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DTSTART;TZID=America/New_York:20260928T200000
DTEND;TZID=America/New_York:20260928T200000
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SUMMARY:Destroyer (solo)
DESCRIPTION:DSP Shows Presents: Destroyer (solo)\nMonday\, September 28 @ 8pm\nTickets: On Sale Friday\, July 17 \nMRG869 Destroyer — Dan’s Boogie \nWhat is a “boogie”? In the common tongue\, it’s a dance or an occasion to dance\, a song or a shindig\, an incitement to move\, quickly\, whether it’s on the floor or out of town\, getting down or lying low. This being a Destroyer album and not the common tongue\, the implications of a title like Dan’s Boogie are at once more alluring and dangerous. “A boogie is a hustle\, a scam that doesn’t quite work\, the moves we make when we’re up against it\,” explains Dan Bejar. “I think of spy work\, double agents\, sleeping with one eye open\, an eye on the exits. But I also think of petty street-level victories and losses and improv.” \nDan’s Boogie is a breakthrough album for Destroyer\, both in the sense that it makes moves that no Destroyer album to this point has made\, and in the sense that\, to record it\, Bejar had to burst through a series of intentional and unintentional barriers to write the songs. Initially challenging himself to not write songs so the ideas would well up inside of him until they breached containment\, the months following the completion of LABYRINTHITIS turned into one year then two\, at which point Bejar gave himself a New Year’s resolution to play the piano every day for an hour. That lasted about four days\, but the songs Bejar credits as coming from that resolution—“Cataract Time\,” “Hydroplaning Off the Edge of the World\,” “Bologna\,” and “Dan’s Boogie” among them—are all-timer Destroyer songs across the vast spectrum Bejar and his collaborators have established for themselves: spectacle-laden pop epics\, personal piano ballads\, and smouldering works of mood that blur the lines between song and novel and cinema\, each brimming with the urgency of a state secret in the mind of a tortured spy.  \nLead single “Bologna” is the most radical frame for this energy\, as it’s the first time Bejar wrote a song where he imagined himself as a supporting character. Taking lead is Fiver’s Simone Schmidt\, whose voice—tough and expressive\, piercing through the murk of the scene—is a siren’s call that haunts the album. The gravity of their voice pulls Dan’s Boogie into order around a sense of impending doom\, the way a fatale’s promise of the unusual and the ecstatic dooms the principal character of an erotic thriller.   \n“Hydroplaning Off the Edge of the World” is a delicious bit of contradiction\, a peppy song that came out of the havoc Bejar was intentionally wreaking on himself—its holiday cheeriness making the angst of its lyrics go down smoothly until the song veers off the road. “We are now entering a new phase\,” Bejar intones\, introducing layers of guitar and synthesizer that considerably darken the palette as he alternates between singing and speaking. The lyrics and vocals are improvised\, invented as Bejar recorded the demo in his garage—a manic stream-of-consciousness and simultaneously exquisite display of his songwriting mastery. \nContradiction informs much of Dan’s Boogie\, the fog swirling around Bejar illuminated by the friction between competing truths and tastes\, as when his interest in jazzy ballads runs aground on producer and bassist John Collins’ interest in bands like Led Zeppelin and Scritti Politti. When Bejar told Collins that he was thinking of Sammy Davis Jr.\, the title track bloomed into being\, Bejar adopting a Rat Pack swagger with almost delusional glee against a dreamy soundscape of soaring guitars\, lush horns\, jazz drumming\, spaced-out synths\, and\, perhaps truest to how Bejar sees himself\, plinking lounge piano.   \nIn terms of shaping sound\, the centerpiece of Dan’s Boogie may be “Cataract Time\,” an eight-minute epic that ranks as some of the heaviest lyrics Bejar has ever written\, and one of Destroyer’s most musically intricate compositions. Borne aloft on an easygoing groove\, Bejar’s lyrics—“a reckoning\, a dressing down” as he describes them—are transfigured\, their melancholy tasting almost counterintuitively like hope. It’s an intimate song that puts away Destroyer’s usual urban fable milieu in exchange for bracing interiority\, but its lilting groove can see a future\, one that Bejar and his band are eager to meet. \nIt is\, to use Bejar’s phrase\, the kind of song you make when you’re up against it\, when it seems as if the world is crashing down upon you. And therein lies the album’s most radical shift: Where previous Destroyer albums were locked in combat with the world\, Dan’s Boogie dances with it\, its nine reveries coalescing into one long hustle. Dan Bejar’s eye may be on the exits\, but he’s not leaving anytime soon.
URL:https://hangartheatre.org/event/destroyer-solo/
LOCATION:Hangar Theatre\, 801 Taughannock Blvd\, Ithaca\, NY\, United States
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260918T200000
DTEND;TZID=America/New_York:20260918T200000
DTSTAMP:20260627T140114Z
CREATED:20260627T140114Z
LAST-MODIFIED:20260627T140114Z
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SUMMARY:Garrison Keillor Tonight
DESCRIPTION:DSP Shows Presents: Garrison Keillor Tonight\nFriday\, September 18 @ 8 pm\nTickets: on sale now \nNote: The Hangar Theatre Box Office does not handle ticketing for DSP Shows. If you have questions or need assistance with ticketing\, please contact them directly: info@dspshows.com or 607-280-2900. \nGarrison Keillor did “A Prairie Home Companion” for forty years\, wrote fiction and comedy\, invented a town called Lake Wobegon where all the children are above average\, even though he himself grew up evangelical in a small separatist flock where all the children expected the imminent end of the world. He’s busy in retirement\, having written a memoir and a book of limericks and is at work on a musical and a Lake Wobegon screenplay\, and he continues to do “The Writers Almanac” sent out daily toInternet subscribers (free). \n“Fans laughed\, applauded and sang along throughout Sunday night’s two-hour show” -Jeff Baenen\, AP News \n“His shows can\, for a couple of hours\, transform an audience of even so-called coastal elites into a small-town community with an intimacy only radio and its podcast descendants can achieve” – Chris Barton\, LA Times \n“[Keillor is] an expert at making you feel at home with his low-key\, familiar style. Comfortable is his specialty.” – Betsie Freeman\, Omaha-World Herald
URL:https://hangartheatre.org/event/garrison-keillor-tonight/
LOCATION:Hangar Theatre\, 801 Taughannock Blvd\, Ithaca\, NY\, United States
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260502T200000
DTEND;TZID=America/New_York:20260502T200000
DTSTAMP:20260116T163726Z
CREATED:20260113T150019Z
LAST-MODIFIED:20260116T163726Z
UID:19438-1777752000-1777752000@hangartheatre.org
SUMMARY:The Steel Wheels
