3 can name their own price for admission and get half priced reserved seating! Enter code "WRISTBAND" at checkout

Don't have a pass to the festival yet? Get yours here:
http://PHILLTERband.BrownPaperTickets.com

-- about PHILLTER --

Performance. Human Innovation. Live Looping. Technology. Education. Renaissance.

Make a tax-deductible contribution to our continuing education and outreach projects in arts and technology: https://www.fracturedatlas.org/site/FiscalSponsorship/profile?id=16982

Opus One Productions & 91.3 WYEP present
Animal Years
Direct Ticket Link: http://bit.ly/0614animalyears

Tickets on sale now!
Tix: $10 adv, $12 dos
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

https://www.animalyearsmusic.com/
https://www.facebook.com/AnimalYears/
https://twitter.com/AnimalYearsBand
https://www.instagram.com/animalyearsmusic/
https://www.youtube.com/channel/UCUIKyhUBO03x4llC8GP1AzA

Mike McFadden: Vocals, Guitar
Anthony Saladino: Bass
Anthony Spinnato: Drums

"We borrowed the name from a Josh Ritter album," Animal Years singer-songwriter-guitarist Mike McFadden says of his band's moniker. "Originally, we just liked the way the phrase sounded. But the more we thought about it, the more it meant to us, and we started saying things like 'Live your life in animal years.' If you knew that you'd only be around for a few years, you'd do things differently. That's how we try to operate as a band; we try to go for it every day, like we're gonna die tomorrow."

That level of urgency resonates throughout Far From Home, Animal Years' first eOne release. The five-song EP -- produced by Ryan Hadlock, renowned for his work with the Lumineers, Brandi Carlile and Vance Joy -- offers a consistently compelling distillation of the Brooklyn-by-way-of-Baltimore trio's irresistibly anthemic, unfailingly uplifting songcraft, which ranges from the fist-pumping infectiousness of "Caroline" to the introspective warmth of "Friends" to the bittersweet buoyancy of "Home (I Was Born)." McFadden's catchy, emotionally direct songwriting is matched by the band's exuberant performances, which combine McFadden's openhearted vocals and surging acoustic guitars with the punchy rhythmic kick of bassist Anthony Saladino and drummer Anthony Spinnato.

"Someone once described us in a review as 'singer-songwriter music with the amps turned up,'" McFadden notes. "The emphasis is on the songs and the songwriting, but we're definitely a rock band. Even if I'm playing an acoustic guitar, I'm playing it through an amp with the distortion on. We're always gonna be louder than the other bands on the bill."

Far From Home's memorable compositions and high-energy performances make it clear why Animal Years has already earned a fiercely loyal grass-roots fan base. Without the benefit of a mainstream record label, the band has built its audience the old-fashioned way: through dogged roadwork, winning over one fan at a time.

"When we moved to New York, we hit the city really hard, and things just grew organically," McFadden explains. "We naturally evolved from small clubs to bigger ones, and from small tours to bigger tours, with more people coming out each time. Everything has happened really organically, through us just being ourselves and trying to be as honest as we can."

The thee bandmates and producer Hadlock recorded Far From Home in the remote environs of Applehead Studios in Woodstock, NY, far from the band's normal urban surroundings.

"We really wanted to isolate ourselves in a place with no distractions other than making the record," McFadden explains. "So we all went up to Woodstock and worked in this great studio in a rebuilt barn. We've been demoing stuff for years, but this is the first time the three of us had made a record together. Ryan was really great to work with, and I think that he really brought out the best in us. It was great recording out there in the middle of nowhere; we'd record 12 hours a day, and then all hang out at night."

Far From Home showcases McFadden's knack for writing forthright songs that cut to the chase, lyrically and melodically. "On this EP, I wanted to write things that everyone can relate to," he asserts. "Sometimes lyrics can be open to interpretation, but for the most part I want people to know exactly what I'm talking about. All of these songs were written on the road, so a lot of the themes are about being away from home and missing people, and not taking people for granted.

"We had four songs that we really liked for the EP, but we knew that we needed one more that would really grab people's attention," he continues. "I was driving back from North Carolina, right at the end of a tour, and I wrote 'Caroline' in the car. Within ten minutes, I had pulled over to the side of the road and recorded the whole thing into my phone. A couple of days later, we made a rough demo, and everybody who heard it said 'Yeah, that's the one.' It's the song that got the attention of our record label, and now it's the first single from the EP."

The unpretentious attitude and hard-driving work ethic that define Animal Years were established early on, when Mike McFadden first began writing and performing his own songs in his mid-teens, releasing his first studio CD under his own name while still in high school in Baltimore. That inaugural effort won a good deal of attention, and even gained some local radio play. A second CD, released when McFadden was 18, was even better received by fans and local radio programmers, and soon his songs were being picked up for use in commercials from such advertisers as Coca-Cola and Pennzoil.

"That was the driver for me to think about quitting my job in Baltimore and going to New York to start Animal Years," McFadden recalls. "Before I moved to New York, I did another solo album, The Sun Will Rise. At that point, Anthony the bass player suggested that we find a drummer and make it into a band, so we rebranded the CD as an Animal Years release.

"It became a real band really quickly," McFadden reports. "When we started the band, we were all working jobs to raise money to make it happen, so we could afford to go on the road and into the studio. The guys started taking an equal part of the work, and everybody started contributing. It took some getting used to, but it was good not being alone and not having to do everything myself. The songwriting is still the same, because that's still me, but everyone's invested in this partnership and we're all getting something out of it."

Animal Years' timely relocation to New York proved to be a crucial turning point for the band. "The music scene in Baltimore is really big and varied, but I never felt like we ever really fit in there," says McFadden. "When we got to New York, we felt a lot more at home and got a much better reception. In New York, there're more people, there're more opportunities, there're more venues. You can play a few nights a week and still never run out of places to play."

Having already established themselves in their adopted hometown and having won a legion of new friends and fans on the road, Animal Years plan to continue doing what they do best: making music and touching people.

"We're planning on hitting the road super-hard," McFadden affirms. "We're definitely willing to put in the work, and make it happen by any means necessary. That's the only way you can do it these days. There are so many other people who are working as hard as you are, so you just have to work twice as hard."

