EQX welcomes Bleachers as they make their way to Cooperstown, New York for a show at Brewery Ommegang on Friday, July 29th.

With special guests: Midnight North

Twiddle: With 12 years of relentless touring behind them, Vermont-based rock band Twiddle has built an impressive resume spanning Red Rocks to Bonnaroo, and multiple sellouts of historic rock venues including Port Chester, NY’s Capitol Theatre, and Washington D.C.’s 9:30 Club. And with the second half of the band’s third studio album, PLUMP, on the horizon, the band’s career continues to catapult forward. Buoyed by the generous support of 359 Kickstarter donors, the 27-song album does more than showcase the group’s beautiful music, but also tells an important story, comprised in PLUMP Chapters 1 & 2.

Recorded during a two-year span with legendary producer Ron St. Germain, PLUMP serves as a reflection of four brothers’ triumphs and struggles, both individual and as a whole. On Chapter 1, songs like “Lost in the Cold” and “Every Soul” detail what it’s like to hit rock bottom and how to rise back up. “So many fans have shared how these songs carried them through very difficult times, and that alone makes this all worth it,” said Brook Jordan, Twiddle’s percussionist and vocalist.

Comparatively, Chapter 2 contains genre-bending instrumentals, as well as mystifying epics like “Nicodemus Portulay” and “Orlando’s.” More than ten years later, these songs mirror the earliest Twiddle arrangements of 2004-2005 when Mihali Savoulidis and Ryan Dempsey were collaborating in their freshmen dorms at Castleton State College. The completion of PLUMP is timely, coming at a moment when the band’s fervent fan base is at an all-time high and expanding rapidly.

In the live setting, more and more people are invigorated by Twiddle’s community, promoting positivity and the band’s skillful improvisational music. So many like-minded people believe in the greater good, and they find that good in Twiddle.

Twiddle is comprised of Zdenek Gubb on bass and vocals, Ryan Dempsey on keyboards and vocals, Mihali Savoulidis on guitar and lead vocals, and Brook Jordan on percussion and vocals. A more detailed biography of each band member, along with upcoming tour dates and updates, can be found at TwiddleMusic.com

2007 manifested Twiddle’s debut release, The Natural Evolution of Consciousness. This breakout album showcased the band’s eclectic inspirations, imaginative lyrical abilities, and superb instrumentation. Twiddle’s sophomore production, Somewhere on the Mountain (2011), delves into the human spirit, speaking to our ambition, grief, and love. Live at Nectar’s (2014), is a double disc live album recorded in August of 2013 at Burlington, Vermont’s Nectar’s. Live at Nectar’s truly captures Twiddle in its element, the live experience.

American Music masters Sam Bush, Mike Marshall and Edgar Meyer join together with George Meyer for a special collaboration usually only heard on the summer bluegrass festival circuit! Expect to hear works from the genre bending Short Trip Home album of many years ago as well as new music written especially for this tour.  Edgar’s son George is charting his own course in the musical world and represents the next generation of artists expressing their unique voices and perspective. He certainly has strong roots!

I Don’t Know How But They Found Me

Beach Goons

Fri 2/47 PM Door | 8 PM Show

Artist & VIP Package Pre-sale: January 12, 10am–January 13, 10pm
MASS MoCA Member & WEQX pre-sale: January 13, 10am–10pm
Not yet a member? Become one here.

General Tickets On Sale: January 14, 10am

Information about the VIP Ticket Package is available here.

Lucius, the ethereal indie pop band fronted by singers Jess Wolfe and Holly Laessig, returns to MASS MoCA to kick off a national tour with an ambitious new stage show built, rehearsed, and first performed in the Hunter Center.

