An Evening with Dark Star Orchestra
Performing to critical acclaim for over 20 years and over 3000 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead’s extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead’s 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra’s members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It’s about a sense of familiarity. It’s about a feeling that grabs listeners and takes over. It’s about that contagious energy…in short, it’s about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.Dark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee’s SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.In addition to appearing at some of the nation’s top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the “Dark Star Jubilee”, currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled ‘Jam in the Sand’. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees. Fans and critics haven’t been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, PeterRowan, Ramblin’ Jack Elliot and many more.”For us it’s a chance to recreate some of the magic that was created for us over the years,” keyboardist and vocalist Rob Barraco explains. “We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheadswho can say they’ve been to a hundred shows in the 90s, we offer something they never got to see live.”
Canceled – Gavin DeGraw
Out in the Catskills, a man and a woman loved music almost as much as they loved each other. They attended the original Woodstock on what they thought would be their last weekend together, since the man had his draft card for Vietnam in his back pocket. After his service (he thankfully didn’t enter combat), they got hitched and had three kids. The man worked at the New York State Department of Corrections as a prison guard, and mom joined the reserves for college money (doing what they had to do to get by). It was a life of family hootenannies with guitars and drums roaring until daylight, stained sneakers from mowing seemingly endless lawns in the summer, and a lot of time in church year-round. Their boy ended up touring the world as a GRAMMY® Award-nominated star…“Elements of Face The River are definitely my parents’ story,” he observes. “There are also moments of me watching it. This was the record I felt like I had to make. I got to bear witness to the greatest love story of two people who would do anything for each other and their family. They were very loyal and committed. They didn’t have money, but they gave me something way better than money. I saw the pinnacle of what love should be.”Gavin grew up surrounded by this love in the “real” Catskills. “It wasn’t the place that people go to now to pick berries for fun,” he laughs. “We picked them, because they were free.” He cut his teeth playing watering holes anywhere and everywhere around New York. His old man even hocked his demo at bars to get him gigs. “At a young age, he taught me to run to the lion,” he recalls. “If something is scaring you, attack. It’s how I live.” Such fearlessness has defined his career thus far. Gavin’s inimitable voice and soulful style boldly bloomed on his 2003 platinum-certified full-length debut, Chariot. It included the gold singles “Follow Through,” “Chariot,” and “I Don’t Want To Be”—which Entertainment Weekly hailed as one of “The 25 Best TV Theme Songs of the 21st Century.” In 2008, his self-titled second album, Gavin Degraw, bowed in the Top 10 of the Billboard Top 200 powered by the gold-selling “We Belong Together.” 2011’s Sweeter saw him return to the Top 10 as the single “Not Over You” went double-platinum. Meanwhile, his 2013 duet with Colbie Caillat, “We Both Know,” garnered a GRAMMY® Award nomination in the category of “Best Song Written For Visual Media” for Safe Haven. He’s the rare talent who could seamlessly share the stage with Billy Joel and The Allman Brothers or Maroon 5 and Shania Twain. In 2016, Something Worth Saving incited widespread critical applause from USA Today, Billboard, Entertainment Tonight, and Huffington Post, to name a few.In 2020, he made the most important record of his career. Teaming up with GRAMMY® Award-winning producer Dave Cobb [Chris Stapleton, Sturgill Simpson, Brandi Carlile], Gavin chose to write entirely by himself. They recorded in Dave’s Nashville studio, playing together simultaneously with the musicians and listening to one another.“When I played the record for my dad, I told him I finally fulfilled my potential as a musician,” he concludes. “He said, ‘Masterpiece’. He was not one to give a compliment for compliment’s sake, so nothing felt better. I was just trying to make something special, authentic, real, and worth waiting for.”