Grey Area Productions presents

The New Mastersounds
with Special Guest TBA

6/15/18 at The Rex Theater
Doors at 8pm | Show at 9pm | 21+

Tickets: http://bit.ly/NewSoundsPGH

Drusky Entertainment Presents
Chris Knight
Northern Comfort, Tom Breiding

Fri, June 15, 2018
Doors: 9:00 pm / Show: 9:30 pm
Hard Rock Cafe Pittsburgh
Pittsburgh, PA

$20.00 - $25.00
Tickets go on sale Fri. 4/6 at 12PM: https://ticketf.ly/2JdSUE7
This event is minors under 21 with parent or legal guardian

SuperMonkey Recording Company & Opus One Productions Presents
Byzantine
w/ Stone Wicked Souls, Wretched Hive
Direct Ticket Link: http://bit.ly/0615byzantine

Tickets on sale now!
Tix: $15.00 adv/dos
ilovesupermonkey.com/tickets or
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

http://www.metalblade.com/byzantine/

Chris Ojeda: Vocals, Rhythm Guitar
Brian Henderson: Lead Guitar, Vocals
Sean Sydnor: Bass Guitar, Acoustic Guitar
Matt Bowles: Drums

To state that The Cicada Tree is 'classic Byzantine' in no way implies that this is an album solely rooted in the band's past. Certainly, all of the hallmarks that have made their sound so compelling for close to two decades are present and correct: muscular yet lithe riffs and fluid leads play against gripping, dynamic and at times unpredictable rhythms, while rich melodies and lyrics that are both involved and intelligent wind their way through every track. But, once more, the groove metal unit has continued their steady evolution - the interplay between their members organic and natural, imbuing the record's sixty-two-minute running time with a freshness and urgency. "After seventeen years of writing music for Byzantine, I know to let it just come as it may," states vocalist/guitarist Chris Ojeda. "I never really know what the songs are going to sound like or even the direction they might take. My main focus is to always experiment and push the parameters that have been pushed by past Byzantine albums, without straying too far from the original goal."

With recently recruited drummer Matt Bowles (ex-Our Malignant Beloved) infusing their sound with a new youthfulness, alongside the heady talents that guitarist Brian "Hendo" Henderson and bassist Sean Sydnor bring to bear, penning the follow up to 2015's To Release Is To Resolve was far from an arduous process. For Ojeda, racking up a substantial discography has brought an extra assuredness to his songwriting, which shines through at every turn. "The first few albums, you're trying to find your sound, and sometimes you tend to not see the forest for the trees. Now, on album number six, it seems a calmness took hold during the songwriting process, possibly from just having more confidence in our sound. At this point, our fans expect us to experiment and push our boundaries, which is an extremely liberating feeling." The Cicada Tree easily stands as their most accessible release to date, with the likes of "Map of the Creator" perfectly pitching weighty metallic elements against ruthlessly catchy melodies, while the pulsating crunch of "Trapjaw" is irresistible. However, Ojeda's assertion that there are no "jumping the shark" or "wimping out" moments that might serve to alienate their longtime faithful rings true, and when they really push their sound to its limit - most prominently on the nine-minute "Verses Of Violence" and the jazz-infused volatile metal of "Incremental" - they still remain very much Byzantine. True to form, while the epic strains of "Verses of Violence" flirt with multiple genres, it started out as a simple riff and grew organically from there, and at no point did they have a specific running time in their crosshairs. Likewise, "Incremental" evolved naturally even while they were in the studio. "I stopped writing the album at seven songs in, thinking we were going to re-record an old song as well as add two covers," Ojeda admits. "Our engineer, Jay Hannon, told me the album didn't feel complete and I needed to keep pushing myself. I took his advice to heart and wrote 'Incremental' and 'The Subjugated' pretty quickly, and while in the studio Hendo's jazzy solo was the cherry on top for 'Incremental'. It's actually one of my favorite tracks on the album, and it started out essentially as a filler song."

When it comes to lyrics, Ojeda once again teamed with childhood friend Jamie P. Rakes, who has helped ghostwrite the last few Byzantine releases. The combination of approaches taken by these two artists has long resulted in a variety of themes being covered, and this very much holds true for The Cicada Tree. "He likes to focus on relationship woes on songs like 'Dead as Autumn Leaves' as well as the political issues he covers on 'Vile Maxim', which helps me out because I tend to focus on things that happen in my life. Conversely, I always write a song about alien intervention, which on this record is 'The Subjugated'." The album title - and the song of the same name - is drawn entirely from an event the frontman experienced in his home state of West Virginia in 2016, "The Seventeen Year Cicada" cycle. "It's a type of locust that lies dormant underground for sixteen years, only to emerge in the seventeenth year, and it then lives for three months above ground to morph, mate, give birth and die. We had a swarm of roughly 1,000 cicada in my front yard underneath a small tree. My eight-year-old daughter, my pregnant-at-the-time girlfriend and I spent the whole season catching and studying them. It was a beautiful experience." While looking for potential album titles, Ojeda's girlfriend playfully suggested The Cicada Tree, and while initially dismissing this as a joke he soon had an epiphany. "Byzantine was coming up on its seventeenth year of existence and, just like the cicada, we spent the last sixteen years underground. So, 'The Cicada Tree' is a metaphor for the lifespan of Byzantine."

With Hannon having overseen every Byzantine release since 2013's self-titled comeback album, the recording sessions went smoothly, the only real hindrance being the band's availability, given that they - like a great many contemporary musicians - still hold down full-time jobs. Splitting the tracking between their rehearsal space and Hannon's studio in Myrtle Beach, South Carolina, fans were given the opportunity to be a part of this process, as the band live-streamed the guitar solo and vocal sessions on the internet. "For an hour or two each night, we let fans watch us record the album as well as interacting with them simultaneously. Some fans even suggested trying parts differently, which we did. It was scary and exhilarating at the same time." Having never had the budget to experiment with a range of equipment, Ojeda acknowledges that each of their albums is a snapshot that ultimately sounds "exactly like we sound live at the time, and this one is a tad 'wetter' and 'denser' in production than our last album, and a little more expansive." With the artwork also of great importance, the band once more turned to Christopher Lovell, who provided the vivid imagery for To Release Is To Resolve, and it effortlessly catches the spirit and tone of The Cicada Tree. The combined efforts of these individuals have resulted in one of the finest moments in the band's enviable career, and having signed with Metal Blade Records, they are looking forward to giving their new material the exposure it deserves. "We have done such little touring in our career, and 'To Release Is To Resolve' definitely didn't get the live push that it needed because we all had to work. We hope our partnership with Metal Blade will be able to correct that, and we'll have more opportunities with 'The Cicada Tree'." Beyond that, Ojeda is already looking toward the future with a very simple long-term goal: "To continue to write and record top shelf heavy metal, and hopefully be considered as a consistently good metal band." Given the catalog that backs this up and the strength of their latest salvo, it's safe to say that those exposed to Byzantine know they are far, far more than just a consistently "good" metal band.

