In a career spanning over 50 years, dozens of albums, and too many shows to count, Marty Stuart still charts a course through new territory at every chance possible.  The five-time Grammy Award winner, Congress of Country Music Founder, Country Music Hall of Famer, and AMA Lifetime Achievement Award recipient has left an indelible mark on successive eras of country music and culture.  He went from accompanying Lester Flatt and Johnny Cash to launching a storied solo career highlighted by classic albums such as the Gold-certified Hillbilly Rock and Platinum-certified This One’s Gonna Hurt You, as well as Grammy Award-winning anthems including “The Whiskey Ain’t Workin’” [with Travis Tritt] and “Same Old Train.”  Immersing himself in the world of film and television, he notably scored All The Pretty Horses, garnering a Golden Globe Award nomination for Best Original Score and earning Grammy Awards in the category of Best Country Instrumental Performance for “Foggy Mountain Breakdown” and “Hummingbyrd.”  Recently, 2023’s Altitude incited widespread critical applause.  Of the latter, Associated Press applauded how “Guitarist Kenny Vaughan, drummer Harry Stinson and bassist Chris Scruggs match Stuart’s guitar virtuosity, with thrilling results,” and American Songwriter attested, “Altitude finds Stuart putting his own stamp on a traditional vein of country.”  NPR put it best, “For millions, Marty Stuart is the very image of country music—splendid jackets, musical mastery and his respect for country’s traditions and a good jolt of humor.”  You’d be hard pressed to find a corner of country music he hasn’t impacted.  Speaking to his influence, he hosted the long-running fan-favorite television series The Marty Stuart Show and notably remains a member of the Country Music Foundation and Grand Ole Opry.  Moreover, the Country Music Hall of Fame inducted him during 2020.  He also curated and launched Marty Stuart’s Congress of Country Music in Philadelphia, MS, preserving and celebrating the genre and its history.  Joined by his longtime band The Fabulous Superlatives, he cruises into another stratosphere with his first-ever full-length double LP of original instrumentals titled Space Junk.  The cover art is a painting by Stuart’s longtime hero and pal, Herb Alpert, leader of the Tijuana Bass, a group Stuart considers to be one of the greatest instrumental bands of all time.  The inimitable interplay among Marty, Kenny Vaughan, Harry Stinson, and Chris Scruggs fuels this cosmic cowboy trip with sun-kissed surf guitar, breezy California rhythms, soul-stirring steel, and fluid fretwork all around.  Space Junk sounds like country music’s preeminent band crash-landing on a Malibu beach and performing the most epic jam you’ve ever witnessed by starlight…

Longworth-Anderson Series pre-concert reception from 6:30-8 p.m. features live local music, curated bites from Ollie’s Trolley, slices from N.Y.P.D. Pizza, craft beer tastings from HighGrain Brewing Co., and grain-to-glass spirits from Northern Row Brewery & Distillery.

Admission to a private pre-show event at venue featuring a two-song performance by Marty and the Superlatives, along with a Q&A Storytelling session with Marty and Band.

*  One VIP Laminate and Lanyard.

* Crowd Free Merchandise Shopping

* One special edition poster

* Concert tickets sold separately and required

You know “Christmas Time’s A Coming” when 15-time GRAMMY winner and Country Music Hall of Fame member Ricky Skaggs and his ace backing band Kentucky Thunder play all your favorite Christmas songs in their refreshing acoustic style. This heartwarming show features a reason to listen to the season of songs both old and new as Skaggs and his band perform their own perfect blend of tight harmony. Come celebrate this special time of year with friends and family, while listening to first class vocalists and musicians, singing and playing their finest for Christmastime.

The show includes the joyful bluegrass tune “Christmas Time’s A Coming” along with a beautiful rendition of “New Star Shining,” a hit song for Ricky Skaggs and James Taylor. Beloved classic songs “Silent Night,” “Deck the Halls,” and “Let it Snow” are fully represented, along with many other special Christmas melodies. Included in this seasonal show are sing-a-longs, rounding out this exclusive assortment of holiday jewels. Ricky Skaggs & Kentucky Thunder Christmas holiday show is sure to please during this most wonderful time of the year

Cast aside any and all expectations.