LITTLE FEAT: Can’t Be Satisfied Tour – VIP Packages
VIP1 Front Row Experience Description of package: One (1) Front Row Ticket Pre-Show Meet & Greet with the Band (Not All Members May Be Present) One (1) Autographed Vinyl Copy of Little Feat’s New Album – Sam’s Place One (1) Autographed Exclusive Little Feat Poster One (1) Exclusive Tote Bag One (1) Commemorative VIP Laminate VIP2 Meet & Greet Experience Description of package: One (1) Premium Reserved Ticket Pre-Show Meet & Greet with the Band (Not All Members May Be Present) One (1) Autographed Exclusive Little Feat Poster One (1) Exclusive Tote Bag One (1) Commemorative VIP Laminate VIP3 VIP Merch Package Description of package: One (1) Premium Reserved Ticket One (1) Autographed ExclusiveLittle Feat Poster One (1) Exclusive Tote Bag PLEASE NOTE: THIS VIP PACKAGE DOES NOT INCLUDE A MEET & GREET. THERE IS NO ARTIST INVOLVEMENT WITH THIS PACKAGE. Legal language for packages: All package elements will be rendered invalid if resold. Name changes will be issued at the sole discretion of 237 Global. VIP instructions will be sent via email no later than three days (3) prior to the concert. If you do not receive this email three days (3) prior please email info@237global.com. All packages and contents are non-transferable; no refunds or exchanges; all sales are final. All VIP package items and experiences are subject to change. Please note that the information provided at the time of purchase (e-mail and mailing address) is the same information that will be utilized for individual contact requirements where applicable. 237 Global, the artist, tour, promoter, ticketing company, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. If you have any questions regarding your VIP package elements, or have not received your package information within three days (3) of the concert date, please email info@237global.com.
LITTLE FEAT: Can’t Be Satisfied Tour
The members of Little Feat emerged from the pandemic with their sense of humor, chops, and collective joy in playing intact. Over the past three years, they’ve focused tours on their epic live album Waiting for Columbus and re-issues of their second through fourth albums (Sailin’ Shoes, Dixie Chicken, and Feats Don’t Fail Me Now. Audience response has been rapturous. The band builds on a deep, over 50-year history. Little Feat used a combination of elite musicianship and brilliant, idiosyncratic songwriting to create a repertoire that transcends all boundaries. California rock, funk, folk, jazz, country and rockabilly mixed with New Orleans swamp boogie led to a powerful sound that has kept the audience dancing for decades.Their groove – in songs like “Dixie Chicken,” “Spanish Moon,” “Fat Man in the Bathtub,” and “Feats Don’t Fail Me Now” – was so infectious it allowed them to endure and press on even when losing their founder, Lowell George, and founding drummer, Richie Hayward. They’re in top form now with Scott Sharrard on lead/vox and Tony Leone on drums/vox, and with founder Bill Payne on keys/vox, Fred Tackett on guitars/vox, Kenny Gradney on bass, and Sam Clayton on percussion/vox.Now it’s time for something new. Their creativity has been renewed, and 2024 will see the release of the brand-new Sam’s Place, in which Feat backs their linchpin conga player, Sam Clayton, on vocals. The album features a new song, “Milk Man,” by Sam, Scott, and Fred. There’s a live version of “Got My Mojo Working.” Sam and Bonnie Raitt duet on Muddy’s “Long Distance Call.” Sam’s Place scratches a deep itch. Sam added, “I’m very happy because I was never expecting anything like that. I mean, I have wanted to, but I just wasn’t expecting it to come to the fruition. It was a long wait, but it’s satisfying.”
