On Stage: Big Damn Blues Revolution storms into Sellersville

By Denny Dyroff, Entertainment Editor, The Times

The Reverend Peyton’s Big Damn Band

Blues will be the order of the day on November 14 when the Sellersville Theater (24 West Temple Avenue, Sellersville, 215-257-5808, www.st94.com) presents “The Big Damn Blues Revolution Tour” — a triple-bill featuring The Reverend Peyton’s Big Damn Band as the headliner and J.D. Wilkes and Dom Flemons as the opening acts.

The Big Damn Blues Revolution Tour brings together three amazing artists who are master musicians and showmen. The Reverend Peyton, Dom Flemons, and J.D. Wilkes also have a special bond in the blues-roots-folk music that they love and live. This unique tour showcases the best their genres have to offer and culminates every night in a special jam session with all three artists.

“This tour is just a couple days old and it’s going really well,” said Peyton, during a recent phone interview from a tour stop in Raleigh, North Carolina. “We’ll be out the whole month of November.”

 The Reverend Peyton’s Big Damn Band, a 2019 Blues Music Award nominee, is billed as “simply the greatest country-blues band in the world.” The trio, which includes the Reverend’s wife “Washboard” Breezy Peyton and drummer Max Senteney, is led by the Reverend Peyton, who most consider to be the premier fingerpicker playing today.

He is both a singularly compelling performer and a persuasive evangelist for the rootsy, country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour, and David “Honeyboy” Edwards.

“The challenge of making the blues is that it takes work,” said Peyton. “In terms of writing, the first thing you have to do is study – put in the time to see where this stuff comes from. Then, you have to write for yourself. It has to be personal.”

The Big Damn Band is back with an explosive new record and world tour. Reverend Peyton’s guitar work on the release, “Poor Until Payday,” howls the blues and is phenomenal. “Poor Until Payday” debuted at #1 on the iTunes Blues Chart and #4 on the Billboard Blues Chart.

“The new album is my ninth album,” said Peyton. “I’m always working on stuff. I have songs on the new record that came out real fast right before the record. Others I’ve been working on a long time – taking a while to morph into a song. I hammer them out and chisel them into a song.

“I like to create new music that is timeless. I like to write songs that are new but sound like they’re old. Blues should be timeless – and stand the test of time.”

Peyton has been travelling his musical path for a long time.

“I’ve been playing music since I was 12,” said Peyton, during a recent phone interview. “I played a lot of music and gave lessons. When I was 18, I was told by a doctor that I’d never be able to play again because I had issues with tendons in my hands.”

Doctors told Peyton that he would never be able to hold his left hand in fretting position again. At that point, he gave up on music.

“Two years later, I found a doctor who would operate,” said Peyton. “They had to cut away a bunch of scar tissue — in both hands. It was a miracle. Then, I met Breezy and the rest is history.”

Not long after the surgery, he met Breezy and the couple’s whirlwind romance and shared love of music inspired him to pursue his potential. Breezy took up the washboard, and by 2006 the members of the Rev. Peyton’s Big Damn Band had sold their possessions and taken to the road.

“The timing was perfect,” said Peyton. “I was in a pretty dark place because I had played guitar since I was a kid. It’s who I was. When I met Breezy, my hands were still in bandages. Two weeks later, I was playing guitar again. Breezy believed in the music.

“I first started listening to anything — classic rock then blues guys like Johnny Winter. I wanted to know who they listened to and through that I discovered guys like Muddy Waters.

“When I first heard finger-style country blues, it blew my mind. I became obsessed. I went all the way back to Charlie Patton. I realized that this was the roots of it. Charlie’s stuff is so fun — so great to listen to. Country blues is the root of it. Muddy Water and Howlin’ Wolf wanted to be Charlie Patton. Rural blues lends itself to storytelling.”

Peyton not only listened to rural blues; he lived the life of an old rural bluesman.

“We’ve been doing this for a lot of years,” said Peyton. “The first few years, we were homeless and lived in a van. We never had a rich benefactor — never had a record label. Everything we ever did was because people saw it and realized it matters. I’m really proud of what we’ve done.