DESCRIPTION:DSP Shows Presents: The Steel Wheels\nSaturday\, May 2 @ 8 pm\nTickets: On Sale Friday\, January 16 \nNote: The Hangar Theatre Box Office does not handle ticketing for DSP Shows. If you have questions or need assistance with ticketing\, please contact them directly: info@dspshows.com or 607-280-2900. \n20 years is a long time to spend doing anything at all. It’s an age for any group of people to sustain a collective effort. For a band on the road\, 20 years can be more than a lifetime. Yet\, after 2 decades of making music together in living rooms\, listening rooms\, clubs\, theaters\, and festival stages\, The Steel Wheels are still growing\, still pushing\, still at it\, and they’re marking the occasion with the release of their 9th studio album\, “The Steel Wheels”. \nFollowing the release of “Sideways” in 2024\, their 3rd record with producer Sam Kassirer at his Great North Sound Society studio in interior Maine\, the band felt it was time for a change of scene. As the group began to select songs for a new album\, they also had to find an answer to the question of where they would get down to the work of record-making. They didn’t know that answer was going to knock on their back door. \nAt the band’s 2024 Red Wing Roots festival\, held each summer near the group’s home base of Harrisonburg\, VA\, banjo player and songwriter Trent Wagler spied producer and engineer D. James Goodwin (Goose\, Bonny Light Horseman\, I’m With Her) in the crowd and later reached out to learn what he was doing so far from his home turf of New York. It happened that Goodwin\, who mixed the band’s 2019 album “Over The Trees”\, had just pulled up stakes for the Shenandoah Valley and was setting up a new studio on the band’s doorstep. Several months and one video call later\, Wagler\, fiddler Eric Brubaker\, multi-instrumentalist Jay Lapp\, drummer/percussionist Kevin Garcia\, and bass\nplayer Jeremy Darrow gathered in the new space\, The Isokon\, snug against the snowy Virginia winter\, to begin recording their next album. \nThe process that Goodwin cultivated was fluid and swift. Demo listening in the morning flowed into tracking the whole band live in one room. The session was punctuated by peals of laughter and occasional tears as the group kept themselves in the moment\, leaning in to every emotion and embracing that vulnerability. As they worked\, the music took shape in the moment\, right in front of the microphones\, each participant listening and responding as the songs flickered to life. By dinner time the songs of the day were complete and talk moved to the next day’s work. \nThe album that resulted from this process captures the multifaceted band in full-flight\, pivoting effortlessly between the folk rock band they’ve grown into over 20 years\, and the harmony-centric acoustic ensemble that they’ve been since the beginning.The band puts their impressive range on display throughout “The Steel Wheels”; energy\, insight\, and humor\, balance with tender\, highly personal moments of masterful restraint and expression as the album unfolds. As ever\, the band challenges themselves to find new ways through the music\, using space and\, at moments\, reinventing their approach to the string band format. \nAs usual\, Wagler’s keen lyrics provide insight by posing big questions. At first blush “Easy” sounds like the song of the summer\, but a deeper listen asks the audience to consider whether it’s worth the cost to have the world waiting for us on the other side of our screens. “Everything is easy”\, but is it really? \nBeyond our glowing devices “Go Back” studies the complexity of our relationships and the time we spend with those close to us. It’s easy to say that we must take the bad with the good\, it’s a challenge to seek to understand how our joy and sadness are entwined; that they are not opposing feelings\, but sibling emotions. \n“Keep On Dancing” offers the listener a greater challenge; to take a step back from distraction and our self-imposed tasks\, to look beyond the static of the day\, and to see the beauty all around us. The song gently implores us to take a breath and be still so that we can glimpse the things that are actually important. \nThe Steel Wheels have kept their stride for longer than most bands survive. After 20 years hard at work “The Steel Wheels” is an album of creative maturity with a restless sense of adventure. Here’s to 20 more.
URL:https://hangartheatre.org/event/the-steel-wheels/
LOCATION:Hangar Theatre\, 801 Taughannock Blvd\, Ithaca\, NY\, United States
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260228T200000
DTEND;TZID=America/New_York:20260228T200000
DTSTAMP:20251222T141806Z
CREATED:20251217T173159Z
LAST-MODIFIED:20251222T141806Z
UID:19383-1772308800-1772308800@hangartheatre.org
SUMMARY:DSP Shows: Jonatha Brooke
DESCRIPTION:DSP Shows: An Evening with Jonatha Brooke\nSaturday\, February 28 @ 8 pm\nTickets: $35–45\, on sale Friday\, December 19 \nJonatha Brooke is what happens when literate songwriting meets fearless innovation\, a\nsingular voice in modern music whose work is as much chamber poetry as it is folk-pop.\nTrained in the rigor of classical composition yet born with a Broadway-bound belt and a\nnovelist’s eye for character\, she weaves deeply personal narratives with a rare melodic\nsophistication. From her early days with The Story to her solo triumphs\, Brooke has\nquietly carved a niche where the emotional intelligence of Joni Mitchell meets the\nmusical wit of Stephen Sondheim\, all wrapped in a voice that aches\, sparkles\, and\nsoars\, often within the same phrase. \nA true interdisciplinary artist\, Brooke has not only penned a poignant\, one-woman\nmusical (“My Mother Has 4 Noses”)\, but she has also collaborated with luminaries like\nKaty Perry\, Joe Sample\, and the late Woody Guthrie\, whose unpublished lyrics she set\nto music with the reverence of a curator and the daring of a jazz improviser. Whether\ncommanding a stage with nothing but a guitar and a spotlight or orchestrating a lush\nstudio album\, Jonatha Brooke is never simply performing; she is sculpting emotion in\nmidair\, conjuring stories that linger like the final notes of a well-loved sonata. \n  \nNote: The Hangar Theatre Box Office does not handle ticketing for DSP Shows. If you have questions or need assistance with ticketing\, please contact them directly: info@dspshows.com or 607-280-2900.
URL:https://hangartheatre.org/event/dsp-shows-jonatha-brooke/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251213T200000
DTEND;TZID=America/New_York:20251213T200000
DTSTAMP:20251017T023727Z
CREATED:20251015T140058Z
LAST-MODIFIED:20251017T023727Z
UID:19222-1765656000-1765656000@hangartheatre.org
SUMMARY:DSP Shows: Michael Kosta
DESCRIPTION:DSP Shows: Michael Kosta\nLucky Loser Tour\nSaturday\, December 13 @ 8 pm\n  \nTickets: $42 \n  \nMichael Kosta is an Emmy winning co-Host and Senior Correspondent The Daily Show for Comedy Central. \nHe is well known for his numerous late-night appearances on The Tonight Show\, Conan\, Seth Meyers\, and @midnight. His one-hour Comedy Central stand-up special: Michael Kosta: Detroit. NY. LA. is now streaming on Paramount + and YouTube. Previous to his career in television and comedy\, Kosta was a professional tennis player (ranked #864 in the world) and is still a contributor to the Tennis Channel.  He also hosts the podcast Tennis Anyone\, which can be found on any podcast platform. \nMichael’s first book\, a memoir entitled Lucky Loser will be released March 2025 from Harper Collins.
URL:https://hangartheatre.org/event/dsp-shows-michael-kosta/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251015T200000
DTEND;TZID=America/New_York:20251015T200000
DTSTAMP:20251015T145958Z
CREATED:20250709T005858Z
LAST-MODIFIED:20251015T145958Z
UID:19047-1760558400-1760558400@hangartheatre.org
SUMMARY:DSP Shows: Kathleen Edwards
DESCRIPTION:DSP SHows: Kathleen Edwards\nWednesday\, October 15\, 2025 @ 8 pm\n  \nTickets: \nOn sale Friday\, July 11 at 10 am\n$30 in advance; $35 at the door \nDoors open at 7 pm \nKathleen Edwards\nIn 2020\, Kathleen Edwards released her fifth album Total Freedom after taking a break from music. Last month she was covered by Waxahatchee and Brennan Wedl in Nashville\, and now the Canadian singer-songwriter is announcing her new record Billionaire\, which is produced by Jason Isbell and Gena Johnson. The refreshing songs “Save Your Soul” and “Say Goodbye\, Tell No One” are out now. \n“I decided to call the record Billionaire because the word is used in such a caustic way these days\,” Edwards says. “But we should all want to be billionaires in life\, to be rich in experience\, friendship\, purpose\, and the pursuit of the things that bring us joy.” \nThe LP has Isbell on electric guitar\, acoustic guitar\, keys\, synth\, and backing vocals; Johnson on piano and backing vocals; Anna Butterss on bass; Annie Clements on bass; Chad Gamble on drums and percussion; Jen Gunderman on piano\, celeste\, Hammond B3 organ\, and Wurlizter; and Shelby Lynne and Allison Moorer on backing vocals. Hear the singles here.