Tickets are on sale now!

David Ramirez: Bootleg Tour (Live Album Recording)
w/ Matt Wright
Direct Ticket Link: http://bit.ly/0616davidramirez

Tickets on sale now!
Tix: $15 advance, $18 day of show
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

http://www.davidramirezmusic.com/
https://facebook.com/davidramirezaustin
https://twitter.com/ramirezdavid
https://www.instagram.com/davidramirez/
https://www.youtube.com/user/davidramireztunes

We?re Not Going Anywhere: At a historical moment of immense political, social, and ecological uncertainty, those four simple words comprise both a promise and a protest, a comforting reassurance of inclusion as well as a hearty cry of defiance. It?s a statement that offers no small sense of hope, in that sense matching the music contained on the album.

On these vividly imagined and passionately performed songs David Ramirez takes in the world from his unique perspective: ?Being half white and half Mexican has made this current political climate especially interesting. So many cultures in this country are being viewed as un-American and it breaks my heart. My family have raised children here, created successful businesses here, and are proud to be a part of this country. Most of what I've seen as of late is misplaced fear. I wanted to write about that fear and how, instead of benefiting us, it sends us spiraling out control.?

The album that bears that title marks a departure for Ramirez, who builds on the rootsy sound of his early albums to create something new, something bold, something anchored in the here and now. Scouting out unexplored music territory, these songs bounce around energetically, toying with new ideas and experimenting with new sounds, as barbed-wire guitars and retro-futuristic synths grind against his anguished vocals and evocative lyrics.

?We flipped script a little bit and went in with a pretty specific vision: lots of keyboards and some out-of-the-box guitar sounds. I took a lot of notes from the indie bands I?ve been listening to and from the bands I loved growing up in the ?80s, like the Cars and Journey. Let?s just live in this spacy world for a while and see what comes out of it.?

What came out of it isn?t just Ramirez?s most adventurous album to date, but a record that captures the mood of the country in its music as well as in its lyrics. While he does tackle some new subjects, Ramirez grounds these songs in his own perspective, which means every song remains both human and humane, outraged and generous. There are some break-up songs on here, sober and self-castigating: first single ?Watching from a Distance? thrums with iridescent synths and a tight backbeat that sounds like lines on the highway measuring the widening rift between lovers. ?People Call Who They Wanna Talk To? is Ramirez at his catchiest, marrying a playful earworm hook to a somber realization about romantic irreconcilability: ?Don?t blame it on the distance, don?t blame it on the booze? people call who they wanna talk to.? A simple line, but completely devastating.

?This is the first album I?ve had properly produced,? says Ramirez, who either produced or co-produced all of his previous efforts. For We?re Not Going Anywhere, he hired Sam Kassirer, who has helmed albums by Josh Ritter, Lake Street Dive, Bhi Bhiman, and many other artists. ?I needed to evolve and change things up a bit, which is why I chose Sam. He pushed me in a way I hadn?t been pushed before.? Kassirer challenged Ramirez to simultaneously simplify and complicate his songwriting, to find new ways to tell his stories. ?He said, I want you to try to tell a story but use fewer words and more space. In other words, let?s not make a singer-songwriter record. Let?s make a band record. Once he said that, my mind just opened up in a way it never had before. It was fun to just be more straightforward lyrically. It left a lot of space for the music.?

In January 2017 Ramirez and his band decamped to the Great North Sound Society, an eighteenth-century farmhouse in rural Maine that serves as Kassirer?s studio. Especially in the winter, when the trees are bare and snow blankets the ground, the setting proved inspiring. ?It?s very secluded, which was part of the appeal. We were able to get out of our touring headspace and stay completely involved with the record and what we were doing.? That allowed the band to concentrate on the music, to pursue ideas without distractions and misgivings, but it also removed them from the world during a momentous event.

We?re Not Going Anywhere turns that distance into a big-picture perspective? engaged and informed, compassionately political but not necessarily partisan. ?We?d take breaks during the day and watch the news and see all the rallies and marches and the disruption and the out-of-control feeling that was everywhere then?and, frankly, still is now. We were looking around and no one was around us. The closest house was a mile away, so it was just us. We were grateful just to retreat from that social tornado for a while and create something that we hoped would be very beautiful.?

Looming over every song is the ghost of Ramirez?s great-grandmother, who inspired ?Eliza Jane,? a deeply poignant and personal tune near the album?s conclusion. In gracefully plainspoken lyrics, Ramirez describes how she and her brothers left Oklahoma during the Great Depression, heading northwest to Oregon, where she played piano in a country band. ?My mom was telling me this story and the song was writing itself. I wish I had known her, because I?m curious what drove her. I know what drives a lot of my musician friends, but I really want to ask a family member: Why did you do this? Was it just for fun? Was it a passion so deep-rooted that you couldn?t not do it??

While he may describe the creative process as fun, Ramirez obviously has inherited a deep-rooted passion?one that will continue to drive him well into the future. ?I?m not going to be so afraid to take risks in the future, like I have been in the past. I?ve been so stressed and concerned with every detail, but I learned to let that go. Let?s just have fun. Let?s get weird. I?ve never felt that way about my work. I still respect my older stuff, but I just didn?t want to be afraid anymore. That?s what I learned on this one.?

Dr. Dog With Special Guest SANDY Alex G - Presented by 91.3 WYEP!
June 17th, 2018 - Doors open at 7 PM!
$26 in advance, $28 day-of-show!

Tickets go on sale Friday, January 19th via Ticketmaster
PRESALE begins Wednesday, January 17th with code LISTENINGIN
http://www.ticketmaster.com/event/1600542A8BB81A4C?brand=promowestns&camefrom=CFC_STAGEAE_fbevent

Stage AE, Indoors
All Ages / General Admission
Presented by PromoWest North Shore, Opus One Productions & Coors Light

Drusky Entertainment Presents
Trevor Hall

Sun, June 17, 2018
Doors: 7:00 pm / Show: 8:00 pm
Rex Theater
Pittsburgh, PA

$25.00 - $28.00
Tickets go on sale Fri. 3/30 at 12PM: https://ticketf.ly/2pJKX0i
This event is all ages

Dropkick Murphys & Flogging Molly are coming to Stage AE Outdoors on June 18th! Tickets are on sale NOW via Ticketmaster!
http://www.ticketmaster.com/event/1600546FD90E7EDF?brand=promowestns&camefrom=CFC_STAGEAE_fbevent

Stage AE, Outdoors - Rain or Shine
Gates open at 6 PM
$43.50 in advance, $45 day of show
All Ages / General Admission
Presented by PromoWest North Shore & Coors Light!