“It’s still possible to make blues music that is fresh. I want to make new music and keep this stuff going. With blues, you have to be yourself. I wanted to take country blues to a new level, and I think that’s what we’ve been able to do.”

Video link for The Reverend Peyton’s Big Damn Band — https://www.youtube.com/watch?v=7qkjbQBEhvg.

J.D. Wilkes

Calling someone a “Renaissance Man” is usually an exaggeration or a bit of hype.

However, calling J.D. Wilkes a “Renaissance Man” is a spot-on description.

Wilkes, who lives in Paducah, Kentucky, is a musician, visual artist, author, filmmaker, and self-proclaimed “Southern surrealist.” He is an accomplished multi-instrumentalist (notably on harmonica and banjo) who has recorded with Merle Haggard, John Carter Cash, Mike Patton, and Hank Williams III.

Wilkes is perhaps best known as the founder of the Legendary Shack Shakers, a Southern Gothic rock and blues band whose fans include Stephen King, Robert Plant, and former Dead Kennedys front man Jello Biafra. Rolling Stone named Wilkes “Best Front Man” at the 2015 Americana Music Association Festival for his performance with the band.

“I went to art school,” said Wilkes, during a recent phone interview from a tour stop in Raleigh, North Carolina. “That was my first love. Music came later and then writing came after that.

“Art, music, etc –I’m not doing all that stuff all the time. I do dabble in different disciplines but I take time to bring things to fruition.”

Wilkes most recent recording is “Fire Dream,” a solo album that was released in 2018 via Big Legal Mess / Fat Possum Records.

‘I recorded ‘Fire Dream’ two years ago,” said Wilkes. “I made it in Memphis at Delta Sounds Studio. It was produced by Jimbo Mathus from the Squirrel Nut Zippers.

“The ‘Fire Dream’ stuff is lush and orchestral. It needs a whole band to be played live. On this tour, I’m solo. Low-fi is all I can do ny myself onstage with just banjo and harp.

“I’m an old-time bluesy one-man band – me, banjo, blues harp and stomp porch board. It’s very down home.

“Basically, what I gravitated toward was what feels good, what comes out of my mind, what I have to work with and what I can emote with just these instruments. I also play some older Shack Shakers stuff that I’ve taken down simple and talk about.”

Video link for J.D. Wilkes — https://youtu.be/plM8v4Qvq_M.

Dom Flemons

With a repertoire drawing from more than 100 years of American folklore, ballads, and tunes, Grammy Award winner and two-time Emmy nominee Dom Flemons is known as “The American Songster.” He’s a music scholar, historian, and multi-instrumentalist — an expert player on the banjo, fife, guitar, harmonica, jug, percussion, quills, and rhythm bones.

His 2018 Smithsonian Folkways release “Dom Flemons Presents Black Cowboys” received a Grammy nomination for Best Folk Album. Flemons co-founded the Carolina Chocolate Drops, who won a Grammy for Best Traditional Folk Album in 2010 and were nominated for Best Folk Album in 2012.

“Dom Flemons Presents Black Cowboys” pays tribute to the music, culture, and the complex history of the golden era of the Wild West. In this single volume of music, Flemons explores and reanalyzes this important part of our American identity. The songs and poems featured on the album are meant to take the listener on an illuminating journey from the trails to the rails of the old west. This is a century old story that follows the footsteps of the thousands of African American pioneers that helped build the United States of America.”

The instruments featured on “Dom Flemons Presents Black Cowboys” include six-string banjo, cow “rhythm” bones, fiddle; fife, Fraulini Angelina six-string guitar, Fraulini Angelina six-string guitar-banjo, guitarrón, harmonica; Hawaiian guitar, kazoo, mandolin, marching bass drum, Original Hound Dog resonator guitar, plectrum four-string banjo, quills (musical instrument, snare drum; Stella 12-string guitar, and upright bass.

The first album of its kind, “Black Cowboys” takes the listener on an illuminating journey “from the trails to the rails” of the Old West. The 18-song set traverses a varied soundscape featuring string blues, old-time square dance music, and cowboy poetry. Flemons is joined by a celebrated group of backing musicians throughout the record, such as GRAMMY-winning bluesman Alvin “Youngblood” Hart, Jimbo Mathus (Squirrel Nut Zippers), and decorated folklorist and Folkways’ director emeritus Dan Sheehy, who co-produced the album.