Blues Traveler and Big Head Todd and the Monsters
Blues Traveler In 1987 the four original members of Blues Traveler—John Popper, Chandler Kinchla, Brendan Hill, and the late Bobby Sheehan—gathered in their drummer’s parent’s basement in Princeton, NJ to jam. From these high school sessions emerged a band that would go on to release 14 studio albums and counting, four of which have gone gold, three platinum, and one six-times platinum- selling more than 10 million combined units worldwide. Over an illustrious career Blues Traveler has played over 2,000 live shows in front of more than 30 million people, and, in “Run-Around,” had the longest-charting radio single in Billboard history, which earned them a Grammy® for Best Rock Performance by a Duo or Group with Vocals. Their movie credits include Blues Brothers 2000, Kingpin, Wildflowers and others. A television favorite, they have been featured on Saturday Night Live, Austin City Limits, VH1’s Behind the Music and they have the record for the most appearances of any artist on The Late Show with David Letterman. Blues Traveler’s latest effort, 2021’s Traveler’s Blues, is nominated for a Grammy in the category of “Best Traditional Blues Album,” bringing their 35+ year journey full circle. Big Head Todd and the Monsters Big Head Todd and The Monsters have persisted as a rare force of nature in rock ‘n’ roll. The platinum-selling Colorado quartet—Todd Park Mohr [vocals, guitar, keys, sax, harmonica], Brian Nevin [drums, percussion], Rob Squires [bass, vocals], and Jeremy Lawton [guitar, keys, vocals, steel guitar]—have consistently churned out undeniable and often uplifting anthems fueled by a hybrid of no-nonsense hard rock, simmering soul, dyed-in-the-wool blues, and a twist of country. Their influence and imprint only widen over time, selling out even bigger venues and enrapturing new eras of fans with every passing year.
Grace Potter
Back in summer 2021, Grace Potter took off on a solo cross-country road trip that would soon bring a life-saving reconnection with her most unbridled self. Heading out on Route 66 from her home in Topanga Canyon, the Vermont-born artist spent the coming weeks crashing in roadside motels and taking time each night to deliriously transcribe the song ideas she’d dreamed up behind the wheel, often scrawling those notes onto the backs of postcards and motel notepads. After completing two more trips across the U.S. on her own—and partly navigating her way with the help of hand-drawn maps from self-styled historians of Route 66—Potter flew to Nashville for a series of recording sessions that quickly gave way to her most magnificently unfettered collection of songs to date. Equal parts fearlessly raw memoir and carnivalesque fable, the result is a body of work that goes far beyond the typical album experience to deliver something much more all-enveloping: the original motion picture soundtrack to a profoundly transformative moment in Potter’s life, a fantastically twisted odyssey populated by the hitchhikers and outlaws and other lifelong wanderers who roam through the wonderland of her psyche. As she reveals, that explosion of creative energy followed a period of emotional crisis for Potter, a turn of events partly triggered by moving back to her hometown with her husband and young son a year into the pandemic. “There was a big piece of my heart that wasn’t ready to go back to Vermont—it all happened about 10 years earlier than I’d expected,” she says. “California had always felt like a new beginning, a place where I was able to step into a community of like-minded weirdos, and through that first winter I started to feel trapped.” After suffering a miscarriage (a particularly brutal medical experience compounded by the fact that she’d unknowingly been carrying twins), Potter began treatment for clinical depression and soon decided to seek the solace and release she’dalways found on the road. “I used the rental-car shortage as an excuse to go get our car in Topanga, but the truth is I was going to probably have a full mental breakdown if I didn’t step away from the pressure cooker of judgment, I’d placed on myself and my environment,” she says. “At first, Ithought of what I was doing as escapism, and I felt ashamed of that. But eventually I realized I was giving myself permission to do what needed to be done for me to get better. Even in Mother Road’s most outrageous moments, Potter infuses her songwriting with essential insight into the endless nuances of life and love and belonging. True to the cinematic nature of Mother Road’s storytelling, she’s also immersed herself in creating the album’s elaborate visual components, an undertaking that’s involved expanding her talents as a filmmaker and multimedia artist. “I know now that there’s more depth to my expression, and I feel ready to bring everything into focus under a much larger circus tent than I have in the past,” she notes. And after thousands of miles on the road, countless nights at seedy motels, and a heartrending return home, Potter has made her way to the kind of creative freedom that leaves both artist and audience indelibly altered—a freedom that’s undeniably led to her masterpiece.