Suzanne Santo of HONEYHONEY
Direct Ticket Link: http://bit.ly/0618suzannesanto

Tickets on sale now!
Tix: $13 adv, $15 dos
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

http://www.suzannesanto.com/
https://www.facebook.com/soozanto
https://twitter.com/soozanto
https://www.instagram.com/soozanto/

Caught halfway between the dark swoon of pop-noir, the raw rasp of soul music, and the honest punch of Americana, Suzanne Santo's Ruby Red tells the story of a singer, songwriter, and multi-instrumentalist who, more than 10 years into an acclaimed career, is turning a new corner.

Produced by multi-platinum Grammy nominee Butch Walker (whose Los Angeles recording studio gives the album its name), Ruby Red marks Santo's first release as a solo artist. For the past decade, she's spent most of her time fronting the Americana duo HONEYHONEY, whittling her banjo, violin, and vocal chops into sharp shape along the way. Here, she takes a break from that longtime gig to explore something different, creating a moody, sexually-charged album filled with organic instruments, distorted fiddle, Walker's powerful electric guitar, and Santo's most stunning vocal performances to date.

"I think I started writing songs for this record long before I realized that I was writing songs for this record,? said Santo. ?I?ve identified with a collaboration for so long that the thought of taking a leap into the depths of my own music and having no idea what that would look like, definitely came as a shock. I was getting lazy and not finishing the tasks at hand like I really wanted, deep down, to be able to do. Writing this record was bewitching in a way.?

Before they collaborated on Ruby Red, Santo made multiple appearances on Butch Walker's eighth album, Stay Gold. She joined him on the road, too, singing harmonies and playing violin, guitar, and banjo during a nationwide tour in 2016. During breaks in her touring schedule, she began diving into a different type of songwriting, looking to diverse albums by Erykah Badu, David Bowie, Townes Van Zandt, and the Alabama Shakes for inspiration. For years, she'd always been somebody else's bandmate. This was a time to explore her own identity. To write her own music. To ignore genres and defy expectations. To determine what, exactly, she wanted to say. . .and find out the best way to deliver it.

?Once Butch acquiesced to producing the record, I had an ?oh wow!? moment where I realized that I needed to really show up,? continued Santo. ?I had to have songs that were finished, let alone good enough. I couldn?t stop and I wrote all day every day to finish the songs I?d started years ago as well as the few that presented themselves in the 4th quarter. I took long walks in my neighborhood and listened to demos on my cell phone and worked out lyrics. I would also wake up in the middle of the night with new ideas and would get up and write them down or record them. It felt like the songs were seeping through the cracks of my mind and out of my mouth, without much of my consent. I think art is a channel, connected to something much greater than we are and I feel honored when it picks me from time to time.

Ruby Red is an album about love, life, and lust in the modern world. Moody and melody-driven, its 11 songs range from "Handshake" ? the record's epic opening track, equal parts Southern-gothic anthem and slow-burning soul ballad ? to the driving "Ghost in my Bed," which pairs an explosive chorus with layers of mandolin, fiddle, and piano. Meanwhile, tracks like "Better Than That" focus on little more than Santo's voice: an electrifying, elastic instrument that's capable of both vulnerability and ferocity.

Santo and Walker recorded Ruby Red quickly, pulling long hours in Walker's bright, sunlit studio in Southern California. The instrumental tracks were captured live, with help from guests like pedal steel player Dr. Stephen Patt ? Santo's primary care physician, as well as a former member of the Edgar Winter Group ? and drummer Mark Stepro. Santo kept the guest list small, though, splitting the bulk of the instrumental duties with Walker.

"It was incredible to work with Butch. He facilitates a great time and an artistic environment that orbits solely around what?s best for the song, which is so rare in a business full of egos. Butch and this environment liberated and enabled me to work in a way that I never knew I was capable of."

Although Ruby Red marks the start of something new, it doesn't signify the end of Santo's long run with HONEYHONEY. Santo will join bandmate Ben Jaffe in the television series The Guest Book, whose episodes feature the two musicians in acting and musical roles. The show premieres on TBS during the latter half of 2017, adding another bullet point to the acting career Santo launched years before HONEYHONEY's formation.

Santo's story is still unfolding. This is the newest chapter, bringing with it a track list that doubles down on the songwriter's strengths and stretches her limits. There will be more chapters to explore. More colorful stories to tell. But for now, Suzanne Santo's future is looking Ruby Red.

"This record is so sexy, I can't deal,? said Walker. ?Proud to have been in the room when these songs were going down. Put it on and turn out the lights."

The Posies
Direct Ticket Link: http://bit.ly/0619theposies

Tickets on sale now!
Tix: $25 adv, $30 dos
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

http://theposies.net/
https://www.facebook.com/theposies
https://twitter.com/theposies
https://www.instagram.com/theposies/

It's officially been 30 years since Jon Auer & Ken Stringfellow, high school mates from Bellingham WA, USA, recorded and released "Failure", a home recorded, self-released cassette that had the improbable fate of landing the band two commercial radio hits and a record deal w the David Geffen Company, where they became labelmates of Sonic Youth, Nirvana & Teenage Fanclub. Now with a legacy of eight critically lauded albums (their latest, "Solid States" was released in 2016), a loyal population of fans around the globe, and a body of work with such classic alternative/indie anthems as "Dream All Day", "Solar Sister", "Coming Right Along" and many more, the band is still active and looking forward to its fourth decade in music. The band's '90s catalogue is set to be re-released in 2018 by Omnivore Records, and there are plans to start working on a new album soon after. The band has survived the deaths of two longtime members in the last 3 years: bassist Joe Skyward and drummer Darius Minwalla; despite that, they managed to stage a brilliant comeback in 2016 with drummer Frankie Siragusa and do several sold out tours doing pop up shows -- self-produced concerts in improvised venues and unlikely spaces; indie rock raves, if you will.

