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Marblehead Massachusetts is a picturesque coastal town that is steeped in history. In its early years fishing and the shoe industry were Marblehead's two major sources of income. Today it is mainly a residential community with some minor industry and a few specialty retail stores and is known to be one of the yachting capitals of the world.
The original painting of "The Spirit of ˜76" is housed in Abbot Hall and visitors come from all over the world to see it. Visitors also come to view the scenic harbor and the narrow crooked streets in the Historic district that is lined with antique Colonial and Victorian buildings.
The town of Marblehead offers residents and visitors a series of events during the course of the year that include an arts festival and a tall ships cruise. Also offered are jazz concerts and a Christmas walk.
Cheryl Wheeler has to be seen to be appreciated. Nothing you read and nothing you hear from her albums prepares you for how entertaining a performer she is. If you're not already familiar with Cheryl, you have probably heard her music. She is very respected as a songwriter by her peers, which can be seen by how many of them record her songs. Cheryl's songs have been covered by artists as diverse as Dan Seals, Peter Paul & Mary, Kenny Loggins, Garth Brooks, Suzy Bogguss, Melanie, Bette Midler, Maura O'Connell, Sylvia, Kathy Mattea, and Holly Near. From her albums you can tell that she is a gifted songwriter with a beautiful voice. From other people's comments about her you learn that she is a natural storyteller with a fantastic sense of humor. But until you see her in person, you never really believe what you've been told about her. Interestingly enough, almost half of the songs she performs during her shows have never been recorded! Cheryl's first concert was to a captive audience. She found an old toy ukelele in a neighbor's attic and serenaded her mother who was taking a bath at the time. A year later she got a real ukelele, followed by her first guitar. She learned guitar from a neighbor, who also taught a group of boys. Each week they would get together and play just about any song they could think of for hours on end. Her first public performance was at a Hootenanny when she was 12. She started writing her own songs when she was 17. Cheryl has never had a "day job," and her first professional gigs were at the Steak and Ale Restaurant in her home town of Timonium, Maryland. The place only had one PA system; in the middle of her songs you would hear: "Jones, party of four ... Jones, party of four." She finally convinced them to get a second PA system. She performed at venues around Baltimore and Washington DC before moving to New England in 1976, where she now lives. She tours extensively, often performing solo or with Kenny White, who often opens her shows as well. She appeared as part of the On a Winter's Night tour, and was part of the Philo 25th Anniversary tour. Her funny stories between songs reveal her talent for diversity. Each time she tells a story, it will be a little bit different, so even if you've heard it before, you still find yourself laughing.
Leave your worries at the doorstep and join Christine Lavin and Don White as they present a night of comedy unlike any other, The Funny Side of the Street: A Night of Brighter Laughter. Since 2008 these two veteran performers have brought their unique brand of clean and hilarious musical comedy to audiences across the US proving night after night that comedy can be smart, friendly, and breathtakingly funny without being vulgar or pejorative. This is a show for anyone who wants to laugh, whether it's a group of friends or a family gathering, and feel good on their way out of the venue. Since emerging from the NYC singer/songwriter scene in the late 1980s, (along with Suzanne Vega, Shawn Colvin, John Gorka, etc), Lavin quickly established herself as an entertaining tour de force. Quick on her feet, witty, insightful, engaging, she remains one of the most popular and respected performers in the genre. Christine has also been at the forefront of finding and promoting extraordinary new talent. She founded a songwriter's retreat on Martha's Vineyard, the On a Winter's (and Summer's) Night tours), The Four Bitchin' Babes, Laugh tracks among many other projects, in the process releasing more than 10 compilations CDs, as well as more than 20 of her own. Her co-conspirator, Don White, is the latest artist that Christine has championed. "He's such an original; I call him sometimes a 'blue collar intellectual,'" Lavin says. "Don has extremely high standards when it comes to what he does onstage. And he hits a grand slam every time. The first time we worked together he opened for me and it's the only time in my entire career that I opened with a ballad because he was so funny, the audience was so laughed out." A product of the rich Boston Arts Scene of the 90s Don developed his songwriter/performer chops in the same Club Passim/ Olde Vienna Kaffehaus scene that produced Dar Williams, Martin Sexton, Lori McKenna and Vance Gilbert. He was also a regular comedian at the legendary Catch a Rising Star in Harvard Square in Cambridge, Mass honing his comedic skills alongside Jimmy Tingle, David Cross, Wendy Leibman and a host of other cutting edge comics of the time. These experiences along with his immersion in the Boston spoken word scene that produced the National Poetry Slam Championship Team in 1992 all combined to make him one of the few performers who brings a comic's wit, and a poet's heart to his songs and stories. "It doesn't sound like a folk concert, it sounds like a comedy concert," says White of his laughter-inducing co-bills with Lavin. "We rehearse and we rehearse and then inevitably, she'll throw something at me that I have no idea about, with a mischievous grin that lets me know she's been thinking about it all afternoon. Just to see what will happen. And she's taught me to do the same." Audiences are looking for something fun, fresh, smart, and intriguing as well as thoughtful: On the Funny Side of the Street does just that.