FACE 2 FACE – Tribute to Elton John and Billy Joel
THE BILLY JOEL/ELTON JOHN FACE-2-FACE TRIBUTE SHOW Introducing the U.S.A.’s 1st and longest running tribute to BILLY JOEL & ELTON JOHN… Taking turns at an onstage piano, the dual tribute artists of the Billy Joel/Elton John Face-2-Face Tribute Show conjure the beloved songsters in both sound and image. Backed by some the best and most sought after musicians in the business, Levittown NY native MIKE SANTORO’s fingers flash up and down the keys on “Angry Young Man” before he belts out high-energy Billy Joel classics such as “Movin Out”, “Scenes From An Italian Restaurant” and more. Following Santoro’s set, of the roughly three-hour show, RONNIE SMITH dons the iconic sunglasses and bedazzled suits of Elton John as he charts his style from the ‘70s to the present. Timeless anthems such as “Tiny Dancer” and the epic treasure “Funeral For A Friend/Love Lies Bleeding” mixed with more whimsical material such as “Crocodile Rock” and the fictional rock-group narrative “Bennie and the Jets.” For the 3rd act, both artists hit the stage for THE grand finale, trading the spotlight with more of the best of Billy Joel and Elton John. For over a decade, this event is not one to be missed!
Almost Queen: A Tribute to Queen
They don’t just pay tribute to the legendary band, Almost Queen transports you back in time to experience the magic and essence of Queen themselves. This deliberate four piece band is “guaranteed to blow your mind” with iconic four-part harmonies and expertly executed musical interludes. Almost Queen’s impressive tribute to Queen is nothing short of breathtaking. The band’s authenticity shines through in their impeccable attention to detail and genuine costumes, while their live energy and precision will leave music fans of all ages with an unforgettable concert experience.Almost Queen’s concerts are a true testament to the band’s love for Queen’s music. Fans often travel long distances just to experience Almost Queen’s carefully curated setlist featuring Queen’s best-loved songs, like Somebody to Love, Don’t Stop Me Now, Fat Bottomed Girls, and Radio Ga Ga. Almost Queen occasionally plays some lesser-known album tracks, such as Flash, Spread Your Wings, Love of My Life, as well as other hidden gems. And of course, no Queen tribute concert would be complete without classics like Bohemian Rhapsody, We Will Rock You, and We Are the Champions! It’s no wonder fans keep coming back for more, attending again and again to experience the music of Queen in a manner that only Almost Queen delivers.
KC & The Sunshine Band
KC and the Sunshine Band are still as widely popular today as they were when they first danced into the music scene 50 years ago. Harry Wayne Casey—KC for short—developed a unique fusion of R&B and funk, with a hint of a Latin percussion groove, giving us an impressive string of hits like “Get Down Tonight,” “That’s The Way (I Like It)” and “Shake Your Booty.” With sales of over 100 million records, nine Grammy nominations, three Grammy Awards and an American Music Award, KC and the Sunshine Band was one of the most progressive bands of the 70s and is credited with changing the sound of modern pop music. Today, KC and the Sunshine Band play over 100 live shows annually, circling the country and playing dates regularly throughout Europe, Australia and South America. This year KC will celebrate 50 years of entertaining us, writing songs, and performing around the world and has no intention of stopping. In the last decade KC has continued to influence the dance and disco scene by releasing new music, most recently his single, “Unconditional Love featuring Bimbo Jones.” In March of 2015 KC and the Sunshine Band released, “Feeling You! The 60s.” The album was a tribute to the era that shaped KC into the revolutionary artist he became in the 70s. Covers on the album include songs by sixties legends Bob Dylan, Ben E. King, The Kinks, The Righteous Brothers, Jackie DeShannon, Aaron Neville and many more. Just like the rest of America during that time he was inspired by the music, innocence, sex, social and political movements and counterculture of the era, which led to him founding the Dance Revolution and teaching the world how to boogie.KC’s success in music has earned him an extensive list of accolades including an American Music Award for Best R&B Artist