Acclaimed singer, songwriter, and musician Marc Broussard is an artist with a unique gift of channeling the spirits of classic R&B, rock, and soul into contemporary terms. The son of Louisiana Hall of Fame guitarist Ted Broussard of “The Boogie Kings,” he nurtured his musical gifts at an early age in the vibrant Lafayette, Louisiana music scene. After releasing a highly successful independent EP at age 20, Broussard made his major-label debut with Carencro. The album featured the breakout hit single “Home” and catapulted him into the national spotlight. The Louisiana-born and raised artist has created a wide range of music in his career. Carencro laid the groundwork with unequaled style, illustrating his knack for modern soul music and setting the stage for his long and distinguished career. That album and the others that followed solidified Broussard as a southern soul singer with a rarefied talent and an innate stylistic and emotional authenticity that have made him one of the most indelible artists of his generation. NPR cited, “His music radiates soulful Louisiana blues, but his songs blend those influences with raucous rock ‘n’ roll to create unique and infectious music.”

Over the past decade, Broussard released several notable albums with major labels and has since returned to his independent roots with a series of critically acclaimed original and philanthropic cover albums through his S.O.S Foundation (Save our Soul). Marc has accumulated millions of streams and hundreds of millions of views on viral YouTube videos.

Broussard’s incomparable brand of soul, an infectious mix of rock, blues, R&B, funk-pop, and soul coupled with his powerful vocals, has garnered worldwide praise from critics and fans alike. His recent release, S.O.S. 4 Blues for Your Soul, a collaboration with blues legend Joe Bonamassa is a stellar collection of blues and soul classics that debuted at Number One on the Billboard Blues Album Chart. The fourth volume in his S.O.S. series, the album benefits Bonamassa’s charitable foundation.

Marc Broussard’s new studio album, Time is a Thief finds the acclaimed singer/songwriter delivering an infectious ten-song set filled with gritty, rootsy hooks and dance-floor grooves, all wrapped around Broussard’s fervent vocals. Produced by Grammy-winning guitarist/songwriter/producer Eric Krasno and Grammy-nominated producer/guitarist Jeremy Most, Time Is a Thief has a funky, soulful sound and is wonderfully layered with diverse sonic textures that distinguish it from his previous recordings. His first album of new music since 2017’s, Easy to Love, Time is a Thief arrives via his Artist Tone Label.

There’s Something Undeniably Out-Of-Time About Both Kendra Morris And Her Indelibly Cool New Album I Am What I’m Waiting For (Karma Chief Records). It Combines Rough-Hewn Powerhouse Vocals With Arrangements That Betray Both An Extensive Record Collection And A Whimsical Instinct For Joyous Noises — Think Dusty Springfield Fronting Spoon Circa Kill The Moonlight Or A 60s Girl Group Creative Directed By Nick Lowe And PeeWee Herman. It’s Vibrant And Varied And Packed With Personality.

“How Do You Put Yourself Into A Record? Torbitt And I Wanted To Make It Feel Like You Cracked Open The Ooze In My Head,” Morris Says, Referring To Her Co-Writer And Producer Torbitt Schwartz AKA Little Shalimar (Run The Jewels). Morris Is An Accomplished Visual Artist And Stop-Motion Animator, So It’s Appropriate That I Am What I’m Waiting For Takes A Collagist Approach, Mischievously Recombining All Sorts Of Rock And Roll Ingredients — The Sass And Swagger Of Ronnie Spector, The More Acid-Fried Corners Of The Nuggets Compilations, Post-Modern Interpolations Of Mid-Century Exotica Music, The Cracking Snares And Sugary Urbanity Of ESG — While Offering Moments Of Vulnerable Insight From A Life Spent In Pursuit Of Creativity.

Morris Was A Musically Precocious Child And, After Playing In Florida Bar Bands, Moved To New York To Chase The Dream. Thus Began A Formative 13-Year Stint Bartending At The Beloved Lower East Side Dive The Library, Which Thrust Morris Directly Into The Heart Of Manhattan’s Fertile Post-Strokes Creative Scene. Brian Jonestown Massacre’s Anton Newcombe Lived Upstairs, Music Journalist Marc Spitz Was A Regular, And Touring Acts Would Come Through To Carouse After Playing Bowery Ballroom. During Those Moments, Morris Yearned To Join The Rarefied Air Of The Musicians On The Other Side Of The Bar.