When: Mar 4, 2016 8 PM to Mar 4, 2016 10 PMin Marblehead, Massachusetts Cost: 10 - 25 USD (Fri, 04 Mar 2016 20 )
An Occidental Gypsy performance includes so much more than just music. Jeremy, Eli, Brett, Jeff, and Erick are incredibly energetic and charming entertainers who interact with fans on a personal level, and incorporate audience participation into every show. On stage, the dialog between band members is entertaining, to the delight of the audience. Perhaps this is why the Boston Globe recommends an Occidental Gypsy show as a "Weekend Best Bet." When Occidental Gypsy decided to gypsify Michael Jackson's "Thriller" on the band's debut album. "Over Here," released in 2011, they were quick to garner critical acclaim, and have continued to gather rave reviews and full houses during active touring. Motif Magazine wrote, "Listeners will surely be all in with Occidental Gypsy's Over Here," and defined the band as "a terrific and unpretentious fab five." Occidental Gypsy was originally formed by brothers Brett (lead guitar) and Jeff Feldman (bassist) as a straight-ahead Gypsy Jazz Quartet. Through the release of Over Here and the addition of new members, the band has taken on a far more diverse, sophisticated, and eclectic sound. The group is fronted by jazz guitarist Jeremy Frantz, and takes the audience to soaring heights by young prodigy violinist Eli Bishop and percussionist Erick Cifuentes. The band also occasionally taps international talents to join the band on stage like Yuki Nakajima and Jason Anick of the John Jorgenson Quintet. Live, the band compliments original material with expertly arranged 'gypsified' covers. Occidental Gypsy's unique approach to world, folk, jazz and dance music stems from the influence of Gypsy Swing founders, Django Reinhardt and Stephane Grapelli. The band will also be featured at the the June 2015 DjangoFest in Mill Valley, California, having been invited as capable Django "heirs." The members of the group posses a deep knowledge and reverence for the Gypsy style and feel honored to bring their music to the ears of new audiences. Brett Feldman, the driving force behind the world Gypsy style, stays steeped in the true Gypsy tradition by playing by ear and perfecting the playing for hours each day. Due to their expertise within the Gypsy swing genre, and eclectic world influences that set their songs apart, Occidental Gypsy's fan base is constantly expanding. The name Occidental Gypsy (Western Gypsy) embodies the concept behind Gypsy World fusion. The group has taken the Gypsy sound that originated in Eastern Europe and brought it "Over Here" to blend it seamlessly with contemporary American music. Interestingly, Gypsy Swing was created by taking American Jazz to the East and blending it with the Gypsy Folk tradition. Now almost a century later Occidental Gypsy brings the music back home.
When: Nov 13, 2015 8 PM to Nov 13, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 15 USD (Fri, 13 Nov 2015 20 )
Create artwork from metal that can weather the seasons and grace your home for years to come. Trellises, plant stands, gates, tables, and sculptures can be fabricated with steel and found materials. Learn to see what shape and form suggests. No previous experience is necessary. Welding equipment includes Mig, arc and oxy-acetylene.