“Black cowboys have been under-represented,” said Flemons, during a phone interview from his home in Silver Spring, Maryland.

“They’re still around – and they’re still under-represented in the popular image of the American cowboy.

“My research was a combination of library research and field research. Two important research items I found were the book ‘The Negro Cowboys’ by Philip Durham and a recording called ‘The Black Texicans.’ Black cowboys were called ‘Black Vaqueros.’”

“Black Texicans: Balladeers & Songsters” is an album of field recordings made in the 1930s by noted American musicologists John Lomax and his son Alan Lomax. The album has 29 performances from 1933-1940, most of them previously unreleased. It reflects various aspects of black Texas repertoire, particularly cowboy songs (Texas had a higher percentage of black cowboys than other regions did), but also some blues, work songs, and tunes identified with the songster and minstrel traditions, performed a cappella or with guitar and harmonica accompaniment. It features one track by the legendary blues master Leadbelly.

“I had been very casually collecting material on black cowboys,” said Flemons. “My search also came from family interests. I’m half-black and half-Mexican. I knew it was time to do this project and that the Smithsonian Institute and the National Museum of African American History and Culture would put it out.

“Being from the South, I knew it was a good idea. The era it focuses on mostly is the mid-1860s to the 1890s and up to the 1920s.

“The black cowboys were working-class people working the ranches and building their communities. They were in Texas, Arkansas and Louisiana and then migrated west to Arizona and Oklahoma. In the Southwest, it mixed with Mexican culture and blended those cultures. People wanted land and wanted to be able to do their own thing. The music they had was a shared tradition.”

Flemons’ new album delves into the wide variety of traditions on black cowboy music.

“The well-known songs ‘Home on the Range’ and ‘Goodbye Old Paint’ were black cowboy songs,” said Flemons, who has been working as a solo artist since 2013.

“The songs on the album represent a lot of styles including North Carolina Piedmont music, blues, old-time music, steel pony blues and East Texas blues. It is musical anthology. Music connects everybody. It opens doors in many ways.”

Video link for Dom Flemons — https://youtu.be/FWlz_23SrXo.

The show at the Sellersville Theater will start at 8 p.m. Ticket prices range from $18-$25.

Other upcoming shows at the venue are Kat Wright on November 15, Tom Rush on November 16, Robyn Hitchcock on November 17, Patrick Moraz on November 18, George Winston on November 19 and Jontavious Willis & Jerron ‘Blind Boy’ Paxton on November 20.

Ra Ra Riot

Ra Ra Riot is an American indie rock band from Syracuse, New York, consisting of vocalist Wes Miles, bassist Mathieu Santos, guitarist Milo Bonacci, violinist Rebecca Zeller and drummer Kenny Bernard.

The band formed in January 2006, playing at houses and venues around the Syracuse University campus. They recorded a demo in February 2006. The band started to attract attention via its energetic live shows — enough to gain an appearance at the CMJ Music Marathon, fewer than six months after their formation.

Ra Ra Riot, which is headlining a show on November 14 at the Theatre of the Living Arts (334 South Street, Philadelphia, 215-222-1011, http://www.lnphilly.com), is also very regular when it comes to recording and releasing albums.

The band’s first four albums, all of which were on Barsuk Records, were “The Rhumb Line” in 2008, “The Orchard” in 2010, “Beta Love” in 2013, and “Need Your Light” in 2016. A few months ago, Ra Ra Riot released its new album, “Superbloom,’ via Rob the Rich Recordings/Caroline.

This is the band’s first headline tour in support of LP, “Superbloom,” which was released in August to glowing press from NPR, Pitchfork, Entertainment Weekly, Billboard, Under the Radar, FLOOD, Stereogum, and Paste.  Ra Ra Riot spent this summer on the road supporting Third Eye Blind and Jimmy Eat World and, at the same time, supporting its single “Bad To Worse,” which was co-written and produced by Rostam Batmanglij (Vampire Weekend, Maggie Rogers, Haim). “Superbloom” maintains the eclecticism the band has become known for while expanding on its lavish arrangements with elements of psychedelia, new wave, punk and country.