Make a Plan

• All ticket-holders over the age of 12 must show proof of a full COVID-19 vaccination (accompanied by a photo ID for those over 18). Read our COVID-19 FAQ here.
• Preferred ticket buyers get the best view in the house and free museum admission on the day of or after the event.
• This performance is general admission, standing room only, and will take place inside MASS MoCA’s Hunter Center. Masks are required for all indoor spaces, except while eating and drinking, regardless of vaccination status.
• No outside food or beverages will be allowed in the venue during the event. Small bites and drinks are available for purchase during the show from our museum cafe, Lickety Split.
• Please note: museum admission is not included with your event ticket unless noted. Purchase museum admission here.
• All events at MASS MoCA are accessible to all audiences. Please contact boxoffice@massmoca.org if you would like to inquire about accessibility needs and services.
• By purchasing a ticket to join MASS MoCA’s visitors, staff, and artists on the museum campus, you agree to follow a Courtesy Code, detailed here. Our full COVID FAQ is here.

Photo: Max Wanger

Even after eighteen intense years of bouncing, bellowing and soul-baring your way to the top, some successes strike when you’re not looking. While The Wombats were hard at work remotely constructing their fifth album Fix Yourself, Not The World from LA, London and Oslo, a new generation of TikTokers were sending the band viral by making over 600,000 videos – some viewed over 100 million times – around the opening lines of the Oliver Nelson remix of their 2015 Glitterbug album track ‘Greek Tragedy’: “We’re smashing mics in karaoke bars, you’re running late with half your make-up on”.

“I think one influencer made a video of her dancing, singing the opening, and then it took off and every man and his dog were doing it,” says singer Matthew ‘Murph’ Murphy of a viral breakout that has seen the remix streamed 30 million times, the original track 120 million (sending it gold in the US) and add 2.4 million to their monthly Spotify listeners since January 2021. “Someone sent me Charlie Puth singing it like whilst having some granola. I guess people were searching ‘what is this song?’ It turned out that remix was on some Hed Kandi compilation [Dusk ‘Til Disco, 2015] and that was the only outlet for it. It’s cool that random celebrities are singing the opening lines to something I wrote a long time ago, it’s great that it’s doing well but it’s just completely random.”

The success of the ‘Greek Tragedy’ remix is further illustration, if any were needed, of The Wombats’ ability to remain relevant to new generations of fans through the timeless power of their songwriting alone. Formed at the Liverpool Institute Of Performing Arts in 2003, they were the three-headed guitar pop sensation – Murph, bassist Tord Øverland Knudsen and drummer Dan Haggis – that erupted out of Merseyside with Top Twenty hits like ‘Let’s Dance To Joy Division’ and ‘Moving To New York’ during the late-‘00s indie rock explosion, stamped their mark on the era with 2007’s fervidly melodic debut album A Guide To Love, Loss & Desperation, and then transcended it. By 2011’s This Modern Glitch (a UK Number 3 hit) and 2015’s Glitterbug (Number 5) they’d easily hurdled the shift to streaming and become a playlist phenomenon thanks to tracks such as ‘Tokyo (Vampires & Wolves)’, ‘Techno Fan’, ‘1996’, ‘Emoticons’ and their online secret weapon ‘Greek Tragedy’.

Murph’s magnificent way with melding deeply infectious melodies with dark, wry and surreal confessions from his fractured psyche and shame-filled romantic history – combined with the band’s gradual embrace of the synthetic tones and textures of modern pop – endeared them to new waves of young streaming fans (over half are under 24) and has seen their popularity continually expand. Their sets at festivals such as Reading & Leeds would draw the biggest crowd flockings of the entire weekend, and the UK tour for 2018’s Top 3, silver-certified fourth album Beautiful People Will Ruin Your Life (home of ‘Turn’, ‘Cheetah Tongue’ and post-row domestic confessional ‘Lemon To A Knife Fight’ and currently nudging 300 million streams) culminated in a celebratory show at Wembley Arena, complete with dancing wombats.

“Top five gig ever,” Murph remembers, “I’m very proud that we’ve stuck in like some dirty little warthogs. It hasn’t been the easiest road but we’ve always kept our focus and it’s paying off…I thought it was gonna stay in that mid-2000s indie rock phase forever and then swarms of younger people are now getting into the band and finding the older stuff.” Testament to the strength of your songwriting? “I think for me it’s a combination of hard work and that lyrically and musically we’ve always done what we like. I’ve never tried to tone it down for any commercial gain. I like weird, odd lyrics, crazy titles or strange concepts for songs. I struggle to write songs that come from more of an accessible or blander place.”