When: Sep 5, 2015 12 AM to Sep 7, 2015 12 AMin Marblehead, Massachusetts (Sat, 05 Sep 2015 00 )
In a Nashville bookstore, to the tune of steam hissing from a latte machine and laptop taps of nearby browsers, she speaks in a low voice, yet communicates urgently. Her voice never rises. Her music never rattles rafters or crashes like cymbals toward the high notes in a power chorus. Her tempos shuffle and trudge more than they dash. And her songs? They're about as idiosyncratic as anything in the wide world of "popular music." They're painfully personal, especially on Trouble and Love. Yet they somehow infiltrate the souls of her listeners, no matter how different the paths they've followed through their lives. Those songs weren't so much written as harvested by Gauthier. Though she lives not far from the hit-making mills of Music Row, she admits to knowing nothing about how to write on command. She says, "I have to be called to write. The call comes from somewhere I don't understand, but I know it when I hear it." That call first came to her a long time ago. Her life to that point had led her to extremes, plenty of negatives and a few brilliant bright spots. An adopted child, who became a teenage runaway, she found her first shelter among addicts and Drag Queens. Eventually she achieved renown as a chef even while balancing the running of her restaurant with the demands of addiction to heroin. Two more successful restaurants, an escalating addiction, and a subsequent arrest, led her into sobriety. All that was rehearsal for what to follow, when she wrote her first song in her mid-thirties. From that point, Gauthier channeled a long line of works, almost all of them eloquent in their insight, burnished by her writing technique. A core of devotees came to await each next release. Their wait ends, for now, with Trouble and Love. This time, Gauthier's songs rise from what she describes as an especially dark period. "I started the process in a lot of grief," she explains. "I'd lost a lot. So the first batch of songs was just too sad. It was like walking too close to the fire. I had to back off from it. The truth is that when you're in the amount of grief I was in, it's an altered state. Life is not that. You go through that. We human beings have this built-in healing mechanism that's always pushing us toward life. I didn't want to write just darkness, because that's not the truth. I had to write through the darkness to get to the truth. Writing helped me back onto my feet again. This record is about getting to a new normal. It's a transformation record." The heart of that transformation, beating within Trouble and Love, is love. But it's not the kind of love that's celebrated on pop charts. In those tunes, love is its own end; the story stops as the giddiness sets in, with no hint of what may follow. Gauthier knows better; she has the scars to prove it. "For me, love has been a real challenge," she admits. "Attachment has been a challenge. This record is about losing an attachment I actually made. The loss of it was devastating because I hadn't fully attached before to anyone. The good news is that I can. The even better news is that I can, and I can lose, and live. Not only do I live, but I've got a strength that I never had before." Trouble and Love would fall or rise on the question of whether it crystalizes Gauthier's experience and conveys it to those who want to feel it, as if the poetry of her lyric can mirror and illuminate what they too have gone through. To help make this happen, she invited a small group of singers and musicians into Nashville's Skaggs Place Studio, each one chosen because of his or her ability to find the heart of the song. No one was given a lead sheet or an advance demo or even headphones. The backup vocals were invented on the spot. The microphones were vintage, and the songs were cut live, to tape. Everyone stood together in the room, playing to what they heard in the lyric as well as from what was going on in the moment. "I took away everything that musicians lean on to feel invulnerable," she explains. All they had to work with was a brief rundown of each song from Gauthier in the control room, right before the tape rolled. "I wanted them to feel it in real time," she continues. "You don't want to sound real with songs like this. You want to be real. That's what I strive for as a writer, and that's what we got in the playing." Feeling their way through the process, these extraordinary participants guitarist Guthrie Trapp, keyboardist Jimmy Wallace, bassist Viktor Krauss, drummer Lynn Williams and singers Beth Nielsen Chapman, Ashley Cleveland and Darrell Scott, Siobhan Kennedy and The McCrary Sisters probed and then brought life to Gauthier's compositions. In their hands, and in her fearless vocals, the songs resonate like tolling bells. We hear "a body's but a prison when the soul's a refugee" in Oh Soul. The last embers of affection flicker and die on When a Woman Goes Cold, ("Scorched earth cannot burn.") "A million miles from our first kiss, how does love turn into this?" is just one of the bitter riddles posed in False From True. Irony colors the chorus of Worthy: "Worthy, worthy what a thing to claim. Worthy, worthy, ashes into flame." This is deep and dangerous poetry, and Gauthier leads us through it with relentless candor. Yet tenderness is always near, enough to keep us engaged through the final track, "Another Train." "I wrote that one in England during a long, long tour," she remembers. There was a sign at a station: There'll be another train at 14:02.' So I started working with 'another train.' The song evolved. It doesn't start the way it ends. It zigged and it zagged. I let it talk to me. It's so interesting, because when I saw 'another train,' boom, that whole story was in there but I had to go find it. I had to dig, like an archaeologist." In the very last line of the song is the benedictory thought of the entire album. "Another Train" bathes all of what preceded it in a glimmer of hope. It a fantastically concise and powerful ending and entirely intentional "There'll be another train." "This album reflects a total human experience. Love, loss, and a life transformed." Gauthier sums up. "It's not a random collection of songs. This record is a story. It's about trust and faith and believing that there's a plan and a flow. And the flow is where the good stuff is because there's wisdom in the flow. At the core, we're all cut from the same cloth the same dreams, the same brokenness, the same desire for companionship and family and home. Yeah, we all have that. And if I don't go deep enough into that, it's a problem. "There's no such thing as going too deep." Amen to that.