“We made the album over the course of a year-and-a half,” said Miles, during a recent phone interview from Eugene, Oregon. “We recorded it in Los Angeles, Brooklyn, Seattle and New Jersey.”

As the band’s most extravagantly realized work to date, “Superbloom” finds Ra Ra Riot taking a decidedly pop-minded approach to the album making process.

In a departure from the more intimate production of its previous releases, the New York-based band enlisted an entire lineup of collaborators, including their longtime creative partner and former Vampire Weekend member Rostam Batmanglij and the production/songwriting duo Kieron Menzies and Dean Reid (Lana Del Rey, Dua Lipa, Alessia Cara).

“It was a long process,” said Miles. “We worked with a lot of producers and a lot of different songwriters. I’d go to L.A. Matt would be there and we’d work with co-writers. The other guys in the band would work on stiff and send it to us.

“There also were a few tracks that were written before ‘Need Your Light’ was cut. They were written but not finished. We did the rest of the tracking in Los Angeles. We finished mixing the album in March.”

The new album shows the evolution of the band.

According to Miles, “In the past, we’ve sometimes gotten in our own way or held back from our poppier tendencies. Working with all these different people and adding their ideas allowed that side of our music to fully manifest itself, in a way that felt really exciting.”

In shedding its inhibitions, Ra Ra Riot ultimately created a radiant album — a selection of songs powered by imaginative yet indelible melodies. At the same time, the band maintains the offbeat eclecticism it has embraced since first forming as a baroque pop outfit back in the mid-2000s — embedding the lavish arrangements of “Superbloom” with elements of psychedelia, new wave, punk, and country.

“We were concerned with achieving uniformity considering all the different producers, co-writers and studios we used for the album,” said Miles. “We were cultivating this feeling for several years. That’s why the title works.

“There was so much going on – but we let it go. That’s what helped us open up to the different songwriting and contributions we had. It was a freeing process – and exciting to have such a dynamic record.”

Video link for Ra Ra Riot — https://youtu.be/vISby8TNsRA.

The show at TLA, which has Bayonne as the opener, will start at 8 p.m. Tickets are $18.

Other upcoming shows at the TLA are

Bayside on November 15, Skizzy Mars on November 16, Pigface on November 18, K. Michelle on November 19, and Waterparks on November 20.

Michael Glabicki and Dirk Miller

For more than three decades, Michael Glabicki has been travelling across Pennsylvania…travelling from his hometown Pittsburgh to Philadelphia to bring his band Rusted Root to play shows in this area.

Glabicki is coming again this weekend to perform a show on November 15 at Underground Arts (1200 Callowhill Street, Philadelphia, http://undergroundarts.org).

While Rusted Root is on hiatus, Glabicki has been devoting his time to creating an entirely new soundscape. Glabicki intends to bring back parts of the Rusted Root of old, but also including more percussion and female vocals.

The Pittsburgh-based singer/songwriter/guitarist will continue to play Rusted Root’s entire catalogue but with a twist. The band will play fresh inspired versions of RR’s tunes along with new unreleased originals.

Rusted Root, the multi-platinum band out of Steel City, evolved around front-man Michael Glabicki’s distinct sound and grew into a musical entity that has thrived in a non-genre specific category all its own.

Now, Glabicki is exploring new sounds and opening new doors with his solo career. He has started touring nationally as a duo with Rusted Root’s guitar player, Dirk Miller, and explains that although he has his roots with Rusted Root, this show is very different.

Live, both Glabicki and Miller play acoustic and electric and Glabicki often adds rhythm with a kick drum – creating a much fuller sound and energy than you find with a traditional duo. They also perform at times in a band format under the name Uprooted.

“Dirk and I – we’re really hitting it,” said Glabicki, during a recent phone interview from his home in Pittsburgh.

“We’re doing about six gigs a month – doing the whole U.S. I think we started a couple years ago with shows here and there. Now, we’re starting to do bigger tours. It’s a really special show that fans have taken to.