Not a band averse to internal frictions, The Wombats took a well-earned break after the Beautiful People tour wrapped up at Reading & Leeds 2019 and reconvened early in 2020, first as a group at Murph’s home studio in LA where a “bedrock” of four or five songs came together, then working and recording remotely throughout 2020 once lockdown hit, marshalled by a variety of producers including Jacknife Lee, Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves) and regular Wombats desk-man Mark Crew. “The plan before we started was David Byrne – a decent amount of brass going on – meets LCD Soundsystem,” Murph says of the album’s intended direction. “All I had in the back of my head was to keep it real and as organic as possible and not throw the kitchen sink at it. Then we ended up throwing the kitchen sink at it. Somehow the kitchen sink just appears no matter how much I’d like it to disappear. It’s great, but we’ve absolutely lobbed everything at it again.”

With Murph in Highland Park in Los Angeles, Tord in Oslo and Dan in London, discussing each day’s plan via Zoom, then recording separately and sending individual files to the producers to mix into the finished tracks, the recording was “pure madness, to be honest. Dan and Tord can be like fire and ice and the fact that I was away and disconnected made things madder than they needed to be. I wouldn’t recommend it.”

The Wombats have the bond and experience to power through such setbacks however; Fix Yourself, Not The World turned out to be a remarkably cohesive, inventive and forward-thinking guitar pop record, and arguably their best yet. Incorporating cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, it’s a record that will appeal equally to fans of Talking Heads, New Order, The Cure and Charli XCX. It also finds Murph turning a psychological corner: where Beautiful People… was full of semi-comic stories from the brink, or the midst, of meltdown, Fix Yourself, Not The World – as its title suggests – reads more like a self-help manual for the domesticated malcontent.

“The pandemic and all the social upheaval massively influenced the idea that the most powerful thing I can do as a human being is to shake my fist at myself rather than shake my fist at the outside world,” Murph explains. “There was this Jungian theory about if you change something within yourself or your actions, you immediately change something in society as a whole.”

Throughout the album, there’s a whole lot of fixing going on. The trash disco funk punk of ‘You Flip Me Upside Down’ – set in James Murphy’s Brooklyn wine bar The Four Horsemen, if not one of his catchiest fever dreams – has Murph admitting “I don’t wanna sit around and just get high” as the hedonistic life loses its lustre in the head-clearing rush of fresh love: “It’s aware that the party scene is not gonna be as fulfilling as I may have thought it was in the past,” Murph says. On ‘This Car Drives All By Itself’, a melting pot of space pop, acid house, The Tom Tom Club, ‘Bizarre Love Triangle’ and gang chant punk, he repurposes the concept of the self-driving vehicle as a topical metaphor for coming to terms with humanity’s helplessness. “I thought that that was a great way of saying, we row but the universe steers,” he says. “We’re not in control as much we think and I want to learn to be okay with that.”

Where Beautiful People… spotlit the plate-flinging paranoias behind marital bliss, Fix Yourself… focusses more on the transformative release of romantic commitment. ‘Wildfire’ is a heat-hazy tribute to his wife, ‘If You Ever Leave, I’m Coming With You’ an electropop ode to obsessive devotion, ‘Ready For The High’ a sultry buzz rock note-to-self to accept the good times now they’re here. Portishead-esque ballad and first release ‘Method To The Madness’ pinpoints his honeymoon in Barcelona as the breakthrough moment when Murph decided to dump his demons and “fuck my sadness”, and even a song called ‘Everything I Love Is Going To Die’ is an upbeat New Order/Cure homage about trying to live to the fullest while we still can. “Icarus was my best friend,” Murph sings, “so I’m gonna make him proud in the end”.

“I’m maybe learning to start not beating myself up so much,” Murph says. “There’s only a finite amount of time that we have in these ridiculous vessels of ours and we should try to enjoy it. The whole album is kind of about not trying to control anything but just completely letting go.”