For their 30th Anniversary, Omnivore Records will re-release the band's crucial 1990s catalog -- "Dear 23", "Frosting on the Beater", and "Amazing Disgrace", as double CDs replete with an astounding number of previously unreleased bonus cuts, and also as double 45 RPM high fidelity LPs. The band is currently running a Pledge Music campaign (https://www.pledgemusic.com/projects/the-posies) for pre-ordering the three albums. Radiohead mentioned to Ken one night out in the pub (in Hollywood, tho) that "Frosting on the Beater" was the most played album in the van during the band's first American tour; Snow Patrol's Gary Lightbody & Beach Slang's James Alex, two name but two, have each put that album in their personal top ten. "Frosting" encapsulates all the elements that make the band timeless -- the two-voices-as-one interplay of Auer and Stringfellow; thoughtful and literate lyrics; broiling guitars married to shimmering melodies. If the band was out of step with its more brutal Seattle compatriots 25 years ago, it has served them well -- the times, at last, have caught up to their vision.

To take this celebration around the globe, the Posies, who have had a few lineup changes over the years (always based around the founding duo of Auer & Stringfellow) will be on tour as the 1992-1994 lineup that made "Frosting on the Beater" -- Jon & Ken will be complemented by drummer Mike Musburger and bassist Dave Fox. It's been almost a quarter century since this quartet has been on the road, and recent warm up shows have been as explosive as those played by the twentysomethings of yore. Catch the band on tour this spring in North America, and this fall in Europe -- their time is now, again.

Winterforge Promotions presents...

Castle - Metal Band
San Francisco Heavy Metal on Van Records
http://www.van-records.de/castle.html
https://castle-vanrecords.bandcamp.com/album/welcome-to-the-graveyard

Legendry
Pittsburgh Heavy Metal
https://legendry.bandcamp.com/

Limousine Beach
New Pittsburgh Heavy Rock band with members of Carousel and Cruces

7pm Doors / 8pm Start
$10
21+
Howlers

the Iguanas
Direct Ticket Link: http://bit.ly/0620theiguanas

Tickets on sale now!
Tix: $20 adv, $25 dos
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

https://www.iguanas.com/
https://www.facebook.com/the-Iguanas-124692393771/
https://twitter.com/theiguanas
https://www.instagram.com/theiguanas/
https://www.youtube.com/user/theiguanas/videos

What if Americana actually encompassed ALL of North America? You'd have the Franco Acadian inflections of Canada, as best exemplified by the accordion, blues and jazz, the only truly indigenous music the US has ever produced, and the lilting grace and fiery passion of the music of Mexico. You'd also have New Orleans' premiere distillers of this continental musical melange, The Iguanas, and their new album Juarez.

Taking their cues from all of the above influences and then some, Juarez, the band's first studio album since 2012?s Sin to Sin, redefines the notion of Americana, crossing cultures, styles, eras...and even languages. It's as if Rue Bourbon, Muscle Shoals and Plaza México were all within earshot of each other and The Iguanas were the musical conduit between them. Based out of New Orleans for the past couple of decades save for a short, Katrina imposed exile in Austin the members of the Iguanas have (collectively or individually) played or recorded with everyone from Charlie Rich, Alex Chilton, and Willie DeVille to Emmylou Harris, Allen Toussaint, and Pretty Lights.

Their two decade ride has taken them all over the map musically and geographically, yet the inescapable patina of their hometown infuses every note they play. Through eight studio albums, countless tours and Jazz Fest appearances, and a flood that did its best to take their adopted city with it, it's a testament to the band's endurance that the same four guys that started playing in the early 1990s are still together. Joe Cabral is philosophical about the band's persistence in the face of challenges that would have felled indeed have felled lesser bands. "First of all, this is all we know how to do; we're musicians. But more than that," he continues, "we respect the power of the band as an entity, and each individual in the band steps up to play his part. When it's good, that's really what it's all about."

Rod Hodges agrees. "I don't want to get all heady and mystical about this, but it's not really an outward reward we're looking for. We all enjoy playing music, we all get along, and finding a group of people who can say that after all this time is a rare thing."

THE GLITCH MOB - http://theglitchmob.com
With Elohim

"See Without Eyes" PREORDER NOW
http://theglitchmob.com

Tickets on sale now!! - Limited "Meet & Greet" passes are available.

http://www.ticketmaster.com/event/16005447C6727073

Stage AE, Indoor Show
Doors open at 7 PM
All Ages / General Admission
Presented by PromoWest North Shore,& Opus One Productions

Grizzly Bear + Spoon are coming to Stage AE Outdoors on June 22nd with special guest Kaitlyn Aurelia Smith!
Tickets go on sale Friday, March 9th via Ticketmaster!
PRESALE begins Thursday with code GBSPOON2018: http://www.ticketmaster.com/event/1600545CC60094C1?brand=promowestns&camefrom=CFC_STAGEAE_fbevent
$39.50 in advance, $45 day of show

Stage AE, Outdoors - Rain or Shine
Gates open at 6 PM
All Ages / General Admission
Presented by 91.3 WYEP, PromoWest North Shore, Opus One Productions & Coors Light

$1 per ticket on the Spoon and Grizzly Bear tour will go to PLUS1 in support of Everytown for Gun Safety Support Fund's mission to prevent gun violence and build safer communities.

Opus One Productions & Iron City Rocks presents
The Sword
w/ The Atomic Bitchwax
Direct Ticket Link: http://bit.ly/0622thesword

Contest has ended. And the winner is: Matthew Gamble!

Tickets on sale now!
$20 advance, $22 day of show
http://www.ticketweb.com/mrsmalls
866-468-3401
or at all Opus One Productions Ticket Outlets - Dave's Music Mine, Juke Records, Brighton Music Center, and Mr Smalls Daytime Box Office
All Ages

http://www.theswordofficial.com/
https://www.facebook.com/theswordofdoom
https://twitter.com/Thesword
https://www.instagram.com/theswordofficial/

Drusky Entertainment Presents
The Blasters
with Clownvis Presley, Legendary Hucklebucks

Fri, June 22, 2018
Doors: 9:00 pm / Show: 9:30 pm
Hard Rock Cafe Pittsburgh
Pittsburgh, PA

$17.00 - $20.00
Tickets go on sale Friday at 12PM - http://ticketf.ly/2kwF73o
Under 21 with a Parent or Legal Guardian

Grey Area Productions presents

Parker Millsap

6/22/18 at The Rex Theater
Doors at 7pm | Show at 8pm | All Ages

Tickets: http://bit.ly/PMillPGH

Virtue Falls is coming to town. Be sure to come out and get LIT while watching heavy metal bands preform live music. Come out and headbang!!