When: Oct 16, 2015 8 PM to Oct 16, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 20 USD (Fri, 16 Oct 2015 20 )
Sean Rowe has spent much of the last year traveling the country with just his guitar, performing in people's living rooms. "It's like I'm some kind of a bearded salesman," he says, "Going door to door but instead of vacuum cleaners I'm selling all these feelings that come with the songs. It's a really intense experience for listeners to have me there in their homes playing. They're not used to having a stranger show up, play music, drink their beer and eat their food. But I think that's how we're supposed to be. It only feels strange because we've made it that way." It is this same sense of unflinching connection that has shaped Rowe's extraordinary new album Madman. The singer, who The Wall Street Journal wrote "recalls the ecstatic intensity of late-'60s Van Morrison and stark subtlety of late-era Johnny Cash" has created a beautifully primal work. Madman is deliberately, if not defiantly, simple in both arrangement and composition. It is soul music in the purest and most literal sense, hypnotic rhythms, warmly distorted guitars and Rowe's incredible voice recalling a time, real or imagined, when music and people seemed distinctly more connected. Rowe's previous Anti- release, The Salesmen and The Shark, was a far more polished affair recorded in Los Angeles with the accompaniment of West Coast session players. This time around, Rowe is intent on replicating the immense emotional power of his live performances. The process began with Rowe alone in an upstate New York recording studio with his guitar, laying down riffs that would become songs. For Madman, an album he was self-producing, Rowe wanted to strip away much of the production and focus instead on the voice and guitar style he had perfected in theaters, nightclubs and living rooms. "I came to this realization that the songs don't have to be structurally heavy to be intense," he explains. "It's more about the honesty and emotion behind the delivery. A lot of these songs are pretty simple but I was really thoughtful about that, it was intentional. I wanted to go right to the heart." The record begins with the title track Madman. A rhythmic guitar, lilting piano and melodic bass, punctuated by horns all of it in the service of Rowe's incredibly soulful voice. "My singing is definitely more playful on this record," he says. "Lyrically the song is about living this life when you're on the road more than you're at home." It is an immensely personal and heartfelt song for the recent father and dedicated naturalist, with Rowe singing, "When the road takes me to the other side of the world/Let a walnut tree replace me/Give my body back to the birds". Rowe came of age listening to a father's record collection that included The Beach Boys, Elvis Presley and more. But in his late teens it was soul and blues that spoke to the bourgeoning singer-songwriter. Rowe says the sound of Madman is influenced, in large part, by the hypnotic driving guitars of Delta blues. "I was listening to records by R.L. Burnside and John Lee Hooker and others which are basically just guitar and drums and really raw sounding. I was also listening to the early soul records like Otis Redding and Ray Charles. I didn't want to try and duplicate those sounds, just take aspects of them and make them my own." The influence of Delta blues is most apparent on the album's second track "Shine My Diamond Ring" with its driving repetitive guitar and stomping bass drum. "The guitar sound was influenced by John Lee Hooker," Rowe says. "The version you hear on the record which was mostly a live cut almost never happened as it was very last minute. We already had an earlier version of Shine that i was happy with but on this particular day we had about 15 minutes to kill till wrap up time and i felt if i grabbed the drummer and recorded this song live with just the two of us, I could nail it even better. I'm glad I did that." "Desiree" is a raucous deconstructed take on early disco, with a pulsating bass, Nile Rogers-like guitar picking and a looser than ever Rowe singing with absolute abandon. "It's so different than any song I've done before, Rowe says. "It's a really fun song and it felt good. It's one of those songs that I felt like I needed to write. With the thumping bass and drums it needed a lot of space so we tried to keep as many holes in it as possible. The vocals were cut live in one take." On Sean Rowe's latest, the adage less is more is on full display. This is a record of extraordinary honesty intent on establishing a connection. In its deliberate simplicity there is pure sonic emotion. "I wanted to go right to the heart with this," he explains. "And sometimes that meant seeing how much we could remove. It helps to have a great recording. But I would rather have great performances and that's what I was after here. Sometimes when you're listening to a piece of music you don't have to think about it, you just feel it. It's primal and you trust it."