Well, not completely. Dotted with snippets of Murph discussing the everyday niggles and irritations that drive him to distraction, ‘Worry’ details the superstitions, paranoias and idiosyncrasies tormenting him daily, from needing everything to be in multiples of three to an irrational fear of mariticide. “It’s supposed to be inside the head of someone who’s losing it a bit,” he explains. And the space rock ‘Work Is Easy, Life Is Hard’ finds just as much fear and confusion in the bark of the online attack dog.

“It’s about cancel culture,” Murph says of pointed lines like “why don’t you chop my tongue out?” and “you don’t speak for me”. “The toxicity of social media. One of my friends said there’s no room for nuance in anyone’s opinions or views on the world, you’re either with us or you’re against us. I think people are sucked into a vortex of pretty bad ideologies when I feel like wouldn’t it be nice if we formed our own ideology individually and talked about them properly, rather than shoving them down people’s necks or cancelling people for not agreeing with us? Where is the conversation, because it’s not gonna progress anywhere without being able to talk to one another intelligently. Maybe the things you’re talking about are far, far, far too complex to be put in 280 characters.”

The Wombats, on the other hand, are becoming pan-generational masters at weaving the complexities of the everyday struggle to stay sane, happy and psychosis-free into forty-five minutes of exuberant future rock, as ever more young streamers are discovering in their millions. As their unstoppable ascent continues, next year they headline London’s O2 Arena. Ready for another high?

Naked Giants are joined by special guests Ganser as they make their way back to EQXland and Empire Underground in Albany on Wednesday, March 23rd.

Head to the Midway Lawn at the Champlain Valley Expo in Essex, Vermont on Sunday, May 29th to catch The Avett Brothers live in concert.

***TICKETS ON SALE STARTING FRIDAY, DECEMBER 17TH AT 10AM***

Primus Announces 46-date, coast-to-coast extension of its wildly popular

‘A Tribute To Kings’ Tour, paying tribute to Rush 

The tour finds the band performing Rush’s ‘A Farewell To Kings’ in its entirety

The second leg of ‘A Tribute To Kings’ will include its first stops in Canada and feature special guests Battles, Black Mountain, and The Black Angels

Primus has announced an extensive, 46-date, coast-to-coast extension of its wildly popular ‘A Tribute To Kings’ Tour, paying homage to prog-rock legends, Rush. ‘A Tribute To Kings’ will find the Bay area trio performing Rush’s 1977 album ‘A Farewell To Kings’ in its entirety, following a set of their own music. As bassist Les Claypool told Rolling Stone, the tour is about paying tribute to a band that has given him so much inspiration over the years.

“Hemispheres was my first concert,” Claypool said, referring to Rush’s 1978 album and tour. “Originally we’d always kind of joked around about doing Hemispheres…but we settled on Kings, because A) it was the first Rush record I ever heard and B) it contains ‘Cygnus X-1,’ which has always been my favorite Rush tune. It seems to be a good one for us to tackle; 2112 seemed a little obvious.”

The announcement follows the massive success of the first leg of ‘A Tribute To Kings,’ which was long-delayed due to the coronavirus pandemic. It’s just the latest in a long series of Rush-related milestones for Primus, who first opened for their musical heroes in 1992.

“Geddy, Alex and Neil had been superheroes to Larry, Herb and I in our teens,” Claypool recalled, “so when we all became pals while touring together in the early ’90s, we were pretty delighted; partially because of the musical geek-out factor but mostly because the three guys whom we had admired so much from afar, turned out to be truly great, down-to-earth humans, and like us, a tad eccentric.”

Kicking off in Oklahoma City before winding its way throughout the US, the second leg of ‘A Tribute To Kings’ will also include the tour’s first stops in Canada, beginning with two dates in Toronto on May 13-14. Rush was formed in Toronto in 1968. The second leg will also feature special guests Battles, Black Mountain, and The Black Angels.

