The Ineffable Truth Tour G Jones w/ special guests Tsuruda, Chee. SUN FEB 17 Town Ballroom 8pm . 18+ . $20 adv
G JONES gjonesbass.com/ soundcloud.com/gjonesbass facebook.com/gjonesbass twitter.com/gjonesbass instagram.com/gjonesbass/
Greg Jones is the artist behind the enigmatic G JONES moniker-a California native who cut his teeth in the underground bass music scene in Santa Cruz and the Bay Area in the early 10’s. A lauded master of electronic music production and highly sought after performer, G Jones is a frequent collaborator of legendary artists including Bassnectar, Eprom and DJ Shadow, who called Jones “the most gifted Ableton beatmaker I’ve ever seen.” His recent track “In Your Head” was added to the Bass Arcade Spotify playlist which accumulated more than 320K followers within a day of being created and published. Rolling Stone touted him a “studio wizard.” Billboard Magazine had this to say about his album’s first single, “understanding the possibility”: “That’s what listening to G Jones will do. It’s a mental minefield of sudden drops and stutters, bass lines that open holes under your feet and send you shooting sideways to some warped mystery land.”
psychedelic garage rock from Rochester Infrared Radiation Orchestra www.reverbnation.com/infraredradiationorchestra
Here’s what some people had to say:
“Burly, grungy, stunning psychedelic garage rock compositions flow out of this group’s wailing guitars, hearkening back to a time when real rock ruled, but with a new dose of profound lyricism and a churning, addictive energy.” – Megan Romer, 2009 GRASSROOTS Program
“I felt like I was seein’ The 13th Floor Elevators” – sound tech at GRASSROOTS
“You don’t play guitar like a guitar player. You solo like Coltrane” – a different sound tech at GRASSROOTS
“You guys sound just like King Crimson.” – a bar patron at a gig
LARRY THE CABLE GUY is a multi-Platinum recording artist, Grammy® nominee, Billboard award winner and one of the top comedians in the country. He has his own line of merchandise and continues to sell out theatres and arenas across the United States. Larry has created The Git-R-Done Foundation, which was named after Larry’s signature catchphrase, and has donated more than 7 million dollars to various charities. In addition, Larry has his own comedy channel, “Jeff and Larry’s Comedy Roundup” on SIRIUSXM. The channel is a partnership with SIRIUSXM and Jeff Foxworthy which showcases the best in great American comedy. Larry has starred in numerous television shows and feature films including voicing the character, Mater, in the Golden Globe® winning animated feature films Cars (2006) and Cars 2 (2011) and Cars 3 (2017) from Disney/Pixar.
JOHN CRIST- With over 300 million video views, comedian and viral sensation John Crist is the next big thing in standup comedy. Whether you know him from viral videos like “Millenial International,” “Road Rage in the Church Parking Lot,” or BuzzFeed’s “Signs You Grew Up Christian,” Crist has solidified his comedic prowess with over 200 live shows a year, highlighted by recent television appearances on Live at Gotham and Laughs on Fox.
Nine years in, Crist has shared the stage with some of the best in the business, including Dave Chappelle, Jeff Foxworthy, Tim Hawkins, Seth Meyers, Trevor Noah, Dana Carvey, Adam Carolla, Chris D’Elia, Anjelah Johnson and Louie Anderson. Anderson, named one of Comedy Central’s Top 100 Comedians of All Time, says of Crist, “It’s only a matter of time until John Crist is a household name. He is so likable and his stand-up is top notch.” Tim Hawkins, who Crist has performed with over 100 times says, “This guy ain’t no opener. John Crist is the real deal.”
Named by ChurchLeaders.com as one of the “Top Five Comics to Watch,” Crist is no stranger to accolades. He was a finalist in Comedy Central’s Up Next Comedy Competition, a finalist in the Comedy Works New Faces Contest, and named to the Burbank Comedy Festival’s Best of the Fest. “The most meaningful award I’ve ever won?” Crist says, “When I was first starting out, I’d just go anywhere I could find an open mic. One time I did a show at a bar and the winner won a free appetizer. Best cheese sticks I’ve ever had.”
