Friday, March 15, 7pm doors/8pm show $15 advance/$18 day of show
18+ (no ID, no entry)
All Them Witches
By most fifth LPs, the band’s sound is pretty set. Parameters established. Refinement dissipated. You get a to-formula execution of what’s worked in the past. Fair enough. All Them Witches go a harder route.
In 2017, the Nashville four-piece offered what might’ve otherwise become their own template in their fourth album (second for New West), Sleeping Through the War. It brought a larger production value thanks to oversight from producer Dave Cobb (Jason Isbell, Shooter Jennings, etc.), found them using choral vocals, expanded arrangements, bigger sounds than anything they’d done before.
They could’ve easily fallen into a pattern of watered-down clones of that record. Easily.
So naturally in a year they’ve thrown it all to the Appalachian wind, turned the process completely on its head and gone the other way: recording in a cabin in Kingston Springs, about 20 miles outside of Nashville on I-40, with guitarist Ben McLeod at the helm. Self-produced. Take that, expectation.
The result, mixed by Rob Schnapf (Beck, Elliott Smith, Kurt Vile), is the most intimate, human-sounding album All Them Witches have recorded and another redefinition of who they are as a band. Introducing keyboardist/percussionist Jonathan Draper to the fold with McLeod, bassist/vocalist Charles Michael Parks, Jr., and drummer/graphic artist Robby Staebler, All Them Witches’ ATW isn’t self-titled by mistake.
It’s the band confirming and continuing to develop their approach, in the devil’s boogie of “Fishbelly 86 Onions,” the organ-laced groove and masterful flow of “Half-Tongue,” the build of “HJTC” and the fluid jam in closer “Rob’s Dream.” You can hear it in the mellow patience of that last track, never lost but always wandering, and in “1st vs. 2nd,” where they turn from a frenetic shake to some purposefully metal-ish riffing while still holding onto gut-tightening tension.
And what do they do with that? Some overblown payoff? Hell no. They cut it short, drift into noise and then dig into “Half-Tongue” ahead of the moodier “Diamond,” which, true to its name, seems to turn any light that touches it into a prism. This is a band who delight in the exploration, in finding new rules to break, and in continually learning new ways to do so.
ATW is a reaction to being a “bigger” act. To playing bigger shows, bigger tours, etc. From the sustained consonants in Parks’ vocals, to the sleek basslines that play off the can’t-sit-still-won’t-sit-still swing in Staebler’s drums, to McLeod’s commanding slide in “Workhorse” and drifting melancholy at the outset of “Harvest Feast,” ATW is their laying claim to the essential facets of their identity.
And most crucial to that identity is its shifting nature. All Them Witches didn’t get to this point by resting on laurels, and if anything, the urgency of these tracks – fast pushers and sleepy jams alike – is among their greatest strengths.
It’s a rawer delivery, as stage-ready as the band itself, and it captures All Them Witches in this moment. Is ATW who they’ll be tomorrow? Who the hell knows? Check back in and we’ll find out together. That’s the whole idea.
After forming in Buffalo in 2006, Aqueous (pronounced “ay-kwee-us”) has earned a reputation as one of the most promising improvisational rock acts in the country. Best known for their “groove rock” stylings, guitarist Mike Gantzer, guitarist/keyboardist David Loss, bassist Evan McPhaden, and drummer Rob Houk have developed a unique sound characterized by meticulous compositions and rich exploratory jams that easily transition from laidback, in-the-pocket grooves to furious, high-intensity peaks. Composed of longtime friends, over the years, Aqueous’ members have developed near-psychic abilities with one another, enabling them to stretch each song while maintaining a staggering degree of precision. In a live setting, the group’s undeniable technical prowess truly shines, making for dynamic performances that bring fans back night after night.
Whether they’re headlining and selling out venues across the U.S. or performing stand-out sets at notable events like Summer Camp, The Peach Music Festival, Jam Cruise, and Suwannee Hulaween, it’s clear that fans across the country are clamoring to hear more from the Buffalo-based four-piece. With the hype around the group growing, Aqueous is making a huge breakout as the project enters its second decade of existence. Do yourself a favor, and discover firsthand what the buzz is all about.