A special pre-sale, including VIP upgrade options, will go on sale at 10am local time today (12/14). Tickets go on sale to the general public at this Friday, December 17^th at 10am local time. For ticketing and show info, please visit www.primusville.com/tour

Primus will once again partner with On Location & CID Entertainment for the ‘A Tribute to Kings’ tour to offer ticket packages that include one premium ticket, invitation to a Q&A experience with Primus, exclusive VIP merch, and more. For full details, visit https://www.cidentertainment.com/events/primus-tour/

LETTUCE
Thursday, April 21
Empire Live
7pm doors * 8pm show

Artist Presale: Thurs. 12/9 at 10am local (Code: LOVE)

On-Sale: Fri. 12/10 at 12pm ET/9am PT

No matter how far we comb the outer reaches of the galaxy in search of the funk, it eventually finds us—or it does not.

You see, funk lives, grows, breathes, and blossoms. Like any living thing, it needs to be fed in order to flourish. LETTUCE both feed the rich history of funk and also combine it with strains of hip-hop, rock, psychedelia, jazz, soul, and go-go. The GRAMMY® Award-nominated six-piece—Adam Deitch [drums, percussion, arrangement], Adam “Shmeeans” Smirnoff [guitar], Erick “Jesus” Coomes [bass], Ryan Zoidis [alto, baritone, tenor sax, Korg X-911], Eric “Benny” Bloom [trumpet, horns], and Nigel Hall [vocals, Hammond B-3, Rhodes, clavinet, keyboards]—once again break rules, push boundaries, and uplift on their sixth full-length studio offering, Resonate [Round Hill Records].

“Funk is a living and breathing thing with a ton of sub-genres,” affirms Deitch. “Our goal is to add our own stamp to that by moving things around and bringing in jazz chords, psychedelic passages, big horns, and elements from the instrumental side of hip-hop. Funk is known as a very tightknit artform. We extend the template with improvisation on the spot. It forces us to react, pay attention, and listen to each other. By combining everything, we try to add something to the culture we love so much.”

Reverence for this culture rings out loud and clear throughout a catalog of fan favorite releases. Their discography comprises Outta Here [2002], Rage! [2008], Fly [2012], Crush [2015], the EP Mt. Crushmore [2016], the live album Witches Stew [2017], and Elevate [2019]. The latter lifted LETTUCE to new heights. Notably, it garnered a 2020 GRAMMY® Award nomination in the category of “Best Contemporary Instrumental Album” and bowed at #1 on both the Billboard Contemporary Jazz Albums Chart and iTunes Top R&B Albums Chart. Elevate also soared to the Top 15 on the Billboard Jazz Albums, R&B Album Sales, and Heatseekers Charts. Not to mention, it put up 3 million streams within six months, and simultaneously received acclaim from BrooklynVegan, Billboard, Rolling Stone, NPR, and more.

Throughout 2019, LETTUCE siphoned all of this energy back into the studio. Written and recorded during the same Colorado Sound sessions that spawned Elevate, the band brought Resonate to life alongside iconic producer and engineer Russ Elevado [D’Angelo, The Roots, Erykah Badu].

“Russ had worked with all of our heroes,” smiles Deitch. “When we found out he was a fan, we were completely blown away and super inspired, so I ended up writing more than I’ve ever written for a record. He made us play our best. We came in extra prepared and tried to have a plethora of tempos and feels. There are rap vibes, trippy moments, and old school soul. Everything flows.”

“We hadn’t been in the studio for at least four years,” adds Zoidis. “Of course, we’d played together a ton on tour. Deitch is constantly writing and thinking of our next musical move though. By the time we got in, we had so much material and were focused. It was an empowering moment for the band. We were in a place where the chemistry couldn’t have been better. We got to capture it on tape with Russ at the controls.”

“It’s exploratory,” “Shmeeans” elaborates. “Some aspects represent our past, and other aspects represent our present and future. It’s the most we’ve ever recorded at once, so we really present a full picture.”

LETTUCE introduces this picture with the first single “Checker Wrecker.” Drawing on a longstanding collective passion for Washington, D.C. go-go music, they welcome scene legends Big Tony Fisher of Trouble Funk and Tyrone “Jungle Boogie” Williams of Rare Essence into their ecosystem. Funk guitars and simmering horns dip in and out of a percussive pocket before the track struts into swaggering chants, “Put some stank on it,” backed by warbling synths and spacey organ. Plus, Shmeeans drops “one of them funky solos.”