“I’ve been writing a lot of material I tried to get to fit with Rusted Root and it just wasn’t happening. It just wasn’t clicking for various reasons. I’m not really sure why. This project is clicking.”

A multifaceted musician, producer and songwriter, Glabicki has a wealth of musical talent. His duo tour dates and new music are extensions of his creative talent, and while the show still features many Rusted Roots hits, it also provides a look into the mind of Glabicki through stories and songs yet to be released.

“With Dirk and me, I wanted to make it a little more cinematic – and more blues-oriented,” said Glabicki. “I wanted tighter grooves and more impact for vocals as a collective.

“It’s a different show. It’s expansive. We’ve spread out the dynamics. I’ve been doing a lot of writing and we’ve been working in the studio – doing a lot of recording for an upcoming Uprooted record. We’re about three or four months away from finishing.

“I’m still writing tunes and have about five that are almost done. I’ve been testing out songs live both with the Uprooted band and with just me and Dirk. I get informed with both duo and band. That’s how I find the scope of the song.”

New recorded music is on the way.

“We’re working on the new album,” said Glabicki. “There will be a single out this winter, but I don’t know when yet. The album will be out in the spring. I rewrote a lot of stuff. This will be a whole band album.

“I’ve had my band Uprooted together for a couple years. Some of the band live in Philly and some in Pittsburgh. They usually come out to Pittsburgh to record.

‘I have my own studio with a lot of analog gear — a lot of different rhythm mics. I’ve got a really great drum room here. The studio is a good combination of analog and digital – mostly analog.

“We’re embracing a lot of styles – dance stuff like Bowie’s ‘Modern Love’ and some experimental stuff. Lyrically, it’s just about writing a good song – some relationship stuff, some political stuff. We’re doing a lot of cool stuff in the studio.”

With Rusted Root’s hectic schedule, it was time for everyone in the band to take a well-deserved break.

Rusted Root, which still includes three of the original five members, still calls Pittsburgh home.

The trio of founding members includes Michael Glabicki (lead vocals, guitar, harmonica, mandolin), Patrick Norman (bass guitar, backing vocals, percussion) and Liz Berlin (percussion, backing vocals). Rounding out the quintet are Preach Freedom (percussion, backing vocals) and Dirk Miller (guitar, backing vocals).

“We’ve been pretty busy the last few years,” said Glabicki. “We had a great tour around the country. We went to Japan. We went to Guam and played for the troops over there. On the average, we play 160-170 shows a year. The numbers have been going up recently.”

In honor of its 25th Anniversary, Rusted Root embarked on an extensive national tour several years ago to support its most recent album “The Movement,” which is described by Glabicki as “an extremely joyous recording with seriously deep undertones.”

“The Movement” was released on Shanachie Records in 2012.

Rusted Root, which is known for its fusion of acoustic, rock and world music, has recorded eight albums and sold over three million records worldwide. The band’s music has been featured in films such as “Ice Age,” “Twister” and “Matilda” and TV shows such as “Ally McBeal,” “New Girl” and “Charmed.”

Now, for the time being, Rusted Root has been placed in a state of suspended animation. Glabicki is keeping his perpetual motion going with Uprooted and with duo shows.

“Me and Dirk have been doing a lot of duo shows and that was the inspiration for Uprooted,” said Glabicki. “With just two of us, we’ve been getting more in synch with each other – and we realized that there was this vast landscape to be explored.

“People are loving it. And, we’re having fun and learning more about ourselves. In our live shows, we have three songs that are strictly Uprooted and we do different takes on old Rusted Root songs.”

Video link for Michael Glabicki – https://youtu.be/pQWxfzsR5Io.

The show at Underground Arts will start at 9 p.m. Tickets are $20.

Other upcoming shows at Underground Arts are Black Mountain on November 14, Function on November 16, Bun B on November 19, and Black Marble on November 20.

Funk will reign supreme on November 15 when Fillmore Philadelphia (1100 Canal Street, Philadelphia, 215-309-0150, www.thefillmorephilly.com) presents a show featuring Lettuce and Ghost-Note.

If you’re 30 or older, lettuce has probably been in your diet for at least 25 years.