When: Oct 23, 2015 8 PM to Oct 23, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 18 USD (Fri, 23 Oct 2015 20 )
Singer-songwriter Mary Fahl first achieved fame as lead singer and co-founder of the mid-1990s folk-rock/adult alternative group, October Project. As a solo artist, her musical inspirations have expanded to include classical, medieval and world music. Her expressive, transcendent voice has been called "a voice for the gods" (Boston Globe), "a powerful, beautifully proportioned contralto" (Variety), "soul-permeating" (Portland Press), and "supernatural" (author Anne Rice). Her music appeals to a wide range of musical enthusiasts, including a large, loyal fan base of Mary Fahl evangelists. Her discography includes: With the October Project October Project (1993, Epic Records) Falling Farther In (1996, Epic Records) Solo career Lenses of Contact EP (2001, Roughmix Records) The Other Side of Time (2003, Sony Odyssey) Gods and Generals Original Motion Picture Soundtrack (2003, Sony Classical) The Guys Original Motion Picture Soundtrack (2003, Sony Classical) Classics for a New Century (2003, Sony Classical) Mary Fahl: From the Dark Side of the Moon (2011) Love and Gravity (2014, Rimar Records) Mary Fahl: Live from Mauch Chunk Opera House Live album, DVD and PBS (2014, Rimar Records) Most recently, Fahl has been previewing songs from her soon-to-be-released album, Love and Gravity, on tour. The highly anticipated album is filled with flowing, folk-etched ballads produced by the legendary John Lissauer, who has collaborated with some of the greatest musicians of our time including producing Leonard Cohen's classic recording, "Hallelujah." Seven of the 10 songs on Love and Gravity were composed or co-written by Fahl, including the powerful tribute to true love, "Move Mountains, Turn Rivers Around" (written for her husband, renowned deep-sea oceanographer and marine ecologist Richard Lutz); the unflaggingly romantic "When Johnny Loved June" (honoring Johnny Cash and June Carter); and the rousing "Everything's Gonna Be Alright." The album also Includes two already-released singles: an inspiring re-imagining of the Joni Mitchell classic, "Both Sides Now;" and Fahl's tribute to 9/11 rescue workers, "Dawning of the Day," set to a traditional Irish melody. Fahl will also be releasing a live album and DVD of her September 7, 2013, performance at the Mauch Chunk Opera House in Jim Thorpe, PA, which was taped for an upcoming PBS special. The concert included songs from Love and Gravity, favorites from her October Project days, and selections from her celebrated interpretation of Pink Floyd's Dark Side of the Moon. Fahl and author Anne Rice ("Interview with the Vampire") have a mutual admiration. Rice mentions both Mary and an October Project song, "Take Me as I Am," in her new novel, "The Wolves of Midwinter" and asked Fahl to compose a theme song for the audiobook. With John Lissauer as co-writer, Fahl created the powerful and haunting "Exiles: The Wolves of Midwinter," which was released concurrently with the novel on October 15, 2013. "I referenced 'Take Me as I Am' because I was hearing that song in my head, and Mary Fahl singing it, as I wrote the scene," said Anne Rice. "I am so honored and thrilled that Mary was inspired to write 'Exiles' as a result. It's haunting and beautiful and exactly conveys the mood of the novel." Fahl, who hails from Rockland County, NY, lives in an idyllic setting in eastern Pennsylvania with her husband. Their 17th century house overlooking the Delaware River complete with waterfall and surrounded by acres of gardens and woods, inspires Mary's ongoing songwriting.