“Go-go is the missing link between hip-hop and funk,” says Deitch. “Tony has played with us in D.C., so we asked him to join us in the studio. ‘Jungle Boogie’ was down, too. The song is a happy moment of connecting the dots.”

Upheld by deft riffing, hummable horns, and “Tower of Power energy,” Resonate ignites with the boisterous “Blaze,” which the band kicked around live for years. “If you’re a classic LETTUCE fan, you’ll know it,” smiles “Shmeeans.”

Meanwhile, “Moksha” would be born from a moment of fate. Exploring the edges of psychedelia, legendary sitarist Indrajit Banerjee blesses the tune with sitar conjurations floating in and out of ethereal guitar transmissions.

“I bought a sitar at a pawn shop in Austin,” recalls “Shmeeans.” “However, I needed to learn how to tune it. I ended up finding Indrajit online. He invited me over to his house and helped me with tuning. It took a minute, but I realized he was this master player. We’ve had him jam on stage, and he’s on the record now. It’s a really cool, serendipitous story.”

Nearing the nine-minute mark, the closer and title track “Resonate” sees the band once again tread new territory. “It’s definitely a mood piece,” adds Deitch. “There’s a meditational vibe. It’s where we’re at now. You can relax to it—or smoke a joint to it. The title is up for interpretation. If you let good vibes resonate with the people around you, they’ll hit hearts, minds, and souls.”

“Jesus” concurs, “It’s important to us for the attendee of our concerts to experience a really great feeling and after that to Resonate it out to the rest of the world wherever they go and to whomever they meet.”

In the end, LETTUCE are more alive than ever on Resonate.

“I want you to know you’re listening to a bunch of best friends who have been playing together for more than 25 years,” Deitch leaves off. “We were major parts of each other’s lives before the band. It’s a true democracy. We all agree on the vision. We like to hit people in the heart and in the gut as opposed to the head. Maybe, you want to put Resonate on and dance or just grab the aux cord where you are, plug it in, and play it loud.”

Jesus adds, “I hope fans take away a sensation of genuine emotion and personal transformation.”

“Hopefully, Resonate stamps a moment in time for you,” concludes Zoidis. “It touches on all of the important funk sub-genres that made us who we are. Funk definitely found us. No matter how hard we try to put it down, it takes over and makes sure we’re doing what we’re here to do!”

Bad Mothers, Under The Den, Sydney Worthley and Seize Atlantis 

Empire Underground, 93 N Pearl St. Albany

Doors at 7pm Show starts at 8pm

$10 Tickets / $12 at the door

Ages 16+ 

John Mulaney – From Scratch
June 10th, 2022

ARTIST BIO

How Do You Love?, the sophomore LP from L.A. power-pop outfit The Regrettes, is a an album about the most universal of emotions: love. Throughout the record, 18-year-old frontwoman Lydia Night details the rise and fall of a relationship—from that first rush of butterflies, through a destructive break-up, to ultimately finding peace and closure.

The album arrives on the heels of a few explosive years for The Regrettes. In 2018, the band— currently rounded out by members Genessa Gariano (22, guitar), Brooke Dickson (24, bass) and Drew Thomsen (22, drums)—released their critically acclaimed Attention Seeker EP, as well the passionate standalone anti-Kavanaugh anthem “Poor Boy,” which ELLE deemed “a feminist call to arms.” The group also dominated the year’s top summer festivals, from Coachella to Reading + Leeds, landing on the covers of LA Times and LA Weekly and earning praise from the likes of Rolling Stone, Billboard, USA Today, Variety, and The Guardian. Together, the group has graced the stages of CONAN and Jimmy Kimmel Live!, toured extensively across North America and Europe, and garnered widespread acclaim from NPR, Vogue, Entertainment Weekly, Consequence of Sound, and many more since the 2017 release of their breakthrough debut album, Feel Your Feelings, Fool!