Crist has created and starred in several videos for BuzzFeed and has made several appearances on the Bob and Tom Show. He has been featured in Men’s Humor, Relevant Magazine, The Adam Carolla Show, Cracked, The Catalyst Conference, The Nerdist Network, TBN, The Daily Wire, Huffington Post, US Weekly, and USA Today. He was even once a voice actor on the popular children’s radio show Adventures in Odyssey.
Crist’s tour schedule keeps him busy, typically performing in churches, comedy clubs and theaters. “It wasn’t always like that,” Crist says. “One time when I was first starting out, I did an open mic at a Chili’s. It was traumatizing.” To date, one of the most unique shows Crist has ever performed was a comedy tour for the troops in Middle East. “It was surreal. It was just me and a tent full of soldiers at this military base on the border of Kuwait and Iraq. No mic, no stage, no nothing. I was standing on a wooden crate. It was probably 120 degrees in there. It was comedy in its purest form.”
When asked where he finds the inspiration to write jokes, Crist says, “Shoot, I grew up in Georgia. My dad is a pastor, and I was the third of eight homeschooled children. Coming from a background like that, how do you NOT write jokes?!”
“Write what you know” is the best piece of advice Crist ever received on standup comedy and the reason why the majority of his jokes are on the topic of Christian subculture. “In high school, my parents made me get a job at Chick-fil-A. How much more stereotypically Christian can you get?”Sale Dates and Times:
Sunday, February 17 DSP Shows Presents Sean Rowe live in the 9th Ward with Vee Da Bee
Tickets (GA STANDING): $15 advance, $18 day of show at Ticketfly.com or the Babeville Box Office (M-F 10a-5p), or charge by phone 866-777-8932
7pm Doors 8pm Show
“We are the elders of our minds,” sings Sean Rowe on “Gas Station Rose,” the track that ushers in his fourth album, New Lore, with plaintive plucks of guitar and steady drips of piano that fall in like rain. It’s a sparse and beautiful moment, anchored by Rowe’s unparalleled voice – so full of gravely soul, aged and edged by years on the road, as a father and husband, as a creative force always looking for the next rhyme. And, so integral to the man that he is, one that is constantly absorbing nature. It wasn’t the easiest journey to get to the ten vulnerable songs that comprise New Lore (out April 7th care of Anti-) – it took a label change, a trip to Memphis and some support from unexpected places – but what resulted is a roadmap for a gentle heart in modern times, in a world where the best oracle isn’t within a computer, but within ourselves.
Though Rowe has often made his hometown of Troy, New York and its surrounding areas his creative base, New Lore brought a new environment, and a new producer. Appropriate to his love of folk-blues legends like Howlin’ Wolf, he ventured to Sam Phillips Recording studio in Memphis to work with Matt Ross-Spang (Jason Isbell, Margo Price). They tapped into the history of the legendary space to hone a sound that is at once rich and stark, putting Rowe’s deep and dynamic rage at the forefront. Because if high notes can shatter windows, Rowe’s low and guttural ones can meld sand into glass.
“I was looking for a specific sound and part of that was the rawness, the element of risk that Sam Phillips took with his artists,” Rowe says. “Since I was a kid I was really drawn to that music. I wasn’t really listening to music my peers were: I was really into old soul music, and music coming out of Memphis. It’s been in my work maybe in more subtle ways than now, but it’s always been in there.”
The songs on New Lore were often built to let Rowe’s voice come through in its most stirring capacity: from the wrenching ode to parenthood “I’ll Follow Your Trail” to the naturalistic “The Very First Snow,” instrumentals are layered carefully and artfully over the vocals, finding footing in Rowe’s sly and idiosyncratic guitar style. Much of what came was a result of Rowe going into the studio with a more relaxed approach – no preproduction was done, no demos finished. Rowe and Ross-Spang embraced an organic style that is so representative of how the singer-songwriter leads his life, and that is one of always fighting to flow gently with the earth, not against it.