Hosted by Filthy Media and The Smiling Moose

$10.00

21+ NO EXCEPTIONS 21+

Nythis (Blackened Death - NY)
Psalms of Silence (Heavy Metal - OH)
Bitterroot (Deathmetal - PA)
Virtue Falls (Metal/Rock - NY)

Doors 10:00 PM
Bands Start 10:30 PM
Show End 1:30 PM

Filthy Media - Underground Music Entertainment
www.filthsite.com
Keepin' it #filthy
FILTH TEAM

Check out our other shows if you dig
Join Us For A Fun Night of Metal At The Smiling Moose!
Filthy Media Presents: The Breathing Process And More

#heavymetal #pittsburghshows #localmusic #concerts #filthymedia

Jenny and the Jags
http://jennyandthejags.com/

FBGM
http://fbgmtheband.com/

Mani Pedi
https://manipediband.bandcamp.com/

Sadie's Song
https://sadiessong.wixsite.com/

Drusky Entertainment & UA Promotions Presents
Devastation on the Nation Tour
Aborted, Psycroptic, Ingested, Disentomb, Arkaik, Venom Prison, Signs Of The Swarm, Post Mortal Possession

Sat, June 23, 2018
Doors: 4:30 pm / Show: 5:00 pm
Rex Theater
Pittsburgh, PA

$20.00 - $25.00
Tickets are on sale now: http://ticketf.ly/2Dl7NVw
This event is all ages

TOO MANY ZOOZ
Direct Ticket Link: http://bit.ly/0623toomanyzooz

Contest has ended. And the winner is: Allie Johnson!

Tickets on sale now!
$20.00 adv/dos
http://www.ticketweb.com/mrsmalls
866-468-3401
or at all Opus One Productions Ticket Outlets - Dave's Music Mine, Juke Records, Brighton Music Center, and Mr Smalls Daytime Box Office
All Ages

http://toomanyzooz.com/
https://www.facebook.com/toomanyzooz
https://twitter.com/TooManyZooz
https://www.instagram.com/toomanyzooz/
https://soundcloud.com/toomanyzooz
https://www.youtube.com/channel/UCtjXVqMVzBIgU0SO8AV0vPg

At the 2016 CMA Awards one sound burst from the stage like a thunderquake. As Beyoncé performed "Daddy Lessons" accompanied by Dixie Chicks and Too Many Zooz -- the New York City trio which originally recorded the song on the star's Lemonade album -- TMZ brought the sound of the street to Beyoncé's glittering musical declaration. Glued to their smart phones, tablets, and TVs, America beheld Too Many Zooz' innovative polyglot style.

Beyoncé and Dixie Chicks sashayed the song's verses in a rollicking country vibe, but as the performance neared midpoint, a tall, burly baritone saxophonist with a luminous white pompadour took the stage like a bar-walking gladiator. TMZ's Leo P danced, shimmied, and shaked, matching Beyoncé move for move, while blowing growling saxophone notes that infused urban funk to "Daddy Lessons"' two-beat country jig. TMZ trumpeter Matt Doe and drummer King of Sludge performed on the stage's backline as a blaring brass line raised "Daddy Lessons"' intensity, followed by Beyoncé and Dixie Chicks slamming song's political theme home.

Too Many Zooz's saxophonist Pellegrino, trumpeter Matt Doe, and drummer King of Sludge held Nashville's Bridgestone Arena stage for mere minutes, but the same talent that moved Beyoncé to have the group record both "Daddy Lessons" and "Formation" on Lemonade has seen TMZ sell thousands of CDs and downloads, and inspired viral videos.

Too Many Zooz's manic music, dubbed "BrassHouse" by drummer King of Sludge, is an irresistible rocket that combines styles more diverse and far-flung than any international space station. As heard on the group's EPs -- F NOTE, Fanimals, Brasshouse Volume 1: Survival of the Flyest, The Internet, and the LP, Subway Gawdz -- Too Many Zooz creates a visceral smack-to-the-senses. TMZ's BrassHouse summons EDM, house, techno, and glitch, paired to the indigenous punch of Cuban, Afro-Cuban, Caribbean, and Brazilian Carnival rhythms. TMZ's music is further heightened by the dancing and saxophone soloing prowess of Pellegrino, virtually a bionic Pepper Adams. Like Nortec Collective mashed with Daft Punk by way of a mad sonic scientist, Too Many Zooz has conquered New York City -- your headset's resistance is futile.

"We pride ourselves that nearly every person of every color, creed and background and upbringing can find something in our music to relate to," Matt Doe says. "Someone from Cuba can say 'I hear Cuban music in the cowbells.' Someone into death metal will enjoy it next to a grandmother who hears it as old swing music. Others hear Klezmer. Whatever people want to hear in our music they can seemingly find it."

Many New Yorkers discovered Too Many Zooz at the Union Square subway station, where the trio began busking in 2014. After one of TMZ's videos went viral on Reddit, creating almost a million fans, sales of the band's digital downloads and CD sales skyrocketed.

If TMZ's music wasn't already electrifying, Leo Pellegrino's dance moves, which spin like a Zoot-suit wearing swinger, add visual thrills to the band's musical mastery. A classically trained musician, Pellegrino began dancing as both expression and rebellion. What Beyoncé loved is now available to all.

"Horn players, especially baritone saxophone players, look so lame on stage!" Pellegrino notes. "I just watched an NBA half-time show and this band's horn players were killing my eyes. I wondered 'why does the horn have to be such a lame instrument visually?' I began dancing in the subway and people loved it. I realized that I had been brainwashed, all my teachers telling me not to move. I'd been told that was improper technique, but that became my key to success."

Too Many Zooz's songs are marvels of simplicity born of musical complexity. Pellegrino, Doe, and King of Sludge condense multiple -- what might be considered clashing styles -- into a riveting jackhammer brew. King of Sludge's staccato eighth-note rhythms performed on a unique bass drum/cowbell/jamblock/cymbal setup forms the music's gritty rhythmic bed. Matt Doe's trumpet provides melody and harmony, while Leo Pelligrino's saxophone follows rhythm directions and solo revelry.

"I don't like using standardized terms when describing our music," Matt explains. "We're all doing things that are out of the ordinary. I provide the synth sound you would hear in a dance track. Leo plays saxophone but he's also providing the bass sound you would hear in electronic music. When Leo solos, it's like a breakdown when the bass is the featured element of the band. I don't solo per se, but I am playing nearly the entire show. It doesn't make sense for me to play more!"