When: Dec 11, 2015 8 PM to Dec 11, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 24 USD (Fri, 11 Dec 2015 20 )
After the breakout critical success of Mandolin Orange's Yep Roc debut, 'This Side of Jordan,' you'd expect the relentless onslaught of touring that accompanied it to seep into the writing of the North Carolina duo's follow-up. You'd expect the sound to reflect long days on the road, long nights onstage, unfamiliar cities, countless miles. You'd expect the classic "road record." But you'd be wrong. "All of these songs are definitely a product of being on the road," says multi-instrumentalist/singer Emily Frantz of Mandolin Orange's gorgeous new album, 'Such Jubilee,' "but they're not about the road." "They're about home," explains songwriter/multi-instrumentalist/singer Andrew Marlin. "Not because we were missing it, but because when you're gone so much, you start realizing what you have and what's waiting for you. You realize there's this place to come back to at the end of the journey, and that's where a lot of these songs come from." The road has been good to Mandolin Orange since the 2013 release of 'This Side of Jordan.' NPR called the album "effortless and beautiful," naming it one of the year's best folk/Americana releases, while Magnet dubbed it "magnificent," and American Songwriter said it was "honest music, shot through with coed harmonies, sweeping fiddle, mandolin, acoustic guitar and the sort of unfakeable intimacy that bonds simpatico musicians like Gillian Welch and David Rawlings." The record earned them performances everywhere from the iconic Newport Folk Festival to Pickathon, as well as tours with Willie Watson, Gregory Alan Isakov, The Wood Brothers, and more. "When you play these festivals, you start meeting all these other people doing what you're doing," says Marlin. "There are so many musicians together in one place and you become part of this community. We got to hang out with Tim O'Brien and Peter Rowan and Norman Blake. Sitting down and talking to them and playing with them, you get to see the personal side of them rather than the hero side." "With all the touring and festivals, you look around and realize, 'OK we're actually doing this now,'" adds Frantz. "We're not just trying to do it, it's what we do, and that ties into a lot of the themes on the record." It's at the heart of album opener 'Old Ties and Companions,' which takes stock of such rewarding moments. "A good friend of mine and I were talking about this time in our lives - we've got all these friends playing music and everybody's playing with everybody and trading songs and it's really special," explains Marlin. "But you don't know how long that's going to be around, so we don't take this time for granted." "Old man give me endless time," he and Frantz sing in stirring harmony. "Never let these ties sever / Cause heaven knows in all this foolin' round these times won't last forever." To make the most of such magical, ephemeral moments, the duo set up facing each other with just a vocal and instrumental mic each in Asheville's Echo Mountain studio for the 'Such Jubilee' sessions. It proved to be the perfect setup to capture the undeniable chemistry of their live performances. "I think a lot of times when people set out to layer tracks on a recording, they want the rhythm or a click track first," says Frantz, who initially met Marlin at a 2009 bluegrass jam in Carrboro, North Carolina. "But we've just played together for so long that subconsciously we know where all the spaces need to be and what's going to fill in afterwards. When it's just the two of us in there, we don't have to orchestrate as much ahead of time because it all just falls into place so naturally." On "Settled Down," Marlin looks at what it takes to find that level of comfort in a relationship, singing, "Moments, just fleeting times with little wings of gold / remind us of how real we find true love in every sign of getting older." "Daylight" looks for peace in long-term companionship and trust, "That Wrecking Ball" meditates on the sometimes ravaging passage of time, and album closer "Of Which There Is No Like" is a delicate, wistful duet about coming home, literally and metaphorically. Not all of the songs are purely introspective, though. "Jump Mountain Blues" takes its name from a town in Virginia where Marlin spent weekends growing up. According to local folklore, a Native American girl threw herself off of the mountain rather than give up her true love to marry the man of her father's choosing. Marlin conjures up a haunting vision of the father, forced to watch her ghost rise and fall again every night when he looks at the peak. "Rounder" is written in the cowboy tradition and can be heard as a statement against capital punishment, while "Blue Ruin" was penned in response to the horrific violence at Sandy Hook. "I was thinking about all those kids who wouldn't be there on Christmas morning," says Marlin. "People can get so heated and so serious about change and addressing gun violence when something that traumatic happens, but a month or two afterwards, they've all cooled down and it's not in the forefront of their thoughts anymore. But two years later, those kids still aren't around on Christmas morning and their parents are still dealing with that." It's a weighty moment on an album that doesn't shy away from grappling with difficult topics: intimacy, death, distance, regret. 'Such Jubilee' is a record about home, both the place and the idea. Some days it's a safe, warm, loving refuge from the world outside. Other days it's cold and empty and too quiet. Either way, it's always waiting for you at the end of the road.