“We were looking for perfect imperfection,” Rowe says. “If we fucked up and it was cool, then I wanted that in there. You let it happen and you don’t polish it too much.”
New Lore also ushered in a career shift – this time, after several years on Anti-, Rowe launched his own label, Three Rivers Records, and will release his LP as a collaboration with the Anti- family. He also embraced a new way of funding his work, using a wildly successful Kickstarter campaign to make the Memphis dreams a reality, and embarked on a series of house shows to reconnect with his fans at the most basic, intimate level.
“I kept asking myself, ‘What would be cool? What would be something different?,’” Rowe says. “That’s what led me to house shows, and to the Kickstarter and to just take chances. Those chances are what led me to early rock and roll in the first place – that’s all about taking chances. I had no idea what to expect, but I could tell as it got more momentum that people really wanted to see it happen.”
Rowe also found himself on another unexpected wave – his unreleased song “To Leave Something Behind” found life in Ben Affleck’s film The Accountant, exposing the mystique of his music to an even wider audience. Written five years ago in London, it echoes some of the themes that half a decade later surfaced again in New Lore: the things in life we pass down to our children, the ideas we learn from our elders, the shadows we leave behind when we are gone. The first single, “Gas Station Rose,” is about two people trying to navigate that together. “That’s the conflict to the story,” Rowe says. “They want to stick it out, but they know it’s incredibly hard to keep shit together. Conflict makes for a great song.”
So does opening yourself up to vulnerability: New Lore is formed from that tenderness, exposed like an open wound but one asking for healing, not to linger in pain. Like “Promise of You,” with a gospel swing inspired by Ketty Lester’s classic “Love Letters” and the piano-driven “I Can’t Make a Living From Holding You,” Rowe speaks to the reality of loving and leaving, a constant dilemma for a man who builds half of himself on tour playing to strangers and half of himself tucking his children in at night. Home is process, not a destination, and New Lore is a roadmap there – perfectly imperfect, raw and real.
“My music isn’t glossy or shiny,” Rowe says. “But it’s true.”
Vee Da Bee is a pseudonym for Victoria DeBerry, who moved up to Ithaca, NY from Houston, TX to pursue a degree in Communications. She got swept up in the beauty of the Finger Lakes and planted her roots. Her music blends melodic guitar work with eclectic percussive elements, creating a unique, sometimes catchy sound. You can find her single ‘Don’t Let Go’ on iTunes and Spotify.
Seth Faergolzia’s Multibird Multibird is the brand new project by Seth Faergolzia (Dufus, Forest Creature, 23 Psaegz, Heck Yup). Seth is well known for subtly harmonic, experimental lyricism, dynamic song structures, and whip-crack-acrobatic vocals. Celebrated as a vibrant example of what happens when a musician turns a genre like folk upside down and inside out, over time Faergolzia has come to represent something of a genre unto himself oft times nowhere near the folk aesthetic.
With a body of work that exceeds 20 albums and appearances in over 20 countries with the likes of The YeahYeahYeahs, Dan Deacon, Animal Collective, Regina Spektor, Jeffrey Lewis, Moldy Peaches… Faergolzia is poised to put a spring in the step of his global following with his latest project, “#100 songs” wherein he has, in a short span of months, written 100 songs, and released one fully produced song per week through a subscription site: www.faergolzia.com.
with special guests:
Twenty Thousand Strongmen Folk, bluegrass, etc.
The Dan White Band Americana punk-grass/ acoustic roots/ folk-rock trio
18 Wheels And A Crowbar Authentic Country Music from the Mon Valley
On Feb. 19, Investigative Post celebrates its seventh anniversary at Community Beer Works. Join founder and editor Jim Heaney and his board and reporting staff as they celebrate seven years of award-winning journalism.
This happy hour event runs from 5:30-7pm and is free and open to all. No pre-registration required; just show up!
Your first beer’s on us–and maybe some cake, too.
Our event series is sponsored by Buffalocal, a consortium of WNY craft breweries distributed by Try-It Distributing.