URL:https://hangartheatre.org/event/kathleenedwards/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250919T200000
DTEND;TZID=America/New_York:20250919T200000
DTSTAMP:20250912T173940Z
CREATED:20250815T140052Z
LAST-MODIFIED:20250912T173940Z
UID:19099-1758312000-1758312000@hangartheatre.org
SUMMARY:DSP Shows: Jade Bird
DESCRIPTION:DSP Shows: Jade Bird – Who Wants to Talk About Love?\n  \nFriday\, September 19 @ 8 pm\n  \nTickets: $25 in advance / $30 day of show \nHeadliner: Jade Bird \nSupport: Jake WIld \n  \nJade Bird  \nAre we doomed to repeat our parents’ mistakes? It’s a question that hangs over Jade Bird’s third album\, a record that interrogates the way relationship patterns repeat through the generations and\, above all\, the great cosmic question mark that is ‘love’. From its title\, which sincerely asks Who Wants To Talk About Love?\, onwards\, it’s a record that invites us to join her quest to understand this powerful\, addictive\, beautiful\, destructive force that drives us all. “I want it to be a conversation\,” she says. “I want it to be a real back and forth.”   \nAfter 2023’s EP Burn The Hard Drive\, which plunged us into Jade’s anger and existential confusion in the wake of a life-altering break-up\, Who Wants To Talk About Love? zooms a little further out. “I wrote it over a long period while trying to make sense of the broken relationships in my family and the way they echoed into my own life when my engagement ended\,” she says. She brings us into some of the most personal\, psyche-forming bonds in her life: “It’s as much a question as an answer\, wondering if I could break the cycle while finding my own path to forgiveness.”   \nThe title Who Wants To Talk About Love is taken from the first single\, a song Jade started writing when she was 16\, which finds beauty in the pain of realising you’ve lost yourself in a relationship. But really\, it has been generations in the making. Its ghostly aura echoes the ghost that she saw the women in her family become when they lost themselves in toxic situations and partners who took up so much space there was none left for them.   \nJade’s mum had her when she was 19\, and when Jade was around 7 years old her parents divorced. She and her mum moved from Germany to the UK to live with her grandmother\, also freshly divorced from a troubled relationship: the three generations of women in pain in one house. The relationship between Jade’s parents had broken down amid a lot of conflict and this move was all about a fresh start. “They sheltered me from a lot of stuff\, but\, you know\, I could tell my mum was hurting big time\,” she recalls.   \nAround the same time\, Jade started writing songs. From day one\, her artistic expression was steeped in the fallout of romantic love. Sitting at the piano\, she was – not necessarily intentionally – condensing the feelings hanging in the air at home into songs. “It didn’t feel like a jigsaw clicking into place\,” she says\, because life is rarely as neat as a movie montage. “But from then on I was always writing.”   \nFast forward a few years. “I picked up grandma’s guitar – and then it all really started coming out\,” she laughs. Teenage angst brought with it all the drama of adolescence\, but at the same time as Jade was learning the guitar and figuring her own self-hood out\, her mum had entered another difficult relationship. “It all sort of accumulated in my artistic sense. When I listen to my early catalog\, there’s a lot of anger. A lot of rage. My parents’ relationship was super conflict heavy – yelling was very normal; it’s a little bit Italian\, but then it’s also really fucking stressful! I’ve followed that into my relationships; there was arguing\, but there’d also be a lot of nasty arguing.” Because whether you know it or not at the time\, “you’re following what you saw.” \nIn 2022\, she realised how much those early models of relationships had shaped her when her engagement to a longtime member of her band disintegrated. They had recorded\, toured and eventually moved to Austin together; everything about her life and her career had been wrapped up in this increasingly unhealthy relationship\, coloured by vicious arguments and unhealthy behaviours. As it fell apart\, Jade felt further from herself than she had ever been.   \n‘Dreams’ is an upbeat bop that was written mid-breakdown. It sounds like a shard of light but is actually “a very dark song”\, Jade says. “It’s a captured moment at a really tough time.” She was driving through LA on her way to the studio\, to one of her biggest sessions of her life (with Greg Kurstin). She was still engaged but starting to realise it was destroying her\, emotionally and physically exhausted after a bad night’s sleep\, and she saw a billboard that read\, This is what dreams are made of. “That\, with the LA sun\, it just felt so deeply ironic… I was so completely broken\, just like at the lowest point of my entire life. We wrote that song and cut the vocal; the production has changed quite a lot but the vocal stem was so important because I was like\, you can’t really get rawer than that.” Amid the sunny production and upbeat piano riff\, you can hear the wobble in her voice on the verses\, the fight going out of her on the big chorus and the bite of self loathing in the lyrics.   \nOn ‘Stick Around’\, she dissects the way she\, like her mother before her\, lost herself in that relationship: “It was a way to process a lot of the stuff I was feeling after that break up\,” she says\, “I can’t shake this idea that we’re repeating fates.” Over strained guitar that grows increasingly fractious as the song wears on\, she sings\, “If you really loved me why was it so hard to stick around?” It was one of those songs that came out almost fully formed – “Sometimes it feels like you were tugging on a little string out the sky\, and then it’s like\, woah\,” she says. “It was like being under a fog; the start of being like\, okay\, I’m pretty low.”   \n‘Stick Around’ hints too at Jade’s dad\, but nothing comes close to the searing\, devastating emotion of ‘Wish You Well’\, a song she’s spoken about before on social media and at live shows in which she tries to forgive her dad\, tries to move on – almost manifesting the feelings that she doesn’t yet feel. “I’ve always been really upfront about the fact that this is not a song about a romantic relationship\,” she says. “I haven’t spoken to my dad in… about four years now – over a sort of disagreement at what being a father is.” It’s the sort of thing many people would shy away from talking about publicly\, but sharing songs like ‘Wish You Well’ is at the core of why Jade even writes songs and puts them out into the world. For her to process her feelings\, but for us too: “There’s not been one gig that someone hasn’t come up to me and been like\, I fell out with my mum\, I don’t speak to this person any more\, I’ve lost this person…  That connection\, giving a person the opportunity to say ‘that’s how I feel’ – that’s the whole point in releasing music\, especially at a time like this.”   \nHard Drive was a musical detour\, dipping a toe into a pool of synths under the guiding hand of Mura Masa; Who Wants To Talk About Love? sees Jade returning to her roots in acoustic guitar and modern Americana with her soaring voice always reaching for the light. The glimmer of light here is her current partner\, Andrew xxxx\, with whom she made the bulk of the album (talk about a bonding experience). ‘Save All Your Tears’ is a tried and true love song\, a glistening layer of gold dust left in the pan after the sand and dirt has been washed away.   \nOnce she started seeing patterns and shapes in the relationships in her own life\, suddenly she was seeing them everywhere – including reality TV. The final piece of the puzzle that is Who Wants To Talk About Love? was ‘How To Be Happy’. “I got really into this really filthy reality TV show where all these divorced couples go into a house and start dating each other. And being the drama queen that I was\, I was like ‘Oh my God\, these people loved each other once – these people would lie next to each other and be like\, you’re the one…’ how do you get here from there?” It tapped into a real and lasting fear: of love that doesn’t last and people who don’t stay. It was the final song she wrote for the record\, and a reminder to herself that she doesn’t have all the answers quite yet.   \nIt’s fitting that Jade started writing the title song and first single when she was 16. Because as she extricated herself from the bad relationship\, examined her family’s patterns and found new love and hope\, she was looking to someone very specific for guidance\, sometimes without really knowing it: her younger self.   \n“I know this sounds a little bit silly\, but I genuinely think – and again this sounds so corny – but I became the through line: I started to use my debut [2019’s self-titled Jade Bird] as a real guide. Because even though I was 19\, I was so sure of myself. I had a compass; even if I wasn’t sure about something\, I knew deep down\, ‘Oh this is what Jade thinks.’” Sometimes we inherit troubling patterns from our families; but sometimes we inherit the really good stuff too: “I got that from my mum. Little Jade – she was unstoppable against the world!” There are odes and tributes to Jade Bird scattered across the record. “I remember that being the last time I felt invincible\, in a way. Confident. And I was like\, I want some of that. So I’m gonna return to that as a woman\, you know\, instead of a girl.”   \nNow living in LA\, Jade is happy with her partner and her dog and her work. It’s happy but it’s not an ending: she still wants to talk about love with you and anyone who’s open to it. “I don’t feel like I want to talk about love because I know everything\,” she pauses\, throws her hands up and grins. “I know absolutely nothing!” No one can listen to Jade’s music and believe that to be true: but there’s always more to say and think and feel and learn. And for Jade Bird\, it starts with a simple question: who wants to talk about love?