TMZ's seeds were formed when Indiana native King of Sludge, and Boston-born Pellegrino played in subway busking band, Drumadics. Fellow Manhattan School of Music classmate and Pittsburgh native Doe played in various ensembles with Pellegrino, the threesome eventually busking together by chance -- their chemistry sparking an instant bond.

"From the start, we were all bouncing off each other, listening to each other and not thinking too much," Doe says.

TMZ have collaborated with Galatic, Kreayshawn, Jerry "Wonda" Duplessis, and, of course, Beyoncé.

"Knowing that Beyoncé enjoys our music on her own time?" ponders King of Sludge. "That's a great thing."

What's next for TMZ? The trio's upcoming EP will feature a rawer sound, the group returning to their original roots, and most likely, their original 14th Street subway station.

"When we began, it was just trumpet, saxophone and drums," Leo says. "Our first EP was pretty straight up, then we added production and guests and vocalists on Subway Gawdz. This next EP is back to our roots."

Does TMZ recommend the subway path to stardom?

"The subway, then videos and Beyoncé helped propel our popularity," Matt says. "The subway is a great promotional vehicle. There's nowhere else that you can reach such a wide demographic. If you want to get out and be seen and up your numbers, go to the subway. That's always part of our business plan."

Mr. Smalls Presents
Maps & Atlases
with Prism Tats

Saturday, June 23, 2018
Doors: 7:00 pm / Show: 8:00 pm
Cattivo
Pittsburgh, PA

Tickets: $15 - $17
Tickets on sale this Fri. 4/6 @ 10 AM - http://bit.ly/2q3VX8Y
This event is ages 21+

Dave Alvin & Jimmie Dale Gilmore - On Stage Together
w/ Dead Rock West (duo)
Direct Ticket Link: http://bit.ly/0623alvinandgilmore

Tickets on sale now!
Tix: $35 adv, $40 dos
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

NEW ALBUM ?Downey to Lubbock,? is now available for pre-order.
Link: https://lnk.to/downeylubbock

http://www.davealvin.net/
https://www.facebook.com/davealvinofficial
https://twitter.com/davealvin
https://www.youtube.com/channel/UCsyq6L8WjdoB8fUvaQmgpAw
----
http://www.jimmiegilmore.com/
https://www.facebook.com/JimmieDaleGilmore/

Roots music legends, Dave Alvin and Jimmie Dale Gilmore, have been friends for 30 years, but only recently realized they had never played music with each other before. So in 2017, Grammy winner Alvin and Grammy nominee Gilmore, decided to hit the highway to swap songs, tell stories, and share their life experiences.

Though Texas born Gilmore was twice named Country Artist of the Year by Rolling Stone, and California native Alvin first came to fame in the hard rocking rhythm and blues band The Blasters, they discovered that their musical roots in old blues and folk music are exactly the same. In these spontaneous shows, audiences enjoyed classic original compositions from the two, and also songs from a wide spectrum of songwriters and styles - from Merle Haggard to Sam Cooke to the Young Bloods.

Mutually energized and inspired by these performances, Dave and Jimmie agreed to hit the road again in 2018?this time with a full band and some new stories to share.

We hope you saved the date, the first annual Pittsburgh's Sunday Best Bloody Mary Festival presented by Winslo6, hosted by Heinz Lofts, & sponsored by Ketel One Vodka is here! The first festival of its kind in Pittsburgh to celebrate the best Bloody Marys and Brunch items in the city! We have kept you waiting for more information for too long so without further ado here are the details:

13 local bars and restaurants will come together in the courtyard at Heinz lofts to provide guests unlimited samples of their house-made bloody mary mix and best garnishes!

It wouldn?t be Pittsburgh's Sunday Best without a little competition: voting will take place to name Pittsburgh?s Best Bloody Mary!

All Bloody Marys will be made using Ketel One Vodka, proudly provided by our sponsor!

In addition to sampling each bar & restaurant's best Bloody Mary, guests can enjoy offerings from local vendors, music from a live DJ, take photos in the Pittsburgh Photo Camper Booth, and purchase brunch items from some of Pittsburgh?s best food trucks!

Sounds like fun right?

With 3 tiers of tickets there is sure to be an option for everyone!

General Admission tickets will include entrance into the event, unlimited samples from Bloody Mary Vendors, and samples from specialty vendors.

VIP Admission includes entrance to the event 1 hour early, access to the indoor VIP lounge, unlimited samples from Bloody Mary vendors, samples from specialty vendors, indoor bathrooms, 1 Bloody Mary to garnish on the VIP Bloody Mary bar sponsored by Alla Famiglia, and brunch items Provided by Alla Famiglia.

Designated Driver admission includes admission to the event and 'virgin' Bloody Mary samples!

Tickets on sale TODAY at NOON!! https://www.eventbrite.com/e/pittsburgh-sunday-best-bloody-mary-festival-tickets-44573880677

Tracyanne And Danny - Tracyanne Campbell from Camera Obscura and Danny Coughlan from Crybaby
w/ Lomelda
Direct Ticket Link: http://bit.ly/0625tracyanneanddanny

Tickets on sale now!
Tix: $20.00 adv/dos
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

https://www.facebook.com/TracyanneAndDanny/
https://twitter.com/tracyannedanny
https://www.instagram.com/tracyanneanddanny/

Tracyanne & Danny is a new collaborative project between singer-songwriters Tracyanne Campbell (Camera Obscura) and Danny Coughlan (Crybaby).

Tracyanne hails from Glasgow, Scotland. London-born Danny is based in Bristol, England.

Their paths first crossed in 2013 when introduced by mutual music industry pals. Tracyanne dug Danny?s Crybaby album (released on Helium Records) and invited him to open some Camera Obscura shows in the UK.

Mutual artistic respect led to the swapping of song ideas, but tentative plans to work together were set aside while Camera Obscura wrote, recorded, released, and promoted their fifth album Desire Lines.

Following the death of Camera Obscura?s Carey Lander, all band activity stopped. Time passed.

Tracyanne and Danny revisited the idea of collaborating.

A pool of songs were honed and crafted. On the suggestion of their manager (and Teenage Fanclub drummer) Francis Macdonald, they recorded at Clashnarrow, a studio in Helmsdale in the highlands of Scotland owned by the esteemed Edwyn Collins.

