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.
SEVENDUST Returns to Rock The Rapids February 20th with special guests Tremonti, Cane Hill, Lullwater and Kirra For Immediate Release Rapids Theatre Official Press Release
Event: 103.3 The Edge Presents: SEVENDUST with special guests Tremonti, Cane Hill, Lullwater and Kirra Venue: The Rapids Theatre 1711 Main St. Niagara Falls, NY 14305 www.rapidstheatre.com 716-205-8925 Date/Times: Wednesday, February 20th Doors at 5pm Show at 6pm Ticket Info: Tickets $25.00 GA in advance $30.00 GA Day Of Show (if available) All ages show, anyone under 16 with adult 18+ On sale Friday, November 16th at 10am Est and available at The Rapids Theatre box office, www.ticketfly.com, and charge by phone 877-435-9849
Direct Ticket Link: https://www.ticketfly.com/purchase/event/1788642 Music unifies us when we need unification the most. It gives people a reason to put differences aside and come together. In 1994, Sevendust first forged a familial tie amongst each other that translated into one of the most diehard audiences in the game. To this day, the connection between fans and the GRAMMY® Award-nominated, gold-certified hard rock outfit only grows stronger. For their twelfth full-length and first release for Rise Records, All I See Is War, the quintet—Lajon Witherspoon [lead vocals], Clint Lowery [lead guitar, backing vocals], John Connolly [rhythm guitar, backing vocals], Vince Hornsby [bass], and Morgan Rose [drums]—did the best thing they could possibly do to combat all of the division in the streets and on social media. As Connolly puts it, they simply “made a Sevendust record.” “We’re as polarized as we’ve ever been,” he continues. “Discussion is not happening. Everyone is so quick to snap online. We’re not listening. We’re just talking. In these songs, we don’t sugarcoat what’s going on. For as dark as the subject matter may be, it’s about hope. We know we can be in a better spot, because we’ve seen so many different individuals come together around music.” “We take pride in the connection we have,” adds Lowery. “We’ve always been a people’s band. We’re typical guys who just happen to make a career on stage. With this relationship to the fans, we realize how much we need each other, so we push ourselves to deliver. We don’t stop. We keep moving.” That’s exactly what these five musicians do every time they get in the studio or on stage. A trifecta of now-classic gold albums—Sevendust , Home , and Animosity — ignited their journey. Known as an equally intense and unforgettable live force, they’ve consistently packed houses around the world and decimated stages everywhere from Rock on the Range and Woodstock to OZZfest and Shiprocked! 2015’s Kill The Flaw represented a high watermark. Bowing at #13 on the Billboard Top 200, it scored their highest debut on the respective chart since 2010 and marked their fifth consecutive Top 10 on the Top Rock Albums Chart and third straight Top 3 on the Hard Rock Albums Chart. Most impressively, the lead single “Thank You” garnered a nomination in the category of “Best Metal Performance” at the 2016 GRAMMY® Awards, a career first. At the top of 2017, the boys discussed what would become their next offering. Instead of diving right in, they took advantage of an eight-month writing process, which proved to be a breath of fresh air. “Without a doubt, it might’ve been the longest writing process we’ve had for any project other than the first one,” affirms Connolly. “We didn’t need to hop in the studio and punch out a record in a month. We wanted to bring our A-game.” After sessions in their native Atlanta and at Lowery’s spot in St. Louis, the group headed down to Orlando in order to record at Studio Barbarosa with Michael “Elvis” Baskette [Alter Bridge, Trivium, Slash]. Over the years, they maintained a friendship with the producer amplified by the praises of longtime comrades Alter Bridge and Connolly whose Projected utilized his mixing talents on their debut. However, this would be Sevendust’s first time working with him. “The energy was great,” smiles Witherspoon. “At one point, I did seven songs in four days. He really challenged me as a vocalist. We all just gelled. We’ve always talked about doing something for years and years. It was a long time coming. From the first moment we walked into his house, you could feel it. There hadn’t been another band who lived there before. We capitalized on the meeting of the minds. It was a brotherhood.” “We haven’t had a producer since Cold Day Memory,” Clint goes on. “Elvis was so hands-on. He made us try new transitions and step up our game. Sonically, he opened up a lot of doors that I don’t think we would’ve gone through if he hadn’t been there. We preserved the essence of what we are, but we took chances. Lyrically, we captured what we’ve gone through, all of the rough times, and the changes.” They introduce All See Is War with the opener and first single “Dirty.” Pummeling drums and driving distortion underscore a soulful proclamation from Witherspoon as he croons, “I’m no stranger to this thing called war.” The guitars crescendo into an expansive refrain that immediately imprints itself before a hummable solo. “I freestyled that first line,” recalls Witherspoon. “It’s something I haven’t done since ‘Angel’s Son.’ I think it set the tone for the whole thing. It was pretty magic.” “Someone wants to see you fail, and it really aggravates this person that you’re persevering and surviving anyway,” explains Lowery. “The lyric ‘I’m gonna die whole’ means not being extinguished, getting through, and pissing off your enemies.” The neck-snapping guttural groove of “Andromeda” gives way to another unshakable chant. “The subject matter is a bit different,” states Connolly. “Porcupine Tree’s Fear of a Blank Planet is arguably one of my favorite records. The idea is similar to ‘Andromeda.’ These pharmaceutical companies have made it so everyone is hooked on something. You don’t even know why you’re on these medications. All of last year’s horrific suicides were linked to a pill. Think about the opioid crisis. It asks, ‘Can we just stop?’” Slyly nodding to Lowery’s love for Stranger Things, “Not Original” thrives on airy, cinematic guitars that unfurl into one of Witherspoon’s bluesiest and boldest performances. “We wanted to get into some new territory,” elaborates Lowery. “It’s about being in a dry spell and not able to find creativity. You don’t want to repeat yourself. I thought I’d go for this new wave thing, because I was watching a lot of Stranger Things.” Nailing the “old school vibe,” “Risen” drops a hard-hitting and hypnotic hook that’s primed to set festivals ablaze. “You’re down and out looking for hope,” explains Connolly. “You ask the question, ‘Are you going to kick me while I’m still down, or are you going to help me stand up and get through this?’” In the end, that’s what the music of Sevendust does. It empowers listeners, lifts them up, and lets them know they’re part of the family. “This band means family to me,” Witherspoon leaves off. “I wake up and can’t believe this is what I do for a living. I still feel like that 20-year-old kid who signed a record deal a zillion years ago. Sevendust is also home. Even though we’ve been doing this forever, it feels like the beginning. “This what we are,” concludes Connolly. “It’s just another new version of Sevendust.” – Rick Florino, February 2018
Punk/Acoustic/Spoken Word Legend Hamell On Trial www.hamellontrial.org
Picture an acoustic guitar and a bald sweaty fucker with a predilection for punk.
Hamell on Trial is the musical alias of New York-based folk punk hero Ed Hamell. A one-man explosion, he is loud-as-war one minute, stepping off the microphone to whisper to an enthralled audience the next. This is a dynamic performance informed by politics, passion, intelligence and the all-important sense of humor. His caustic wit and devil-may-care attitude has long been a favorite of anti-establishment icons Aesop Rock, Kimya Dawson, Ani DiFranco and the critical elite inciting Rolling Stone magazine to call him “Bald, bold and superbad!” Henry Rollins says “Hamell is a one man rock show!” He has been described as “Bill Hicks, Hunter S. Thompson, and Joe Strummer all rolled into one” by Philadelphia Weekly and a “one man Tarantino flick: loud, vicious, luridly hilarious, gleefully and deeply offensive” by the Village Voice.
Ed Hamell picked up the guitar at age 7 and started writing songs not long after. In his early 20s, Mr. Hamell was the front man and writer for an original band, but local bands were a dime a dozen in the tough, working class neighborhoods in Syracuse, NY. So he launched a one-man act called “Hamell on Trial.”
Armed with his battered 1937 Gibson acoustic guitar, Mr. Hamell toured the country, then settled in Austin, Texas, where he found a receptive audience for his esoteric mix of songs and story telling. In 1995, Mercury Records signed him straight out of the SXSW Music Conference and released Big as Life and The Chord is Mightier than the Sword.
A few years later, and a move to Brooklyn, NY, brought Mr. Hamell and Ani DiFranco together. He signed with Righteous Babe Records and released Tough Love in 2003, followed by Songs for Parents Who Enjoy Drugs in 2006. Subsequently, he has toured extensively with Ms. DiFranco, and has collaborated with her on several songs.
Performing in and around the New York scene prompted Mr. Hamell to rediscover the roots of his hurricane-force musical style and authentic cutting edge world view. His response, The Terrorism of Everyday Life, is a one-man theatrical show which combines story telling, comedy and songs into a brilliantly outrageous theatrical event. Mr. Hamell explores family, politics, religion and death through his journey as a working musician, man of the street, and father of a young son.