If you’re in your thirties and are a fan of funk music, Lettuce has probably been on your musical plate for at least 25 years.

Lettuce is a genre-busting six-member funk/jazz/soul/jam/psychedelic/hip-hop/avant-garde/experimental collective formed in 1992 by four alumni of the prestigious Berklee College of Music. The band’s current line-up features Adam Deitch: drums, percussion; Adam “Shmeeans” Smirnoff: guitar; Erick “Jesus” Coomes: bass; Ryan Zoidis: alto, baritone and tenor sax, Korg X-911; Eric “Benny” Bloom: trumpet, horns; and Nigel Hall: vocals, Hammond B-3, Rhodes, clavinet, keyboards.

“We met at Berklee in 1992,” said Zoidis, during a phone interview last week from a tour stop in Minneapolis.

“We were in high school and it was a five-week summer program. We met, played together and had instant chemistry. We’re pretty lucky to have had that.”

They all ended up back at Berklee.

“A year after that summer program, we all enrolled at Berklee. We were all staying in the same dorm. We started playing together more then. We played a lot of college parties. After we graduated, we all went on to do different things.”

A powerhouse collective made up of world-class master musicians, Lettuce is known for its incendiary live shows, extensive touring, die-hard fans, and massive two-decade-plus career.

They are also some of the most highly sought-after musicians in the industry with roots that run deep into the worlds of hip-hop, pop, and beyond. Band members have worked and performed alongside acts such as Kanye West, Lady Gaga, Stevie Wonder, Ahmir “?uestlove” Thompson, Justin Timberlake, The Fugees, Eminem, Dr. Dre, 50 Cent,  Britney Spears, DJ Quik, Gary Clark Jr., Skrillex, The Game, Talib Kweli, Anthony Hamilton, Solange, Chaka Khan, Redman & Method Man, Robin Thicke, Preservation Hall, Dave Matthews Band, Gov’t Mule, Bob Weir, John Mayer, Aaron Neville, and more.

“We took a 10-year break and then came back together,” said Zoidis. “We realized that we still had something special – and that we could sell tickets.

“Right now, we’re all pretty full up with this. I have a wine business in Colorado, but my main focus is Lettuce.”

Lettuce is now touring in support of its new album, “Elevate.”

“We recorded the album in November last year at Colorado Sound Studio outside of Denver with engineer Russ Elevado,” said Zoidis.

“Prior to going into the studio, we sent files back and forth to each other. We also collaborated on writing during soundchecks. We plated some of the new songs live for a while before we recorded them

“We just finished mixing and mastering our next record. The songs are from our ‘Elevate’ sessions. We had 27 songs. And, we went back and cut a few more.

“Our influences are 90s hip hop, jazz, reggae, world jazz, electronic and dub. It’s psychedelic funk explorative music. We have the ability to be really spontaneous.

Video link for Lettuce – https://youtu.be/gTkXEV_z5dY.


Ghost-Note has been around since 2014 when it was put together by founding drummer Robert “Sput” Searight and founding percussionist Nate Werth.

The funk-heavy band can trace its history back to Denton, Texas – more specifically, North Texas University and the Denton-based band Snarky Puppy.

Ghost-Note is a percussion-based funk, hip hop and jazz group with a rotating membership based. The group also includes bassist MonoNeon, a.k.a. Dywane Thomas Jr., keyboardist Dominique Xavier Taplin, saxophonist/flutist Michael Jelani Brooks, and saxophonist/flutist Sylvester Onyejiaka

“We met in Snarky Puppy,” said Werth. “Michael League, the leader of Snarky Puppy, had Sput and I solo at the same time. We were talking rhythmically. After the shows, fans came up and said – this is crazy. We were getting a lot of great feedback.”

Searight said, “The foundation actually started long before that. It was brewing since Day One of me and Nate playing together. We were playing as one person.”

In 2014, Searight and Werth wanted to create another band that would focus on percussion and what they termed “conscious funk.”

“We started playing with the two of us and eventually just started finding different members for the band,” said Searight. “We wanted a soloist and a bass player. We added people one at a time. It was a natural process.”