Join us at Dinosaur BBQ as we welcome back Blaise Mercedes! **EARLY SHOW**9:30-11:30**TO MAKE WAY FOR A BOB WEIR & WOLF BROS AFTER PARTY**Come catch two different shows for FREE this night! Miss Mercedes has become her own beast- leading bands with fearless creativity, meshing funk and latin influence with gritty soulful vocals to create a New Age fusion anyone can connect to.
DSP Shows Presents The Indigo Girls live in Asbury Hall with Grace Stumberg Friday, March 15
7pm Doors, 8pm Show
Tickets: $35.00 in advance, $40.00 day of show General Admission standing Ticketfly.com, Babeville Box Office (M-F 11a-5p) or charge by phone at 877.987.6487
The Indigo Girls released their critically acclaimed debut album in 1988 to thunderous praise; it remained on the Billboard Hot 100 Chart for 35 weeks, earned double platinum status, received a Grammy nomination for “Best New Artist” and won “Best Contemporary Folk Recording.” Since then, the band has racked up a slew of Gold and Platinum records, received 6 Grammy Nominations and earned the respect of high profile peers-turned-collaborators from Michael Stipe to Joan Baez. NPR’s Mountain Stage called the group “one of the finest folk duos of all time,” while Rolling Stone said they “personify what happens when two distinct sensibilities, voices, and worldviews come together to create something transcendently its own,” and The New York Times raved that “gleeful profanities, righteous protest anthems and impeccable folk songwriting have carried this duo for thirty years.”
Buffalo’s own Grace Stumberg opens the show.
Grace Stumberg is a creator of friendly original music that grabs the ears of any listener. Born in Buffalo, NY, Stumberg is inspired by raw simple songwriting that really rocks out, and her music is a genre that can be explained as pop/rock/funky and sometimes folk; never fully understood until experienced. She has learned the ways of the “touring world” by serving as folk legend Joan Baez’s personal assistant since November 2011, and back-up singer since 2012. This experience has led to other opportunities in the music industry, such as singing with the Indigo Girls, and opening up for Josh Ritter. Stumberg has also opened for Baez in Lowell, MA, and performed her own show in Dublin, Ireland during a Baez tour.
Stumberg’s voice and songwriting style shows that she has a maturity well beyond her years, which has resulted from her many career and life experiences. Throughout her days touring with Baez, she has gained an insatiable hunger to share her music with others. Stumberg has toured with musicians such as Left On Red and Pete Mroz, singing songs to bring awareness to fair-trade purchases and raising money for local food banks. She has accomplished a lot in her hometown, such as singing Buffalo’s “Good Feet” jingle and opening for bands such as Rusted Root, Hawksley Workman, and Haiku
It’s the Notorious RBG’s birthday and we’re throwing a party to show how much we love and need Ruth Bader Ginsburg.
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From 3pm to midnight on Friday, March 15 we’ll be featuring:
💪 $1 off beers if you wear a dissent collar
🍺 Ruth Bader Gins-Beer: A supremely crisp wheat ale that packs formidable flavor into a hazy, light-bodied spring beer. Sweet-tart notes from the malts and Belgium-style yeast are complemented by lemon verbena, guava and lactose, then rounded out with a low hop bitterness. Like the real RBG, RB Gins-Beer is balanced and refreshing, but not to be underestimated.
🍽 Spare ribs special: Quarter rack of mouthwatering BBQ ribs served with house-made slaw and a dinner roll for $10.
💣 Happy Birthday, RBG! Very Notorious Pinball Party! featuring Buffalo Women’s Pinball (starts at 7pm)
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For decades Ruth Bader Ginsburg has been a staunch advocate for the fair treatment of women, and a champion of equal rights for all U.S. citizens. Help us honor RBG’s work and legacy in the best way we know how: bringing the community together over a pint and good company. It’s all happening at 520 7th Street on Buffalo’s west side.
Same schedule as last year. We will probably just stay at Founding Fathers at the end as it never seems like people want to go elsewhere but the option is there… 12pm-1pm – Brick Bar 1pm-2pm – Gabriel’s Gate 2pm-3pm – Frizzy’s 3pm-4pm – Fat Bob’s (on Virginia Place) 4pm-5pm – Troop I (just south of Mother’s on Virginia Place) 5pm – hug the tree (on Franklin) 5pm-6pm – Founding Fathers (Edward near Delaware) 6pm – on – TBD (not a bar name – stands for To Be Determined)
The #DonnyFrauenhoferBand is back! If you’ve enjoyed our Frank Zappa, Aretha Franklin, Little Feat, Tenacious D, or Disco Night tributes of the past, gear up for a full show of ORIGINAL MUSIC! Featuring Cody Barcroft and #ShootYaStringBand performing up front between sets!