URL:https://hangartheatre.org/event/dsp-shows-jade-bird/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250917T193000
DTEND;TZID=America/New_York:20250917T193000
DTSTAMP:20250520T203155Z
CREATED:20250513T175936Z
LAST-MODIFIED:20250520T203155Z
UID:18930-1758137400-1758137400@hangartheatre.org
SUMMARY:DSP Shows: An Evening with Cowboy Junkies - Celebrating 40 Years
DESCRIPTION:DSP SHows: An Evening with Cowboy Junkies: Celebrating 40 Years\nWednesday\, September 17\, 2025 @ 7:30 pm\n  \nTickets: \nOn sale Friday\, 5/16\nTier 1: $75\nTier 2: $59.50 \nDoors open at 6:30 pm \nWATCH: Cowboy Junkies – Live on Tour \nCowboy Junkies \nSometimes revolutions begin quietly. \nIn 1988\, Cowboy Junkies proved that there was an audience waiting for something quiet\, beautiful and reflective. The Trinity Session was like a whisper that cut through the noise — and it was compelling. It stood out amid the flash and bombast that defined the late 80’s. The now classic recording combined folk\, blues\, and rock in a way that had never been heard before and went on to sell more than a million copies. Their ability to communicate volumes before the lyrics kick in defines an enduring career. Where most bands chase trends\, the Junkies have stayed their course\, maintaining a low-impact excavation of melody and evocative language delivered sotto voce in singer Margo Timmins’ feathery alto. \nFormed in Toronto in 1985\, Margo was joined by siblings Michael Timmins on guitar\, Peter Timmins on drums\, and Michael’s lifelong friend Alan Anton on bass to begin a journey that has evolved over 29 albums. “I’ve known Alan longer than I’ve known Pete\,” says Michael. “We were friends before Pete was born.” \nUnlike most long-lasting groups\, Cowboy Junkies have never had a breakup or taken a sanity-saving hiatus. There’s an appreciation of each other that keeps them constantly working. “It’s that intimacy and understanding of what each one of us brings to the table\,” says Michael. Michael\, the oldest\, is the chief architect; songwriter\, and guitarist\, who works with Margo on sculpting the emotional planes and vocal performances before bringing in younger brother Peter on drums and lifelong friend Alan Anton on bass to create the soundscapes that have made Cowboy Junkies a band who defies categories. \n“The expectations and responsibilities of our roles are a big part of the band’s ethos. We’re still amazed that we’re doing things our way and continuing to grow the band\, but the longer we are at it\, the more fun it’s become. We don’t take it for granted\,” Michael offers.  “We do what we do\,” Margo agrees\, “and it feels right for all of us. After 30-plus years of playing together\, the band and its music are more important to us than ever. The music we make brings each us a great sense of contentment\, a knowledge of place\, and a sense of doing what we were meant to do.” \nAn evening with Cowboy Junkies promises a career-spanning show\, including songs from their recent album\, ‘Such Ferocious Beauty’\, which was released worldwide in 2023\, to universal critical acclaim.
URL:https://hangartheatre.org/event/dsp-shows-an-evening-with-cowboy-junkies-celebrating-40-years/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250913T200000
DTEND;TZID=America/New_York:20250913T200000
DTSTAMP:20250520T203330Z
CREATED:20250515T013521Z
LAST-MODIFIED:20250520T203330Z
UID:18935-1757793600-1757793600@hangartheatre.org
SUMMARY:DSP Shows: Bob Mould Solo Electric: Here We Go Crazy
DESCRIPTION:DSP Shows: Bob Mould Solo Electric: Here We Go Crazy\nSaturday\, September 13\, 2025 @ 8 pm\n  \nTickets: \nOn sale Friday\, 5/16\n$35 in Advance\n$40 at the Door \nDoors open at 7 pm \nBob Mould Solo Electric: Here We Go Crazy \nWhen he calls\, Bob Mould is finishing work on his 15th solo album\, Here We Go Crazy. A distillation of the unfailing melodic skill\, the emotional lucidity and dynamic fluency he’s developed over more than four decades\, it’s also a typically bold realignment of his sonic paradigm. Its turbulent vignettes are scored by Mould’s familiar bruised tunefulness\, but the sound is pared back to its fundaments\, 11 songs blistering past in just over 30 minutes. “I’ve stripped things back to what excited me as a young guitarist\,” he explains. “The energy\, the electricity.” \nPart of the inspiration for this more primal aesthetic is the heavy itinerary of touring he’s lately undertaken\, several years spent circling the globe\, either in the company of bandmates Jon Wurster (drums) and Jason Narducy (bass) or just by himself. “I was really throwing myself in the songbook and feeling where the audience is at\,” he says. “And they were really responding to this very simple\, just-me-and-a-guitar setup. And I thought\, maybe I shouldn’t be overcomplicating things\, ‘word’-ing or ‘craft’-ing it up. Just grab for the simple bits of life we still have control over: our emotions\, our relationships.” \nAfter shows\, Mould would hang out signing merch and talking to fans. “Sometimes people bring a lot of their lifetime emotional content to me\,” he says\, “like they’ve compressed all this coal into a tiny little diamond. Sometimes I’m surprised at the weight of it\, the heaviness. I’m like\, ‘I’m here for you. I’m listening.’ I’m shocked and grateful they share so readily with me. I don’t know what I did to earn that trust.” \nMould has earned that trust with every record he’s made\, channelling his own “lifetime emotional content” for songs of wisdom\, honesty and volcanic intensity. His first band\, Hüsker Dü\, bared his angst over furious noise and turbulent melody\, an indelible influence on generations that followed. But by the time Nirvana infiltrated the mainstream\, Bob Mould had already moved on\, having sequestered himself in a farmhouse to lick his wounds and learn new ways to sing his songs. His solo debut\, 1989’s folk-rock masterpiece Workbook\, was a record of depth and sophistication. Then he pulled another sharp turn\, his power-trio Sugar alloying his most melodic songs with his fiercest noise\, yielding his most commercially successful work yet. \nOver the solo career that followed Sugar’s own mid-90s flameout\, he’s displayed a maturing gift for songwriting\, transcending the ‘alternative’ tag and recognised alongside key influences like Pete Townshend and Pete Shelley. He’s adrenalized classic forms\, alchemised angst into something addictive and powerful. “I’m just trying to figure myself out\,” he says. “After 64 years of life – 55 spent writing songs – it’s what I do.” The concepts that shaped the songs of subsequent albums reflect those years. The ruminative Beauty & Ruin (2014) and Patch The Sky (2016) were written in the wake of losing his parents and other loved ones. 2019’s Sunshine Rock was a homage to the early Capitol singles of the Beatles and the Beach Boys\, constant companions through his turbulent childhood. The terse\, political Blue Hearts (2020) was written and recorded amid the dying days of the first Trump administration. \nHere We Go Crazy\, meanwhile\, arrives at another moment of uncertainty\, a time of disruption and fear. Mould sees the songs unfolding like the three acts of a play\, each act exploring distinct but related themes. The first handful of songs concern “control versus chaos”\, Mould explains. The opening title track contrasts images of nature – deserts\, mountains\, fault-lines – with the tumult of human life. Inspired by a riff that