Whether behind the piano on a windswept mountainous cliff, at a hallowed venue such as Carnegie Hall, or playing shoulder-to-shoulder with some of the most legendary musicians in history, solo pianist Holly Bowling subverts convention with virtuosic playing, emotional immersion, and a thirst for invention. Acclaimed by Rolling Stone, Billboard, Relix, and more and sought-after by icons such as Phil Lesh, Bob Weir, and Warren Haynes, she once again flips the script on her 2020 album and second reimagining of Grateful Dead staples entitled Seeking All That’s Still Unsung.

“When you go to see someone play solo piano, you’re not expecting them to stand up, pluck the strings, drum on the frame, hit the strings with mallets, or place magnets and EBows inside of the piano,” she smiles. “It doesn’t fit with the expectations of how you’re supposed to play this instrument. I think it works though.”

Her introduction to the instrument happened at just five-years-old when mom and dad bought a piano from a yard sale down the street. They gave their daughter a choice: ballet or piano. As the sounds of Mozart, Beethoven, and The Grateful Dead piped through their home, she obviously chose the latter without hesitation.

After a childhood dedicated to the instrument, she studied piano performance at SF State University. Intermittent gigs around San Francisco followed before she ended up on stage for an impromptu jam with Marco Benevento. “I paid him a dollar to go up there,” she recalls. “It reminded me that for most of my life I wanted to be on stage playing, and I couldn’’t let that slip away.”

After catching a 2013 Phish show in Lake Tahoe renowned for its extended rendition of “Tweezer,” she transcribed and arranged the entire 37-minute improvisational masterpiece into a nuanced and intricate piano opus. She humbly refers to it as “a nerdy pet project that somehow inspired people to demand Phish on piano.” It announced her arrival as an exciting outlier and paved the way for Distillation Of A Dream: The Music Of Phish Reimagined For Solo Piano in 2015.

As her profile rose, she delivered Better Left Unsung only a year later. For this triple-LP, she rearranged iconic moments from the Grateful Dead on her piano. It bowed in the Top 25 of the Billboard Top Classical Albums Chart. She went on to share the stage with everyone from The Dead’s Weir and Lesh to Haynes, John Scofield, Jim James, Branford Marsalis, Don Was, Robert Randolph, Greensky Bluegrass, and more. Along the way, she graced the bills of Lesh’s Terrapin Crossroads and Haynes’s annual Christmas Jam and unveiled the concert recording Live at the Old Church. Simultaneously, she co-founded improvisational rock outfit Ghost Light in 2018. Engaging a faithful audience even in the midst of the “new normal” of 2020, she launched a series of living room livestreams chronicled on the eight-volume Alone Together: The Living Room Sessions highlighted by her innovative re-imaginings of Radiohead, Nine Inch Nails, and many others.

During 2019, she tracked Seeking All That’s Still Unsung at 25th Street Recording in Oakland over the course of just five days.

“Seeking All That’s Still Unsung is a lyric from a Dead song,” she explains. “There was definitely a sense of trying to look for what I hadn’t said on the last album. Having spent a few more years exploring the Dead’s music in the solo piano context, I felt free enough to take more liberties with how I approach the arrangements and improvisation. I can insert myself into the songs more. Given their nature, I realized the way to actually be the truest to them is to throw the rules out the window.”

Under the influence of the Bill Evans album Conversations with Myself, she properly incorporated overdubs for the first time, locking into a “dialogue” with her own playing. She tried her hand at this approach on Better Left Unsung’s “Dark Star,” but truly brought it to life here.

On the opener and first single “St. Stephen,” her fingers nimbly conjure a melody between bass-y root notes. The call-and-response instantly captivates with all of the drama and dynamics of a main stage festival performance.

“It’s like you’re watching a movie,” she explains. “The scene changes, and the colors and lighting just shift. Something new comes into focus, and the improv goes further. It’s not what I expected to come out of the arrangement initially, but it’s a defining moment on the album. It has the intensity of the overdubbing and some light and dark places to showcase a different range of emotions.