Only $5 at the door for 2 sets of #funk #jazz #fusion on the main stage and 2 sets of #pickin up front by the bar!
We’ll see you there! __________________________________________________________
Donny Frauenhofer is a virtuosic multi-instrumentalist, bandleader, singer-songwriter, composer, arranger, and educator from Buffalo, NY that has been making big waves both regionally as well as nationally in several genres since the start of his professional career. Dipping his toes into multiple scenes, Frauenhofer has become a recognizable name in the jam scene circuit as keyboardist/vocalist with nationally touring act Intrepid Travelers (dubbed “Improvisation Kings” by The Buffalo News Gusto) and their performances at festivals such as Summer Camp Music Festival, Night Lights Music Festival, Some Kind of Jam, Woodhenge Sustainability Festival, among others.
Regionally, Frauenhofer can be found performing all over New York State and beyond, playing in too many projects to count. Truly a rarity, Frauenhofer has shown the versatility as a pianist/keyboardist to perform as a side man in both musically complex academic settings with classical and jazz vocalists, as well as being the first call for local and regional tribute projects such as Allman Brothers’ Band, Phish, Steely Dan, Grateful Dead, Herbie Hancock, Prince, Frank Zappa, Weather Report, James Brown, John Williams, as well as plenty more.
Endlessly in the pursuit of growth as an artist, Donny Frauenhofer takes these diverse influences and puts them on full display in DFB, or Donny Frauenhofer Band. Essentially a supergroup, DFB consists of a rotating cast of some of Buffalo’s best young musicians and takes the tight, rhythmic complexity of Frank Zappa’s music, adds a harmonic layer largely influenced by jazz traditions, and provides an open improvisational approach akin to the traditions of the modern jam band.
Largely known as Buffalo’s best kept secret, the secret may be starting to spread with nominations for “Best Jazz Pianist” in JazzBuffalo’s Reader’s Poll 3 years running, and an award for “Best Jazz Fusion Act” with THE TRUTH, a group he helps compose and arrange for. Constantly rejecting and reinventing narrow labels to expand his craft, Frauenhofer truly best represents an incoming generation of musicians that embrace and access an infinite amount of influences.
“From all walks of life. To describe his stance otherwise, would be demarkative at best. He might be said to epitomize the phrase ‘if an egg floats, wear it’. His passion for his craft is unwielding and adematous, and he wouldn’t be caught dead in a corner if a butcher asked him twice.”
From the Hudson Valley, former Felice Brother Greg Farley https://gregfarleymusic.com
Little Summer https://littlesummer.bandcamp.com
Tyler Bagwell https://tylerbagwell.bandcamp.com
Greg Farley was born in Highland, NY, a small town on the Hudson River. His dad was a teamster who drove tractor trailers and his mom worked at the A&P.
In 2006 he began touring out of his car playing house shows, small bars, and on the street, burning CDs, wrapping them in road maps, stamping GF on the front. From the east coast to California and back, he saw landscapes and cities that most of the people he grew up with never got the chance to see.
Upon returning he was lent a fiddle by a good friend, took up learning some old time, and joined The Felice Brothers. He played with them for the next ten years, working other jobs in his down time: He mucked stalls on a horse farm, waited tables at a vegetarian restaurant, worked as a carpenter, arborist, woodworker, and sawmill operator. Played with Conor Oberst a bit.
Through it all, his music was the only constant. Now, striking out on his own with his debut LP Taker Easy , recorded in Stanfordville, NY with producer/engineer Nick Kinsey, he mines his own history for stories of class struggle, nature, love, pain, work, and family, all set against the backdrop of the northeast.
End of the day, Farley has nothing to lose and something to say, and he’s saying it from the gut.
Here’s a nice piece on him: https://www.timesunion.com/entertainment/article/Musician-Greg-Farley-playing-River-Street-Pub-on-12774687.php