Mould says “sounded like a fistfight”\, ‘Neanderthal’ is “a snapshot from inside my head as a young kid: growing up in a violent household\, everything being unsettled\, feeling that fight-or-flight response at all times\,” while ‘Breathing Room’ is “about feeling isolated\, cramped-up\, and literally needing that breathing space”. \nThe furious\, dynamic ‘Fur Mink Augurs’ signals the second act\, where the darkness descends. The song channels claustrophobia\, and “the cold\, crazy\, late-winter feeling I grew up with in the Adirondacks and in Minnesota. When the cabin fever really sets in deep – when the permafrost is set and it never gets warm – you become frayed\, and things can really unravel\, quickly.” ‘Lost Or Stolen’ chronicles lives undone by “people losing themselves in their phones\,” Mould explains. From this focus\, he pulls back and digs into “ideas about depression\, addiction\, self-medication and collapse… The words just fell out of me.” This anguished middle-passage of the album concludes with the cathartic ‘Sharp Little Pieces’\, exploring “the end of innocence\, the idea of a young child’s trust being violated. For those of us who lost trust as children\, it disappears in a flash\, and we spend years struggling to regain that innocence. And maybe it never comes back.” \nThe song ends bluntly (Mould says the album’s “lack of sophisticated ornamentation is key – I was trying to stay out of the way of the songs\, to strip away all the things I used to think were important\, all those extra colours and complexities. I didn’t want to get deep into decorating the tree. I wanted to keep it simple\, to use the simplest words”)\, raising the curtain on the closing act. The theme here is lifting oneself out of the darkness; ‘You Need To Shine’ is a song about “looking for the bright sides\, the good parts of life\, despite everything that’s happened”\, Mould says\, a sentiment borne out by the song’s spirited holler that “all that madness doesn’t matter anymore”. ‘Thread So Thin’ is “about trying to protect the one you love\, and trying to feel protected”\, Mould explains\, while the closing ‘Your Side’ is a powerful love song from the edge of the darkness\, Mould howling “If the world is going down in flames\, I want to be by your side”. “We’re heading into a great unknown here\,” Mould says\, of the wider geopolitical and climate anxieties that inspired these songs. The message here is\, simply\, focus on that which can save you and deliver you from this moment. “This album talks a lot about uncertainty\, helplessness\, being on edge\,” Mould adds. “How much can we control? How much chaos can we handle? In the end\, the answer\, the remedy\, is placing your trust in unconditional love.” \nMould knows Here We Go Crazy is an album freighted with darkness; “There’s soothing melodies\, and there’s lyrical discomfort\,” he deadpans. “It’s manic\, frantic\, complex.” But no one ever came to Bob Mould for good news\, for the easy answers. Pop music runs through his veins\, as surely as the electricity that drives his chiming hooks into the realms of distortion\, but he’s here to give you the truth\, his truth. To give you songs that ring true when howled against a tornado of guitar\, that compress all that “lifetime emotional content” into some kind of sonic diamond. There’s eleven of those precious gems here\, sculpted to make the heaviness easier to bear\, somehow. Treasure them. \n  \nJ. Robbins \nRobbins is an independent music lifer. Starting out at the end of the 1980s playing bass in the final and longest-tenured lineup of DC hardcore mainstays Government Issue\, he went on to gain prominence in the 90s as the singer/ guitarist of the prolific and widely-traveled indie rock band Jawbox. That band’s sound developed to become a template for most of J’s later work: passionate and tuneful vocals set to driven guitars that swing between melody and clashing dissonance\, atop complex and driving rhythms\, abrasive post punk and melodic guitar pop influences in an always uneasy alliance greater than the sum of its parts. \nReleasing a slew of independent EPs and two full-length albums on DC’s iconic Dischord Records\, Jawbox (like many of their peers from the music underground of the day) transitioned to the major label world in the mid-90s\, going on to release two albums on Atlantic Records before disbanding. Returning – and rededicating himself –  to the indie music world and its ethos\, Robbins almost immediately formed a new band with former GI bandmate and drummer extraordinaire Peter Moffett: Burning Airlines\, which released two albums and toured the US\, Europe\, and Japan. \nConcurrently\, however\, Robbins had begun making a name in the studio as an in-demand  producer/engineer for bands in a new wave of post-punk indie music\, such as Texas is the Reason\, the Promise Ring\, Jets to Brazil\, and Braid. By the early 2000s\, after the breakup of Burning Airlines\, recording and producing other bands was his primary focus – though he also made time for personal musical projects such as Channels and Office of Future Plans (both of which released albums on Dischord)\, and Report Suspicious Activity (where he returned to playing bass\, and which released albums on Alternative Tentacles and Arctic Rodeo Records). \nRobbins is still highly active and maintains his primary focus as a producer/ engineer in his Baltimore studio\, the Magpie Cage\, recording bands of many styles\, from all around the world – from stoner rock icons like Clutch\, and The Sword\, to Americana songsmiths June Star\, epic rockers Daria (Angers FR) and the garage/afro-beat hybrid Des Demonas\, to name a few. Since 2013 or so\, Robbins’ main creative outlet as a songwriter/singer/musician has been writing and releasing music on solo records. Two so far: Un-Becoming (2019) and Basilisk (2024)\, both on Dischord Records. \nGetting older has not meant slowing down; especially in the upside-down world we currently inhabit\, it has only made the need to create more urgent. Robbins’  current writing is driven partly by a desire to write songs that can survive in all sorts of different arrangements\, from solo acoustic (recent years have brought solo acoustic tours \, including strings of dates in 2022 and 2024 supporting Bob Mould)\, to electronic\, to rock band bashing away at top volume. “Un-Becoming” and “Basilisk” are solo records\, with a broad sonic palette\, but the sound of a rock band is still at their core\, and collaboration is still key. \nRobbins (band) has varied in lineups\, often including cellist/guitarist Gordon Withers and Robbins’ former Channels and Office of Future Plans bandmate Darren Zentek on drums. In 2024 the band coalesced into its current touring form as a power trio\, with (War on Women founder/guitarist) Brooks Harlan on bass – a fixture in this role since Office of Future Plans formed in 2010 – and Peter Moffett (who also drummed on Un-Becoming) once again behind the kit. This lineup toured like crazy in 2024\, including headlining tours around the US\, festival appearances at The Fest (FL) and Caterwaul Festival in Minneapolis\, and California dates supporting Sunny Day Real Estate. \nRobbins (band) has already begun recording for a third full-length\, and is looking forward to shows in France and Spain in April 2025 with dear friends Daria (Angers\, FR)\, and a late Spring East Coast/Midwest run supporting Bob Mould Band on the “Here We Go Crazy” tour.