DSP Shows Presents Elise Davis live in the 9th Ward with Timothy Alice
7pm Doors, 8pm Show
Tickets : General Admission Standing tickets $10.00 in advance, $12.00 day of show at Ticketfly.com, Terrapin Station Buffalo, The Rust Belt Bookstore, or Babeville Box Office (M-F 11a-5p), or charge by phone at 877.987.6487
“Round here, you can be however you wanna be,” Elise Davis sings at the end “33,” one of 10 self-empowered southern anthems from her newest album, Cactus.
Released two years after The Token — Davis’ 2016 debut, whose electrified roots-rock sound earned praised from outlets like Rolling Stone Country, Noisey, and The Wall Street Journal — Cactus shows the full range of her songwriting. Here, she moves between lush alt-country and stripped-down folk confessionals, gluing everything together with story-driven songs about independence, liberation, and resilience as an adult woman. If The Token’s own songs were vulnerable and diary-like, their lyrics pulled from Davis’ past romances, then Cactus turns a new leaf, with Davis taking pride in her status as a single, self-sufficient adult woman. Like the desert plant that lends the album its title, she doesn’t need help from others to grow tall.
“Cacti are independent plants that sustain themselves,” she explains. “They can be beautiful with bright-colored flowers on them, but if you touch them, they will hurt you. I see a lot of parallels with the way I have felt most of my life. It felt like the perfect album title for these songs.”
Davis’ independent streak began in Little Rock, Arkansas, where she began writing songs at 12 years old. By college, she was booking her own tours and gigging regionally across the state. It was her relocation to Nashville that kickstarted the busiest phase of her career, though, with Davis landing a publishing deal during her first two years in town. Daily co-writing sessions whittled her songwriting to a sharp point, while an ongoing string of recordings — including The Token, recorded in Maine and released in partnership with Thirty Tigers — all showcased a musician who shone just as brightly onstage as she did in the writing room.
When it came time to record Cactus, Davis remained in Tennessee, tapping producer Jordan Lehning (Rodney Crowell, Caitlin Rose, Andrew Combs, Birdcloud’s Jasmin Kaset) to helm her most personal work to date. The two worked together for six months, holed up in Lehning’s home studio, looking to albums like Tom Petty’s Wildflowers and Aimee Mann’s Mental Illness for inspiration. They paid tribute to Davis’ adopted hometown, too, layering songs like the woozy, western “Hold Me Like a Gun” and the cathartic “Don’t Bring Me Flowers” — the latter co-written with Grammy-winner Maren Morris — with pedal steel, acoustic guitar, keyboards, strings and vocal harmonies. Davis’ melodies remained at the forefront of every mix, her voice honest and unflinching, stripped free of the reverb that had swirled its way throughout The Token.
A bold, country-leaning album, Cactus never pulls its punches. Davis examines long-term monogamy and loneliness with “Lone Wolf,” “Hold Me Like A Gun,” and the album’s percussive title track, then talks frankly about sexuality during songs like “Man” and “Don’t Bring Me Flowers.” She tackles the institution of marriage — as well as the societal misconception that women should be married by a certain age — on “33” and “Married Young,” then looks at wider issues like depression (“Moody Marilyn”) and climate change (“Last Laugh”) during the album’s second half.
Together, Cactus paints the picture of a modern woman in the modern world. It’s an album about what it takes to stand alone, rooted in the hard-won wisdom of a songwriter who’s unafraid to shine a light on her missteps and victories.Elise Davis at The 9th Ward at Babeville
Timothy Alice Timothy Alice (with his band) opens the show! Timothy Alice is a Buffalo-born musician whose music has been described as “a stirring journey and a lonely night, shuffling through smoke-filled rustbelt bars.” His Debut EP, “Cigarettes & Wine” can be found on Spotify at spotify:https://goo.gl/6zdbdL as well as iTunes.