Elsewhere, the sprawling near 14-minute “Weather Report Suite” traverses a similar scope as her transcendent playing spirals towards a climactic release. The project culminates on a delicate “Stella Blue,” which she calls “the perfect landing point of the album and an exhale at the end after this emotional ebb and flow.”

In advance of Seeking All That’s Still Unsung, she embarked on The Wilderness Sessions—a virtual concert tour of natural wonders across the United States. Setting up her piano in the heart of national parks and landmarks such as Yosemite National Park, the Bonneville Salt Flats, Bruneau Canyon, the Beartooth Mountains, and the Badlands of South Dakota, she catalyzed the “Interaction between the music and the landscape.”

In the end, Holly consistently redefines what’s possible on her instrument of choice.

“When I play pure stripped-down acoustic piano, it’s like going home,” she leaves off. “I love the nuance, detail, and emotion you can pull out of a piano in a more subtle and quiet setting. The moments I cherish the most happen when I slip outside of myself for a while. If my music gives this to someone else, that would make me happy. There are shades of classical and shades from the Grateful Dead. A lot of classical enthusiasts might not give the Dead a chance. Many Deadheads may not like classical. Personally, I’ve always had two halves of my musical life. When I finally started to bring them together, it was something I’d been building towards for a lot longer than I’d realized. Bringing everything together, I’d love to open up boundaries and help people discover something new.”

www.hollybowling.com

“A Man Named Cash®” delivers unmatched authenticity as the ONLY Johnny Cash Tribute to feature a vocalist chosen by the Johnny Cash Estate. Frontman Eric Hofmanis was selected by John Carter Cash as lead vocalist in “Johnny Cash The Official Concert Experience” – a 7 month concert tour spanning 100 cities and premier venues throughout the US and Canada. 

AMN$ is the GOLD STANDARD of Johnny Cash tributes.

Internationally recognized by Cash fans as one of the most honest and true representations of Johnny Cash live in concert, join Eric as he takes you on an exciting musical journey through the music and legacy of Johnny Cash – spanning nearly 50 years of music from his earliest days at Sun Recording in the 1950’s through his final days and musical rebirth with American Recordings in the 2000’s. Eric’s astonishingly deep voice and even deeper embodiment of Cash’s character often has audiences utterly transfixed in their seats – performing classics as varied as his first 1956 Billboard #1 hit “I Walk The Line” to the 2004 Grammy Award winning ‘Hurt.’

Eric is joined by Megan Houde (as June Carter) who’s natural presence alone adds an essential brightness to The Man In Black. The two’s on stage chemistry (much like the real Cash and Carter) is undeniable, at times unpredictable and genuinely charming and up lifting. The room does indeed LIGHT UP each time Megan walks on stage though out each performance – bringing with her the perfect embodiment of hope, joy, love and lightheartedness that Cash’s music often spoke of as what was missing in the world.

Jake Speed & the Freddies, Cincinnati’s long-running folk/Americana band, host a night rooted in toe-tappin’, foot-stompin’ original tunes that muse on Cincinnati’s unique past & present. Known as the Woody Guthrie of Cincinnati, Jake Speed uses a traditional folksy delivery to compose timely and timeless songs that tell great stories with a bit of a lyrical edge. This special Queen City-centric concert celebrates 25 years of music-making, storytelling, and deep ties to the region, featuring cameo appearances by Mike Oberst of The Tillers, Ed Cunningham of The Comet Bluegrass Allstars, and Chris Cusentino of The Turkeys. The concert also marks the release of the band’s sixth studio album with 12 new songs, some of which pay tribute to Cincinnati musical icons Katie Laur, The Comet Bluegrass Allstars, dancing with daffodils at Washington Park, and their roots in Ohio. More than a performance, this 25th Anniversary concert is a celebration of Cincinnati’s music, stories, and community. Proceeds benefit Cincinnati Public Radio, helping sustain the local voices and institutions that preserve the past, enrich the present, and guide the journey ahead.