URL:https://hangartheatre.org/event/bobmould/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250510T200000
DTEND;TZID=America/New_York:20250510T200000
DTSTAMP:20250219T210128Z
CREATED:20250225T150012Z
LAST-MODIFIED:20250219T210128Z
UID:18761-1746907200-1746907200@hangartheatre.org
SUMMARY:DSP Shows: The Bones of J.R. Jones
DESCRIPTION:DSP SHows: The Bones of J.R. Jones\nSaturday\, May 10\, 2025 @ 8 pm\n  \nTickets: \nOn sale Friday\, 2/28\n$20 in advance\n$25 at the door \n  \nThe Bones of J.R. Jones \n“There was no ‘a-ha’ moment\,” says Jonathon Linaberry\, “no life-changing revelation\, no\nsingular flash of inspiration. It was just a fierce\, steady\, undeniable energy\, a force of nature I had to wrestle and wrangle with for years until I could harness it.” \nIt’s easy to understand\, then\, why Linaberry—better known as The Bones Of J.R. Jones—would call his mesmerizing new album Slow Lightning. As its title would suggest\, the collection is raw and visceral\, pulsating with an understated electrical current that flows just beneath its seemingly placid surface. The songs are restless and unsettled here\, often grappling with doubt and desire in the face of nature and fate\, and frequent collaborator Kiyoshi Matsuyama’s production is eerily hypnotic to match\, with haunting synthesizers\, vintage drum machines\, and ghostly guitars fleshing out Linaberry’s already-cinematic brand of roots noir. The result is a moody\, ominous work that’s equal parts Southern Gothic and transcendentalist meditation\, an instinctual slice of piercing self-reflection that hints at everything from Bruce Springsteen and Bon Iver to James Murphy and J.J. Cale as it searches for meaning and purpose in a world without easy answers. \n“I felt very lost at the time I was writing these songs\,” Linaberry confesses. “It was a moment of deep crisis and anxiety\, but I knew the only way out was through\, which meant I just had to bring myself to the table every day and put in the work.” \nLinaberry’s no stranger to putting in the work. Born and raised in central New York\, he got his start playing in hardcore and punk bands before becoming enamored with the field recordings of Alan Lomax\, who documented rural American blues\, folk\, and gospel musicians throughout the 1930s and ’40s. Inspired by the unvarnished honesty of those vintage performances\, Linaberry launched The Bones of J.R. Jones in 2012 and\, operating as a fully independent artist over the course of the ensuing decade\, released three critically acclaimed albums along with a trio of similarly well received EPs; landed his songs in a slew of films and television series including Suits\, Daredevil\, Longmire\, and Graceland; and toured the US and Europe countless times over as a one-man-band\, playing guitar or banjo while simultaneously stomping a modified drum kit everywhere from Telluride Blues to Savannah Stopover. Along the way\, Linaberry also shared bills with the likes of The Wallflowers\, G. Love\, and The Devil Makes Three\, soundtracked an Amazon commercial helmed by Oscar-winning director Taika Waititi\, and earned praise from Billboard\, American Songwriter\, and Under the Radar\, among others. \nAfter living in constant motion for the better part of ten years\, though\, Linaberry found himself at an unexpected standstill in 2021. At the time\, he and his wife had recently relocated from Brooklyn to an old farmhouse in the Catskills\, and the change of pace was both rewarding and challenging all at once. \n“It’s a pretty remote\, rural area we moved to\,” Linabery explains\, “the kind of place where\nspring is just a continuation of the cold\, grey\, muddy\, brown of winter. I was exhausted by the seasons\, working on songs nine hours a day in the attic\, and it all felt very isolated and insular.” \nWhere the most recent Bones of J.R. Jones release\, 2021’s A Celebration\, drew inspiration from a trip into the vast\, desert expanses of the American southwest\, the songs that began taking shape in upstate New York this time around were more difficult to pin down\, seeming to come and go of their own accord. \n“That’s where the notion of ‘slow lightning’ was born\,” Linaberry explains. “It’s about a power you can’t control\, a force that’s bigger than you and follows its own path no matter how badly you want to mold or direct it. That’s what this record felt like\, and it’s something I had to figure out how to embrace.” \nThat kind of all-consuming power is palpable from the start on Slow Lightning\, which begins with the boisterous “Animals.” Gritty and insistent\, the track taps into something primal and uninhibited\, learning to trust its gut and make peace with aiming high and sometimes falling short. “Well my heart’s just trying to kill me\,” Linaberry sings over roiling guitars and drums. “It always vibrates above / With always grand notions / But it plays in the mud.” Like so much of the album\, it’s a testament to resilience\, to letting go of failure and pressing on even when things feel hopeless. The bittersweet title track explores tenacity in the face of\ndisenchantment\, while the lo-fi “Blue Skies” insists on reaching for hope regardless of the cost\, and “The Flood” conjures up a wistful portrait of survival and loss as it builds from a dreamy blur into a searing crescendo. \n“I remember lying in bed in the dark hearing the coyotes laughing out in the field behind our house just before they killed something\,” Linaberry recalls. “It was so haunting and eerie\, but at the same time\, you’re just so totally in awe of what’s happening right outside your window\, this elemental moment of life and death all wrapped up together.” \nDespite the looming sense of danger that permeates the album\, Slow Lightning still manages to find moments of humor and levity. The darkly romantic “I’ll See You In Hell” revels in a love so strong it carries on through eternal damnation; the sardonic “I Ain’t Through With You” gets high on an addictively toxic relationship; and the relentlessly taut “Heaven Help Me” surrenders to overwhelming infatuation\, with Linaberry recalling\, “Love is the kind of thing that will keep you warm / That’s what she said / As she was burning down my home.” \nIn the end\, though\, it’s perhaps the breezy “Salt Sour Sweet” that best encapsulates the spirit of the record\, with Linaberry looking back on a lifetime of love and heartbreak\, dreams and disappointment\, success and failure\, and ultimately recognizing that it’s the grand sum of them all that make us who we are. “It’s the salt sour and sweet / That holds\,” he sings in an airy falsetto. Call it maturity\, call it self-awareness; it’s the kind of wisdom that can only arrive on a bolt of Slow Lightning.