Mr. Hamell was invited to perform at the 2007 Fringe Festival in Edinburgh, Scotland, where The Terrorism of Everyday Life earned five-star reviews in the Metro, Edinburgh Review, and Three Weeks, and was awarded the Festival’s prestigious Herald Angel Award, the highest honor the Festival gives to the most outstanding performance each year.
His tenth album, Tackle Box, is his second for New West Records and features all instruments and sounds played by Hamell himself, with the exception of one. Hamell states, “The first voice you hear on the album is Donald Trump. It’s from a campaign rally where he was saying he’d like to punch a protester in the face. His supporters cheer. I thought I’d kickstart the album making people aware that, should they disagree with that attitude, should they find his actions deplorable, his lies, his vanity, his lack of grace and intellect, his pandering to the lowest common denominator, his inciting violence towards minorities and the disenfranchised, they could find safety here at a Hamell show, from a Hamell song. Let us remember that he did not win the popular vote, his supporters are in the minority and I will treat them with all the respect THEY show minorities. The first voice you hear on the album is Donald Trump. ALL other voices you hear on the album, in firm and resolute opposition, are mine.”
Tackle Box was co-produced by the Grammy award winning producer Phil “The Butcher” Nicolo (Bob Dylan, Ms. Lauryn Hill) and features the controversial song “Not Aretha’s Respect (COPS),’ an autobiographical tale teaching his child how to not get shot by a police officer. “‘COPS’ is a song about parenting. My son is 15, I’m teaching him how to drive. I’m explaining, because he has the ability at home to explain his side of the story to me, that he might not have that chance when he’s in a situation with a police officer. Say ‘Yes sir, no sir’ and come home safe to me. The boss ain’t always right, but he’s always the boss. All four incidents in the song actually happened. I play all kinds of gigs, house concerts, theaters, diy punk rock rooms and the kids love this song. It’s even has a chorus they can sing along to and rally behind. Last year I was touring across the country with my son and the day after we played Dallas, some cops got shot. I wish no violence on anyone. I preface my introduction to this song live now by saying I just wish the good cops would call out the bad cops. This “Code of Blue” thing is helping no one. And if we don’t think it’s a race thing, well…”
Once again we see Hamell uncompromising, fearless, obscene, insightful, absurd, angry & poignant and, in a first-time-ever ploy, including four children’s songs…for balance. Hamell says, “I threw the four ‘FROGGY’ songs in there, trying my hand at children’s songs if you will, to maybe make sense of what the American Dream is or maybe was. In the four songs, interspersed throughout the album, we see the character Froggy as a child, courting, running a business with his wife, and finally surrounded by his grandchildren. This is how he interprets success. I think in light of all the volatility in the country, I needed to remind myself of happier times or potential. And of course the listener, after so many confrontational topics, needs a little refuge.”
Hamell tours the world constantly, seemingly enjoying every performance challenge. From larger stages and theaters, winning the coveted Herald Angel Award at the Edinburgh Fringe Festival, to house concerts and DIY underground spaces, this is a man who clearly loves to play.
His last show in Buffalo was at Susan Tanner’s memorial at Babeville in May of 2017.
Armed with a battered 1937 Gibson acoustic guitar that he amplifies mightily and strums like a machine gun, a politically astute mind that can’t stop moving, and a mouth that can be profane one minute and profound the next, with Tackle Box, Hamell sets his sights on the new America and issues personal and spiritual. His performances invoke thoughts of the great, rebellious satirists and social commentators of the past: Lenny Bruce, Richard Pryor and Bill Hicks. Hamell is a great mind with acoustic punk rock mixed with a seeker’s soul. There’s no way around his obscenity but in that is a willingness to fight for the free thinkers of the world. Don’t we need that now more than ever?
The Harry Potter ™ film series is one of those once-in-a-lifetime cultural phenomena that continues to delight millions of fans around the world. This concert will feature the Buffalo Philharmonic Orchestra performing every note from Harry Potter and the Sorcerer`s Stone ™. Audiences will be able to relive the magic of the film in high-definition on a 40-foot screen while hearing the orchestra perform John Williams` unforgettable score.
Sale Dates and Times:
Public Onsale : Fri, 16 Nov 2018 at 10:00 AM
Pre-Sales : Mon, 12 Nov 2018 at 10:00 AM Use the code: MAGIC