This protest will be conducted over the course of 20 days and the hour we hold space will vary slightly from day to day. Saturday 2 Feb, I-2pm Sunday 3 Feb, 1-2pm Monday, 4 Feb, Noon-1pm Tuesday, 5 Feb, 3:30-4:30pm Wednesday, 6 Feb, 4-5pm Thursday, 7 Feb, 3-4pm Friday, 8 Feb, 1-2pm Saturday, 9 Feb, 1-2pm Sunday, 10 Feb, 1-2pm Monday, 11 Feb, 3-4pm Tuesday, 12 Feb, 3:30-4:30pm Wednesday, 13 Feb, 4-5pm Thursday, 14 Feb, 4-5pm Friday, 15 Feb, Noon-1pm Saturday, 16 Feb, 1-2pm Sunday, 17 Feb, 1-2pm Monday, 18 Feb, Noon-1pm Tuesday, 19 Feb, 3:30-4:30pm Wednesday, 20 Feb, 4-5 Thursday, 5-6 pm Press Conference at 5:30
We will be holding space for India Cummings for the time when she was incarcerated at the Erie County Holding Center and for her final days at Buffalo General and Erie County Medical Center. India was a healthy 27 year old who was in obvious mental distress. Her mental crisis was never directly treated. To the contrary, her several violent interactions with police and prison guards clearly exacerbated her distress; as it also left her with a broken arm, from her arrest, and broken ribs, presumably from the prison guards.
She was arrested on Feb 1 and spent 16 full days in the Erie County Holding Center, from Feb 2 to early Feb 17. For the first full week she spent in jail, her mother was denied direct access to her daughter with the puzzling excuse that India did not want to see her. This is on its face dubious. In her original delirium India took a neighbor’s car saying she needed to get to Rochester to see her mother. Her mother traveled to see her on a daily basis, but did not see her until Feb 9 when in open court she made direct eye contact with her daughter who seemed to not recognize her own mother.
India was in the general population of the jail during her first three days. In that brief time, several other inmates pleaded for the guards to help the obviously sick young woman who was banging her head against the jail bars and not eating. Her condition rapidly deteriorated even after she was put in a segregated cell. Rather than address her urgent needs it seems she was segregated so that she could be more thoroughly ignored. After repeated instances of soiling herself, not eating, or drinking India took a final turn for the worse on the night of Feb. 16. When a guard moved India to have her cell cleaned of excrement, the guard observed that India had almost no bodily strength left. By the next morning she left the Holding Center on Feb 17 suffering cardiac arrest brought on by renal failure. Cummings had a blood clot so bad that it would have required amputation of a leg. Abruptly, all charges were dropped as a brain-dead India Cummings was sent to the nearest hospital, Buffalo General. She was pronounced dead at ECMC on Feb 21 after her remaining organs shut down.
Sheriff Tim Howard has said scarcely little about India Cummings. And what he has said has indicated a craven disregard for justice. Shockingly his early public comment was that he was “more than satisfied” with the treatment India Cummings got in the Holding Center. How can a public servant be satisfied with the death of a citizen? Any number of guards or medical officials could have taken steps to get India the psychological attention she needed or fuller medical attention for her injuries. But continually, her mental crisis was misread as criminal behavior deserving of punishment. More over, Howard’s shocking comment must be understood for what it was, directions to his staff to close ranks and cover up. What else could the absurd statement, of being “more than satisfied” mean? If the boss is so satisfied, then clearly nothing wrong happened….
Something horribly wrong happened. A person who needed care was given abuse and indifference. In these years of protest we activist have come to learn who the real India Cummings was. We #RememberIndia from the heart broken voices of her friends and family who tell us of her loving nature and abundant kindness. And in these daily vigils we continue our emphatic call for #JusticeForIndia. And in calling for justice for this young woman we insist on calling attention to the horrific patterns of abuse that define this Holding Center. We repeat the demands the Buffalo Anti-Racism Coalition brought out when this protest started years ago.
• The removal of Sheriff Timothy Howard • An impartial criminal investigation into the death of India Cummings. • Those found responsible for the death of India Cummings be fired and held criminally liable. • All violations of a 2010 settlement with the U.S. Department of Justice be made public and rectified immediately. • The Erie County Holding Center be fully transparent by releasing documents and video relevant to the case of India Cummings and other inmates who die in the Center’s custody.