in 1975 and a songwriting Grammy for Best R&B song for “Where Is The Love,” which was recorded by Betty Wright. He also received a Grammy Award for Album of the Year, as well as Producer of the Year in 1978 for his work on the Saturday Night Fever soundtrack. In 2001, KC was honored with the NARAS Governor’s Award, the highest honor given by a chapter of the Academy. He received a coveted Star on the Hollywood Walk of Fame in 2002, where Dick Clark and music producer Michael Lloyd turned out to honor him. This particular recognition represents the passion that KC has in writing music, implementing elements of various eras in his songs, proving him to be a passionate, veteran craftsman. All of these career highlights are chronicled in his book, That’s The Way I Like It – The Harry Wayne Casey Story, which was published that same year. KC’s music continues to be a favorite today. His songs have appeared in ads for companies like General Motors, Burger King, Payless Shoes, Papa John’s Pizza, Old Navy and Nick at Nite. His music has also been featured in over 200 commercials and movies such as Forrest Gump (“Get Down Tonight”), Boogie Nights (“Boogie Shoes”), Boys Don’t Cry (“Rock Your Baby”), Rush Hour (“Get Down Tonight”), Carlito’s Way (“Rock Your Baby,” “Shake Your Booty” and “That’s The Way I Like It”) and Austin Powers in Goldmember (“Shake Your Booty”). In the summer of 2003, KC also had a cameo in the feature film The In-Laws starring Michael Douglas and Albert Brooks.
Ashley McBryde
“I hear the crowd, I look around, and I can’t find one empty chair. Not bad for a girl going nowhere” sings Ashley McBryde on “Girl Goin’ Nowhere,” the seminal title track from her GRAMMY-nominated major label debut LP. They’re words built from experience: over the course of her life, growing up in Arkansas, McBryde’s been finding her own way to fill those seats and sway those hearts since the very first time her teacher told her that her dreams of writing songs in Nashville would never see the light of day. Every time she was brought down, she persevered; trusting her timeless tone and keen, unwavering eye for the truth. It paid off. In April 2017, Eric Church brought her on stage and called her a “whiskey-drinking badass,” confessing that he’s a massive fan. The rest of the world is quickly catching on, too.McBryde was raised in Mammoth Spring, Arkansas, taking to music at the age when most kids were running wild in the backyard, dressing dolls or playing with trains. At three, she’d secretly pluck her father’s guitar like an upright bass, and after about the 17th time being caught, her father bought her a guitar of her own. When she was twelve, she played her parents and grandparents her very first composition.It was at Arkansas State when, while a member of the marching band, McBryde finally started sharing her voice with others – first at karaoke parties, then in a band, and then in Memphis where she’d play a mix of cover and original songs while still commuting from college. When McBryde finally moved to Nashville in 2007, she settled with a friend at an apartment in a building that housed storage units – not the most glamorous of homes, but enough of a place to crash in between a healthy dose of dive bars, biker hangouts, and colorful joints where she fought to have her songs heard.Her first EP, the self-released 2016 Jalopies and Expensive Guitars was just a taste of what McBryde could do, and, on her full-length debut, she melds her songwriting chops with the vision of producer Jay Joyce, peppering her tales with a touch of guitar-driven rock fury – but offering plenty of room for her emotive, vulnerable twang to move softly through songs like “Girl Goin’ Nowhere,” which was written the morning that Guy Clark passed away.“I’m not a pretty crier, and I got to my write with Jeremy Bussey that morning, red and blotchy,” she says. “So he said, ‘for Guy, maybe we should write a good song, one you’d want to play at the Opry someday.’ So, I told the story of when I was back in Algebra class, and we were going around the room saying what we wanted to do when we grew up. When it got to me, I said, ‘I’m going to move to Nashville and write songs, and they’re going to be on the radio.’ The teacher looked at me and said, ‘that won’t happen and you better have a good backup plan.’ It didn’t put the fire out, it just added to it.”