Taking that momentum in stride, The Regrettes are excited to move into their next era. Night, who wrote the vast majority of lyrics on How Do You Love?, came up with the idea after writing a group of songs about her experiences in various real-life relationships. From there, she says, she “realized that they all fit together and tell a story.”

This story begins with a spoken-word poem, as Night diagnoses the listener as being “infected” with a “love disease.” From there, the album is off to the races: the first song is the recently released standout “California Friends,” a danceable track about the excitement—and the nerves—that come with meeting someone new. “[It’s about] not knowing your feelings towards that person, really,” Night says, “but your gut is telling you that you like them, or love them, but you just know that it’s not what’s easiest [for you].”

A little less than halfway through the record, with the sauntering “Stop and Go,” Night pumps the breaks a bit: “Stop before we lose control,” she sings, “Let’s take a breath before we go, go, go.” She explains that the song is about realizing that her new relationship isn’t perfect: “A lot of times,” she says, “at the beginning of a relationship, there’s just nothing wrong. But then the problems start popping up. [You discover] there’s a lot you don’t like about the person—a lot of [qualities] you don’t think you can be with.”

By “Dead Wrong,” these problems have become insurmountable for Night. And in the last quarter of the record (“Go Love You,” “Hasn’t Hit You,” and “Here You Go”), she makes the decision to leave—and she’s not looking back. “I feel strong in this decision and I am right,” she says of the emotion that inspired those latter songs. “I’m doing what’s best for myself—have you learned that yet for yourself?”

Although Night ends up alone in her story, the tone of the album’s closer (and title track), “How Do You Love?” is hardly bitter. Instead, it’s a self-reflection on the journey of falling in and out of love—with hope for the future: “It’s about finding bravery through [love],” Night says. “It’s about learning and accepting that, yes, you went through a shitty breakup, but that’s amazing—because all that means is next time you’re in a relationship, you know so much more about yourself and about what you want.”

Returning to Night’s original diagnoses of the listener being “infected” with love, the record makes it very clear that The Regrettes are infected, too—but that’s not a bad thing. The band hopes that the album will provide “the cure,” by showing listeners that no matter how they’ve experienced love—whether it’s romantic, platonic, or self-love—they’re never alone.

Doors: 8:00pm
Show: 9:00pm

Ages: 18+ 

Tickets: $20 Advance / $25 Day of Show

** Click Here to Purchase Tickets **

** This show has been rescheduled from 10/2/21.  All tickets purchased for 10/3/20 and 10/2/21 will be honored on December 17.  

This show is part of the NYS Music Jam For Tots Concert Series.  Please bring a new unwrapped toy for our collection box and help bring holiday cheer to those less fortunate.

More than 30 years after starting his full-fledged music career with The Samples, Sean Kelly continues to delight fans with music that transcends genres, age and shatters the rules of the established music industry. Throughout his career, Sean has been the driving influence of 20 albums and over 1 million records sold.

Sean started playing guitar at age 16 listening to Neil Young, Rolling Stones and Jackson Browne. Those influences mixed with his own poignant and timeless lyrics, a unique and striking voice and a mind for melodies led to songs like Little Silver Ring, Feel Us Shaking and Wild River. For many fans, these aren’t new songs or old songs, but anthems to their lives that represent the first time they met their wife or the joys of their times at college.

The Samples are more than a band – they represent a culture of fans and music that go beyond who happens to be playing in the band at any given time. There have been many members of The Samples, but Sean Kelly has been the consistent factor throughout all of the changes.

Sean’s journeys across America have taken place in rental cars, tour buses and pickup trucks that would have literally taken him to the moon and back over the last quarter of a century.

Band Website: www.thesamples.com

DISPATCH

O.A.R.

WITH SPECIAL GUEST

1. LOVE

AUGUST 21^ST

7 PM

TICKETS ON SALE FRIDAY, DECEMBER 10^TH AT NOON

www.LiveNation.com

Ticketmaster

*Tickets subject to applicable service charges.  Price subject to change without notice.

Rescheduled to October 10th

Empire Live

7pm doors * 8pm show

BARNS COURTNEY

Tickets $20 adv/$25 day of on sale Friday, December 3 at 10am