When: Nov 20, 2015 8 PM to Nov 20, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 16 USD (Fri, 20 Nov 2015 20 )
Jim Trick Imagine an experience where an entire audience feels like they are connected to a conversation; whether thru his music or his words, he brings a real life perspective, with an engaging and entertaining presence to the room. Joyful, sincere and magnetic are just a few of the words to describe Jim Trick. "His gentle and authentic stage presence combined with awesome songwriting make for a delightful show." No Depression Magazine As a child, he was bullied for choosing music over sports, for having a funny last name and for struggling with obesity. Through his experiences he delivers a blend of alternative folk, thoughtful pop, and spoken word. Influenced by Neil Finn, Bruce Cockburn, John Gorka and Charles Bukowski; Trick takes the acoustic guitar down a path of percussive, intricate, and ethereal ranges creating well thought out melodic support for carefully crafted lyrics. "One of New England's top songwriters" Berklee College of Music Boston has welcomed Jim with open arms, as a solo artist, to play as a regular at iconic venues such as Club Passim, The Me&Thee Coffeehouse, Berklee's Cafe 939 and the New Moon Coffeehouse, just to name a few. He has shared the stage with Ellis Paul, Brooks Williams, Susan Werner, Martyn Joseph and Christopher Williams. "One of the brightest songwriters and storytellers coming out of the north east these days is a man named Jim Trick. With the ability to draw an audience into his world, Jim is a brilliant communicator who is definitely worth the effort to go see." Grandfather Rock from WCWP 88.1 FM Brooklyn Everything you need", co-written with Christopher Williams, was recently released on Christopher's album "The City Makes the Man". Trick and Rachel Taylor co-wrote, "You Might Be Surprised", a song released on the album "Heartbreak is for Everyone", which was produced by Peter Hayes of Black Rebel Motorcycle Club. His most recent release, Further From the Tree, produced by Michael Pritzl of The Violet Burning, was fully funded by his loyal fan base during a four week "Trick-Starter" campaign. The album features the song "A road called home" co-written with Nashville's Rachel Taylor. It depicts a recent trip in which Jim and his wife Alison, traveled 10,500 miles all over the United States, not knowing from night to night where they would sleep. "We needed an epic adventure. In many ways, the song and trip were a line we drew in the sand in terms of how we want to live our lives going forward. In some crazy way, this album is propelling us into a truer version of life, steeped in freedom and satisfying a wild curiosity." Jim Trick As a touring member of Banding People Together, Jim also travels all over the United States using music and behavioral science to help companies create collaborative strategies and improve leadership. Christopher Williams Hailing from Nashville, but nothing like your typical Nashville songwriter, Christopher Williams is a songwriter, storyteller, and entertainer - offering songs that are honest and confessional, yet never overbearing; and performances that engage audiences with an appealing mix of intense passion and humor. With "lush guitar work, and sweet soaring vocals," (Boston Phoenix) punctuated by the percussive vulnerability of a single African djembe hand drum, Williams is a "hard-touring singer-songwriter and a master at spreading his personal energy out into a live audience." (Madison Isthmus) Touring nonstop nationally for the last ten years at a pace of more than 130 shows a year, Williams has built a faithful following of listeners around the country and is a true independent artist, releasing eight records on his own label. He has toured with Grammy Award winning band Jars of Clay, opening for, as well as playing percussion with (including their mainstage performance at the incredible Live 8 concert in Philadelphia). And has also played with songwriter luminaries Arlo Guthrie, Phil Keaggy, and David Wilcox. Williams has a heart for social justice issues and supports Blood:Water Mission and International Justice Mission and his newest studio release, 'Sweet Redemption,' showcases songs about his recent trips to Kenya and Uganda. Recently, he had the opportunity to contribute music to a USAID documentary film and attend the sponsored screening with the former First Lady, Laura Bush, in Washington, DC, and also play the International Justice Mission 10th Anniversary Banquet. His latest release is a new live recording, called 'Something As Simple,' that features the honesty of a true live performance with stories, the signature djembe playing and his unique guitar style. Recorded in the famed listening room, Club Passim in Harvard Square, Cambridge, MA. where all the songwriting greats have played, this CD is a must for fans of Williams' music.
When: Oct 9, 2015 8 PM to Oct 9, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 15 USD (Fri, 09 Oct 2015 20 )
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