Sessions took place throughout 2016 and 2017. Edwyn co-produced along with engineer and multi-instrumentalist Sean Read (Dexys).

They had the use of Edwyn?s vintage gear (including the guitar pedal which features on his global hit ?A Girl Like You?) as they invoked a range of shared influences: The Roches, Dion, Lou Reed, The Flamingos, Serge Gainsbourg, Santo & Johnny, and The Style Council.

Edywn pops up with a guest vocal on first single ?Alabama,? an intentionally ?joyous? tribute to Tracyanne?s late friend and band mate Carey Lander.

Tracyanne & Danny is not a diverting curio or a wee stop on the road to someplace else. It is a shared artistic aesthetic, forged over time. They have figured out how to fit round each other and work together, creating a rewarding musical synergy. There will be more songs.

Meanwhile, they are looking forward to releasing and promoting the first fruits of their labors with live shows throughout UK, Europe, North America, and beyond.

Opus One Productions & 91.3 WYEP present
Cut Copy
w/ Sinkane
Direct Ticket Link: http://bit.ly/0626cutcopy

Contest has ended. And the winner is: Amanda Schaffner!

Tickets on sale now!
$25.00 adv/dos
http://www.ticketweb.com/mrsmalls
866-468-3401
or at all Opus One Productions Ticket Outlets - Dave's Music Mine, Juke Records, Brighton Music Center, and Mr Smalls Daytime Box Office
All Ages

http://cutcopy.net/
https://www.facebook.com/cutcopy
https://twitter.com/cutcopy
https://www.instagram.com/cut_copy/
https://soundcloud.com/cutcopy

It's hard to believe that Cut/Copy once only existed as an idea in the Melbourne bedroom of frontman Dan Whitford, who was at the time running a very successful local design studio and immersing himself in club culture by night, both in front of and behind the decks. Whitford's early blend of samples and newly learned instruments has since evolved into a full-fledged band with guitarist Tim Hoey, drummer Mitchell Scott, and bass player Ben Browning, with each member handling a multitude of instruments.

In the past decade, Cut/Copy has truly become an international act. Touring across the world, headlining massive sold-out shows, and slated on prime slots of prestigious festivals worldwide such as Coachella, Ultra Music Festival, and Lollapalooza in the US; Primavera in Spain, Pitchfork in Paris; Summer Sonic in Japan; and Big Day Out in Australia. They've released four critically praised albums and accumulated more than a thousand tour dates in the process, the great majority of which have been to sold out audiences.

Cut/Copy's high-energy live show is matched only by the beautiful complexity of their songs. They layer large swaths of melody, sections with dissonance, nods to many genres, and package them into coherent pop songs. The result can make large groups of people gather together and explode with joy. There is a Cut/Copy song for everyone, and their songs tend to be ageless -- suitable for both teenage angst and cocktail parties.

Each of their four records have garnered great critical acclaim, and Cut/Copy's catalog has won or been nominated for such prestigious awards as the GRAMMYs and the ARIAs, in addition to underground Awards such as the Webbies or the J Awards. Cut/Copy's diversity has also landed their songs into movies like 30 Minutes or Less and Savages, television shows such as Nip/Tuck and So You Think You Can Dance, video games including FIFA 12 and Madden, and ads for PlayStation, Blackberry, Levi's and Orange.

DJing and mixes have also been a big part of Cut/Copy's identity. From their famed Fabric mix, Fabriclive.29, to the release of 2014 Melbourne dance compilation Oceans Apart, Cut/Copy mixes are highly anticipated, often duplicated, and profoundly inimitable. Whitford and Hoey also perform as Cut/Copy DJs, and embarked on their first DJ tour in the summer of 2015. You'll still hear the Cut/Copy sound within the songs they include in their DJ sets, but they're known to include the best of underground dance music and perhaps-forgotten classics.

Cut/Copy is constantly full of surprises. With each album they've grown stronger as songwriters, performers, experimenters, and curators. As those who have been lucky enough to witness the ride can attest, it has been an amazing evolution for this Melbourne band and the journey is far from over.

Davina and The Vagabonds
Direct Ticket Link: http://bit.ly/0626davina

Tickets on sale now!
Tix: $16 advance, $18 day of show
http://www.ticketweb.com/clubcafe
866-468-3401
or in person at Dave's Music Mine (Southside), and at Club Cafe during any event
Ages: 21+

http://davinaandthevagabonds.com/
https://www.facebook.com/davinaandthevagabonds
http://twitter.com/davinavagabonds
https://www.instagram.com/davinavagabonds/

DAVINA SOWERS AND THE VAGABONDS have created a stir on the national music scene with their high-energy live shows, level A musicianship, sharp-dressed professionalism, and Sowers? commanding stage presence. With influences ranging from Fats Domino and the Preservation Hall Jazz Band to Aretha Franklin and Tom Waits, the band is converting audiences one show at a time, from Vancouver to Miami and across Europe. In 2011 Davina released her first full length, all original album Black Cloud . It was named one of the 10 best releases of the year by the Minneapolis Star & Tribune and awarded 4 ½ stars from Downbeat Magazine. Their next release in 2014, Sunshine, hit number 13 in the Billboard Blues Chart and led them to landing a performance on the hit BBC2 show, Later with Jools Holland.

DATV?s shows are filled with New Orleans charm, Memphis soul swagger, dark theatrical moments that evoke Kurt Weill, and tender gospel passages. Davina?s voice and stage presence defy category in a different way. Davina has been compared to Etta James, Amy Winehouse, Janis Joplin, Billie Holiday and Betty Boop, but comparisons don?t suffice: Sowers is a true original.

Bringing you 100 years of American music and Davina?s originals, which lend themselves to the American Songbook, the band brings edgy nostalgia to older generations and fresh new music to younger ears. This rollicking quintet is held together by Sowers? keyboard playing, with acoustic bass, drums, and a spicy trumpet and trombone horn section. The group?s focused, clean sound and emphasis on acoustic instruments is novel to both blues and jazz worlds, and sets the show closer to New Orleans than to Chicago. This has set the Vagabonds apart at festivals in Thunder Bay, Ontario; Sighisoara, Romania; Sierre, Switzerland; Kemi, Finland; the 2012 New Orleans Jazz and Heritage Festival, and 2013 Monterey Jazz Festival ( in 2014 was asked back to play their main stage in 2014, Vache de Blues in France, and North Sea Jazz Festival. Catch this one-of-a-kind live show while they are in town!