Werth said, “There is a core group with nine of us. We can’t afford to take all nine on the road so there are seven of us in the touring band.”

The road line-up features keyboardist Vaughn Henry, guitarist Peter Knudsen, MonoNeon, Dominique Xavier Taplin, Michael Jelani Brooks, Werth and Searight.

Ghost-Note released its first album, “Fortified,” on the Ropeadope label in October 2015. The album went to No. 1 on the iTunes Jazz chart

“We recorded it in 2015,” said Wert. “It was just me and Sput in the studio. We were just stacking out tracks – just cloning ourselves. Different friends stopped by and jumped in.

“We took it out on tour. At first, it was a band with drummers. After that, we realized we could expand more with a soloist and a bass player

Swagism was Ghost-Note’s second album, released in April 2018 on Ropeadope. This album also went to No. 1 on the iTunes Jazz chart It featured guitarist Raja Kassis, spoken word artist and author Prudence the Auset Sneed, saxophonist Kamasi Washington and guitarist Brandon “Taz” Neiderauer.

“We’re in the process of recording three new albums,” said Werth. “We’ll be making the records at 206 Studio in L.A. We also recorded some of ‘Swagism’ at the studio as well as at Parlor Studio in New York.”

Prior to that, the band is on a funk-oriented tour with Lettuce.

“We’re blazing on our set,” said Searight. “It’s in-your-face power funk. We get the audience ready for Lettuce.”

Video link for Ghost-Note – https://youtu.be/y9TERZ78Evs.

The show at Fillmore Philadelphia featuring Ghost-Note and Lettuce will start at 9 p.m. Tickets are $30.

Other upcoming shows at Fillmore Philadelphia are Conan Gray on November 14, Claudia Oshry on November 17, Kim Petras on November 19, and Electric Wizard on November 20.

Lucy Wainwright Roche

Kennett Flash (102 Sycamore Alley, Kennett Square, 484-732-8295, http://www.kennettflash.org) will have Big Sandy & His Fly Rite Boys on November 14, David Grier with Mark Unruh on November 15, Lucy Wainwright Roche with Katie Barbato on November 16, and Open Mic with guest host Scott Birney on November 17.

The Steel City Coffee House (203 Bridge Street, Phoenixville, 610-933-4043, www.steelcitycoffeehouse.com) will host “The Beatles Breadbasket: A Benefit for PACS” on November 14 and Julian Velard and Kirk Griffiths on November 15.

The Ardmore Music Hall (23 East Lancaster Avenue, Ardmore, 610-649-8389, www.ardmoremusic.com) will present The Movement on November 14, Yonder Mountain String Band with special guest The Drunken Hearts on November 15, Pokey LaFarge (solo) with special guest Jake La Botz on November 16 (matinee), Everyone Orchestra featuring Robert Randolph on November 16, Opioid Crisis Concert Fundraiser on November 17, Booker T. Jones on November 19, and Emerald Quintet on November 20.

118 North (118 North Wayne Avenue, Wayne, www.118northwayne.com) will have Rylan Brooks on November 14, Lennon Live on November 15, and Jared Feiman on November 16.

The Living Room (35 East Lancaster Avenue, Ardmore, https://thelivingroomat35east.com) presents “Phil Nicolo Presents The Beatles Rare Audio Outtakes, Video and More” on November 15 and Steve Butler on November 16.

The Keswick Theater (291 N. Keswick Avenue, Glenside, 215-572-7650, www.keswicktheatre.com) presents the Charlie Daniels Band with the Allman Betts Band on November 14, Bobby Collins on November 15, and The Rapture on November

The Grand Opera House (818 North Market Street, Wilmington, Delaware, 302-652-5577, www.thegrandwilmington.org) will host Jerry Blavat’s “Doo Wop Spectacular” on November 16.

The Locks at Sona (4417 Main Street, Manayunk, 484- 273-0481, sonapub.com) present Peter Bradley Adams on November 14, Big Sandy & His Fly-Rite Boys on November 15, Frank Solivan & Dirty Kitchen and Man About A Horse on November 16, and Jill Sobule and Maia Sharp on November 17.

   Send article as PDF   

Share this post:

Related Posts

Leave a Comment