URL:https://hangartheatre.org/event/dsp-shows-the-bones-of-j-r-jones/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250406T200000
DTEND;TZID=America/New_York:20250406T200000
DTSTAMP:20250115T170111Z
CREATED:20250115T170111Z
LAST-MODIFIED:20250115T170111Z
UID:18661-1743969600-1743969600@hangartheatre.org
SUMMARY:DSP Shows Presents: Dar Williams
DESCRIPTION:DSP Shows Presents: Dar Williams\n  \nSunday\, April 6\, 2025\nDoors open at 7 pm; Show is at 8 pm\n  \nTickets:\nOn Sale: Friday\, January 17 at 10 am\n$35 in advance\n$40 at the door \n  \nDar Williams\nDar Williams’ lyrics contain bouquets of optimism\, delivered on melodies alternating between beguiling lightness and understated gravity. Williams strongly believes that all of us possess our own power and ability to achieve\, and she rejects the exceptionalism that encourages us to “admire that yonder star\,” while making us feel small and insignificant; unworthy of shining on our own but hoping to catch enough distant light to inspire some tiny accomplishment. Williams has always been very interested in how to control our future and this album has to do with the fact that at some point\, you just can’t. \nLike everyone else\, Williams spent 2020 in that state of non-control. She and longtime producer Stewart Lerman tracked most of the album\, her 12th studio recording\, in November of 2019. In late February of 2020\, she cut the title tune in Woodstock with bassist Gail Ann Dorsey and Larry Campbell\, who produced the track and played guitars\, pedal steel and twangy baritone guitar. When told they had to postpone a mid-March mixing date\, Campbell said he wasn’t feeling well anyway. Turns out he’d contracted a serious case of COVID-19. That was a clear sign that at some point\, you have to meet life where it meets you …the common thread throughout that these songs\, the willingness to meet life as it arrives. \nDar Williams was always in the right place at the right time for the success she’s had over a 25+-year career. She rose out of the vibrant mid-90’s Boston scene\, inspired by the eclectic influences of alt-rockers\, Berklee jazz musicians\, slam poets\, and folk artists\, like Patty Griffith\, Melissa Ferrick\, the Throwing Muses\, Vance Gilbert\, and Jonatha Brooke. After a year of touring non-stop with her first album\, The Honesty Room\, in 1994\, she was invited by Joan Baez to tour in Europe and The United States. \n“Good and bad things happen\, and it’s not necessarily a reward or indictment. I’ve just got to meet it.” Williams observes. “Like\, I’m bringing my whole life to this moment; it will surprise me\, challenge me\, show me where I was wrong\, even make a fool out of me\, but my job is to show up and not take adversity personally. Real happiness doesn’t have to feel like Snoopy dancing with Woodstock; it can just be knowing you have the resilience to meet whatever comes to you. I will call that a good life.”
URL:https://hangartheatre.org/event/dsp-shows-presents-dar-williams/
LOCATION:Hangar Theatre\, 801 Taughannock Blvd\, Ithaca\, NY\, United States
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250330T200000
DTEND;TZID=America/New_York:20250330T200000
DTSTAMP:20250305T222523Z
CREATED:20241008T010124Z
LAST-MODIFIED:20250305T222523Z
UID:18479-1743364800-1743364800@hangartheatre.org
SUMMARY:DSP Shows: Tom Green Comedy Tour
DESCRIPTION:Tom Green Live Comedy Tour\nWith Kenneth McLaurin\n  \nSunday\, March 30\, 2025\nShow at 8 pm; Doors Open at 7 pm\n  \nOn Sale: Friday\, 10/11 at 10 am \nTickets: $40 \nPlease note – the Hangar Theatre does not handle ticketing for DSP shows.  If you need assistance with tickets contact DSP directly at info@dspshows.com or 607-280-2900. \nTom Green\n \nYou know Tom Green from his innovative\, anything-goes run as the most unpredictable personality on MTV’s “The Tom Green Show”\, and his unforgettable\, deliciously loony roles in uproarious film comedies including “Road Trip\,” “Charlie’s Angels\,” “Bob The Butler\,” “Stealing Harvard\,” and “Freddy Got Fingered.” \nThe multi-talented Canadian comedian\, actor\, director\, and broadcaster graced the cover of Rolling Stone\, commandeered the coveted guest-host chair on “The Late Show with David Letterman\,” and conquered the World Wide Web with his free-wheeling\, wildly popular internet talk show\, which has been credited with kicking off the podcast revolution.  He tours worldwide\, performing standup comedy at sold-out venues.  Tom launched his Canadian company\, Tom Green Productions Inc.\, with soon to be announced exciting new projects.
URL:https://hangartheatre.org/event/dsp-shows-tom-green-2025-home-to-the-country-comedy-tour/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250127T200000
DTEND;TZID=America/New_York:20250127T200000
DTSTAMP:20241105T164541Z
CREATED:20240424T140028Z
LAST-MODIFIED:20241105T164541Z
UID:18044-1738008000-1738008000@hangartheatre.org
SUMMARY:DSP Shows: Billy Prine & The Prine Time Band: The Songs of John Prine
DESCRIPTION:Monday\, January 27\, 2025\nShow at 8 p.m.\, Doors open at 7 p.m.\n\nOn-Sale: Friday\, April 26th @ 10 a.m. EST \n$35 in advance / $40 at the door \n  \nPlease note – the Hangar Theatre does not handle ticketing for DSP shows.  If you need assistance with tickets contact DSP directly at info@dspshows.com or 607-280-2900.
URL:https://hangartheatre.org/event/dsp-shows-billy-prine-the-prine-time-band-the-songs-of-john-prine/
LOCATION:NY
CATEGORIES:DSP Shows
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241214T200000
DTEND;TZID=America/New_York:20241214T200000
DTSTAMP:20241014T230943Z
CREATED:20240625T124017Z
LAST-MODIFIED:20241014T230943Z
UID:18247-1734206400-1734206400@hangartheatre.org
SUMMARY:DSP Shows: Willie Watson Tour
DESCRIPTION:Saturday\, December 14\, 2024\nShow at 8 p.m.\, Doors open at 7 p.m.\n\nOn-Sale: Friday\, June 21st \n$25 in advance / $30 at the door \nPlease note – the Hangar Theatre does not handle ticketing for DSP shows.  If you need assistance with tickets contact DSP directly at info@dspshows.com or 607-280-2900. \nWillie Watson\nSoon before Willie Watson turned 18\, he met God in an apple orchard. Or at the very least\, he met there a man named Ruby Love\, the older friend of a high-school buddy who had an enormous Martin guitar and a seemingly bigger understanding of the American folk songbook. Watson was existentially thirsty: A high-school dropout from upstate New York’s Finger Lakes\, he was fast on his way to his first heartbreak and in a first band that didn’t take itself seriously enough. But that night in an apple orchard that had always seemed magical\, at a graduation party for one of his bandmates and best friends\, Watson and Love sang a few of those old songs together—“Worried Man Blues” and “Tennessee Waltz.” It was the first time Watson had cried while singing\, the first time he had made the connection between making music and making sense of his life. He never saw Ruby Love again\, but within months of that foundational 1997 rendezvous\, he met the musicians with whom he’d soon start Old Crow Medicine Show. Call it revelation\, fate\, resurrection\, whatever you will; for Watson\, more than a quarter-century later\, it was a duet with the divine. \nAs told in the talking-gospel masterpiece “Reap ’em in the Valley\,” that scene is the transfixing finale of Watson’s self-titled debut as a songwriter and as a human at last making music to make sense of his life. Yes\, Watson has released two albums since he left Old Crow Medicine Show a dozen years ago and since his long-term collaborations with David Rawlings and Gillian Welch. \nBut those records\, both titled Folk Singer\, were sets of tunes he knew\, interpretations of the songbook he has diligently mined since even before that night in the apple orchard. At 44\, however\, he feels that Willie Watson is his first-ever true album\, having finally lived and lost and simply witnessed enough to know he has something to sing with his exquisite rural tenor. Watson has not abandoned those old songs entirely. He dazzles during a robust take on the forever-curious “Mole in the Ground” and treats “Harris and the Mare\,” the standard of tragic Canadian singer Stan Rogers\, with total tenderness. But by and large\, these are his stories of heartbreak and hurt\, backlit by the corona of hope that only growth can provide. \nEvery memory\, Watson likes to say\, is surrounded by a shroud of sadness\, whether it’s good or bad. And