Friday, March 23: The Felice Brothers are more Dylan, Yard Sale more Band. Read on.
Friday, March 9: Their masterwork asserted itself like a time-release capsule in the bloodstream of pop culture.
Saturday, March 17: Blazing virtuosity has always been the basic bar to entry in this band.
For a mere $6, you can enjoy The Big Lebowski on the big screen again on Friday, March 9 at 7:30 p.m. at the Ulster Performing Arts Center in Kingston. Bathrobe or bowling attire is encouraged.
Saturday, March 10: The acclaimed percussionist and composer joins forces with the experimental flautist and MacArthur “genius grant”-winner Claire Chase and SUNY-faculty member and pianist Alex Peh to premiere Ibarra’s newest work, Talking Gong for flute, percussion and piano.
Friday, March 2: The New Paltz-born reggae band the Big Takeover have been dominating the local club scene for a decade now, with numerous personnel changes over a core anchored by songwriter and singer Nee Nee Rushie and bassist/musical director Rib Kissner. What has been a struggle for this accomplished and successful band has been naming the style they play.
Andrew Bird will forever be associated with hallmarks of the New Serious: gorgeous proficiency on a non-rock instrument (violin); insanely deft mastery of the solipsistic technique of live, off-the-grid looping; High Plains whistling and the prevalence of glockenspiel; tremolo-noir guitars and lyrics that are big-brained, difficult to the point of being functional nonsense for most listeners and almost never about girls.
An influential if not era-defining bandleader and songwriter, filmmaker, author and novelist, social critic, multimedia performance artist and eternal hipster who stays hip by feeding on the fresh blood of young hipster admirers, Byrne just doesn’t stop expanding.
Feb. 16: The dichotomies of Warmer When It Rains are perfectly illustrated in two contrasting (and stellar) ballads: “Midnight,” an entirely contemporary, hip-hop-inflected bit of production R & B, is all friction; stilted, glitch rhythms; electro-minimalism; and a huge hook. Five tracks later, the finale “So Easy to Love” is an exquisite and utterly naturalistic homage to uptown soul and Motown.
The facts are clear: second season post-Warren Haynes; no Spearhead; lots of indie-rock and pop; no jam, just a mountain bracing for a different clientele from the one who made it big in the first place. It has been underway for a while, however. The screen reads not “Red alert! Identity crisis” but rather, “Transformation complete.” We’ve moved on.