there are lots of memories in a life\, all mixed: Though the band he started soon after that night with Ruby Love long gave him a purpose and career\, it conscripted him into a role as an old-fashioned folkie\, forever stuck playing a part that got tiring. Marriage and fatherhood became boons in their own time\, but they kept him bound to Los Angeles\, its sprawl and selfishness causing a country boy like Watson to lose himself again. And there was the stereotypical excess of it all\, too\, the habits of hard living nearly breaking Watson in his 30s. \nBut after he lost those relationships\, he slowly got sober and faced himself head on\, working to be honest about the traumas of his childhood that had helped create the troubles of adulthood. Sobriety\, though\, was never enough for Watson. He wanted that shift to prompt change and growth\, to force him into situations that were beneficial because they were uncomfortable and challenging. That\, in many ways\, is the motivation of these nine songs and the only album he’s ever felt deserved to bear his name. \nIn 2020\, Watson began convening with Morgan Nagler\, an actress and songwriter he’d met years earlier through Rawlings. They’d discuss an idea and then often sit in silence\, scratching away at it separately as Watson wriggled around on a couch\, as if wrestling with his past in the real time of the present. Sometimes playful and sometimes persecuted\, the songs that emerged looked \nbackward to move ahead\, dealing with disappointments in phrases of crisp rhyme and sly wordplay. \nA post-pandemic solo tour had left Watson feeling drained by the idea of being some standalone entertainer\, onstage alone taming crowds who had forgotten how to listen amid extended isolation. He knew he wanted a band for these songs\, but he understood they only needed to be the framing beneath them\, supporting rather than distracting from these reckonings with self. Alongside producers Kenneth Pattengale and Gabe Witcher\, respectively of Milk Carton Kids and Punch Brothers\, Watson assembled a modest ensemble of aces who were largely new to him but would respond to the songs intuitively and without intrusion—bassist Paul Kowert\, guitarist Dylan Day\, drummer Jason Boesel\, fiddler Sami Braman. (Careful listeners may note cameos from Benmont Tench and Sebastian Steinberg\, too.) Start to finish\, these songs sound like moments of mutual discovery\, the entire group arriving together to look at Watson’s life and realize something about and for themselves. \n“Real Love” harkens back to those days in rural New York\, with Watson opening himself to the wreckage that comes with falling for someone for the first time. He is fragile but resolute here\, pressing on in spite of vestigial pain. “Sad Song” thrums like some muted and modern Jimmie Rodgers number\, as Watson tries to play-act happiness one more time for a society that’s just wanted him to grin and sing. Echoing the rippling and beautiful despair of Gordon Lightfoot\, the gorgeous “Play It One More Time” examines the fleeting salve of music itself\, or how the help it gives us can fade when we’re not truly hearing. \nAnd then there’s the hotrod acoustic opener\, “Slim and the Devil\,” a wits-sharp adaptation of the Sterling A. Brown poem “Slim Greer in Hell.” The story of a Faustian bargain made with St. Peter at the pearly gates in exchange for one more earthly adventure\, it’s a sly contemplation of the meaningless deals we make to endure when we all know what’s inevitable\, anyway. Watson does it\, too\, so he winks at himself alongside a band that’s having a blast having his back. Still\, there is no winking to “Already Gone\,” a devastating if elegant survey of the damage we leave behind as we make bad choices\, as we force people to leave our lives. “There’s no hearts to break here\,” Watson offers before the knockout. “They’re already gone.” \nThese days\, Watson looks askance at his old reputation and knows other people do\, too. “‘I thought you were just some nice little singer who sang in the little fucking cowboy hat\,’” he deadpans\, characterizing the perception he knows he has in many ways courted. And he recognizes that people probably don’t think he can write his own songs of meaning and depth\, since he spent so long reworking those of others. For a long time\, he bought that\, too. But the hat is off\, as is the desire to be a mere entertainer or interpreter. The nine songs on Willie Watson find a bona fide songwriter dealing with the difficulties of his past to suggest a renewed future; what’s more\, he uses his keen and expansive understanding of an old lexicon to add his own new entries to it. As with the best folk songs\, you will recognize your own burdens here. As with the best folk singers\, you will feel compelled to sound them out\, too. Who knows\, maybe you’ll even meet God in an apple orchard.
URL:https://hangartheatre.org/event/dsp-shows-willie-watson-tour/
LOCATION:NY
CATEGORIES:DSP Shows
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DTSTART;TZID=America/New_York:20241113T200000
DTEND;TZID=America/New_York:20241113T200000
DTSTAMP:20241014T230907Z
CREATED:20240924T164941Z
LAST-MODIFIED:20241014T230907Z
UID:18458-1731528000-1731528000@hangartheatre.org
SUMMARY:DSP Shows: Leo Kottke
DESCRIPTION:  \nWednesday\, November 13\, 2024\nShow at 8 pm; Doors open at 7 pm\n  \nOn Sale: Friday\, 9/27 at 10 am \nTickets: $45 \n  \nPlease note – the Hangar Theatre does not handle ticketing for DSP shows.  If you need assistance with tickets contact DSP directly at info@dspshows.com or 607-280-2900. \n  \nLeo Kottke \nAcoustic guitarist Leo Kottke was born in Athens\, Georgia\, but left town after a year and a half. Raised in 12 different states\, he absorbed a variety of musical influences as a child\, flirting with both violin and trombone\, before abandoning Stravinsky for the guitar at age 11. \nAfter adding a love for the country-blues of Mississippi John Hurt to the music of John Phillip Sousa and Preston Epps\, Kottke joined the Navy underage\, to be underwater\, and eventually lost some hearing shooting at lightbulbs in the Atlantic while serving on the USS Halfbeak\, a diesel submarine. \nKottke had previously entered college at the U of Missouri\, dropping out after a year to hitchhike across the country to South Carolina\, then to New London and into the Navy\, with his twelve string. “The trip was not something I enjoyed\,” he has said\, “I was broke and met too many interesting people.” \nDischarged in 1964\, he settled in the Twin Cities area and became a fixture at Minneapolis’ Scholar Coffeehouse\, which had been home to Bob Dylan and John Koerner. He issued his 1968 recording debut LP Twelve String Blues\, recorded on a Viking quarter-inch tape recorder\, for the Scholar’s tiny Oblivion label. (The label released one other LP by The Langston Hughes Memorial Eclectic Jazz Band.) \nAfter sending tapes to guitarist John Fahey\, Kottke was signed to Fahey’s Takoma label\, releasing what has come to be called the Armadillo record. Fahey and his manager Denny Bruce soon secured a production deal for Kottke with Capitol Records. \nKottke’s 1971 major-label debut\, “Mudlark\,” positioned him somewhat uneasily in the singer/songwriter vein\, despite his own wishes to remain an instrumental performer. Still\, despite arguments with label heads as well as with Bruce\, Kottke flourished during his tenure on Capitol\, as records like 1972’s “Greenhouse” and 1973’s live “My Feet Are Smiling” and “Ice Water” found him branching out with guest musicians and honing his guitar technique. \nWith 1975’s Chewing Pine\, Kottke reached the U.S. Top 30 for the second time; he also gained an international following thanks to his continuing tours in Europe and Australia. \nHis collaboration with Phish bassist Mike Gordon\, “Clone\,” caught audiences’ attention in 2002. Kottke and Gordon followed with a recording in the Bahamas called “Sixty Six Steps\,” produced by Leo’s old friend and Prince producer David Z. \nKottke has been awarded two Grammy nominations; a Doctorate in Music Performance by the Peck School of Music at the U of Wisconsin\, Milwaukee; and a Certificate of Significant Achievement in Not Playing the Trombone from the U of Texas at Brownsville with Texas Southmost College.
URL:https://hangartheatre.org/event/dsp-shows-leo-kottke/
LOCATION:NY
CATEGORIES:DSP Shows
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