All The While, Morris Pursued Her Music Dreams. “It Was Pure, 100% DIY. I Never Took No For An Answer. If I Didn’t Have The Money, I Figured Out How To Make It Happen: Videos, Artwork, Whatever.” After The Dissolution Of Her First Band, She Recorded 8-Track Demos And Performed Solo Shows Backed By Cassette Recordings Of Her Own Vocal Harmonies. Through These Shows She Connected With Longtime Producer Jeremy Page. It Was Kismet.

“I Worked With Jeremy For The Next 10-Plus Years,” Says Morris. “We Worked Together Through Some Of The Most Beautiful And Hardest Life Things I’ve Ever Gone Through.” It Was A Fruitful Partnership: Morris Signed To Wax Poetics For The Release Of Her “Seductive, Soulful” (Rolling Stone) 2012 Debut Banshee And 2013’S Mockingbird, Self-Released Her 2016 EP Babble (Reissued Earlier This Year), And Signed To Karma Chief For 2022’S “Beautifully Sung” (MOJO) Nine Lives. She’s Linked Up With A Murderer’s Row Of Collaborators, Including DJ Premier, MF Doom, Ghostface Killah, And David Sitek. Interview Magazine Called Her “A Modern Day Janis Joplin,” And NPR Praised Her “Lush, Moody Mix Of Neo-Soul.”

Despite Her Strong Professional And Personal Relationship With Page, Morris Knew That She Needed To Change Up The Energy For Her Next Project. “When My Birthday Arrived In April Of Last Year, I Had This ‘Aha’ Moment. ‘Oh Shit, I’m Halfway To The Age Of Average Human Life Expectancy! I Wanna Shake Myself!’ Jeremy And I Could Write Songs With Our Eyes Closed…But If You’re Chasing Evolution Then You Can’t Be Comfortable.”

She Connected With Torbitt Schwartz aka Little Shalimar whose production credits include Run the Jewels and Killer Mike’s 2023 Grammy winning album Mike and set about making I Am What I’m Waiting For. Morris Was Eager To Break Out Of Old Habits: She Started Playing Guitar Again Live, Realizing That Where She Saw Tics Developed To Cover Up A Lack Of Technical Ability, Others Saw A Musician With A Distinct And Stylish Rhythmic Signature. She Pulled Old Songs Out And Reworked Them. Less-Than-Perfect Takes Were Tolerated. She Put A Moratorium On Love Songs. As She Put It: “I Needed To Scare Myself Into Growth.”

Luckily, The Risk Paid Off. I Am What I’m Waiting For Is Not Only A Sophisticated And Joyful Sonic Reinvention, But An Unfiltered Expression Of Morris’s Idiosyncratic Worldview. Take “Special,” Which Takes A Bleak Approach To Coping With Fear And Statistical Unlikelihood. Says Morris: “I Hate Flying. I Have No Control Over It And That’s Something That Makes Me Crazy. So Something I Tell Myself When I’m Flying A Lot Is The Statistic That Your Plane Has The Same Chances Of Crashing As You Have Winning The Lottery. I Have Never Won Anything.” It’s An Anthem That Revels In Contentment, In Enjoying The Small Experiences That Texture Your Life — A Salve Against Self-Improvement Hacks And Motivational Influencers Infiltrating Your Feed.

Elsewhere, The Bell-Laden “Dominoes” Turns The Mundane Conflicts Of Domesticity And Cohabitation Into A Ronnettes-Worthy Rallying Cry And The Exotica-Steeped “All Your Jokes” Examines What Morris Describes As “The Need For Vulnerability In A Relationship When You Have Something To Lose.” There’s Even The Smoky, Doo-Wop-Tinted “Birthday Song,” A Valiant Attempt To Expand The Birthday Song Canon.

The Almost-Title-Track “What Are You Waiting For” Encapsulates The Album’s Spirit: Stabs Of Guitar Yield To Sirens-And-Bongo Breakdowns As Morris Champions Realness And Self-Reliance. It Hits Like A Conscious Statement Against Algorithmic Optimization. “When You Introduce Yourself To Someone,” Says Morris, “You Can Yada Yada The Broad Strokes Of Your Life. But It’s The Textures And Specific Details In Life, Music Or Art That Gives It Meaning.” Fittingly, I Am What I’m Waiting For Bravely Luxuriates In The Little Details. It’s The Rare Record That Doubles As Self-Portrait, Unvarnished Yet Thrilling Because Of Its Imperfections. 

This is an add on for the Marty Stuart concert. Tickets for the concert are sold separately (and must be purchased with this VIP package)

THE COUNTRY STAR” VIP PACKAGE:Limited to 40 people

• • VIP ticket buyers to be allowed access one hour prior to other ticket holds.
  • VIP Upgrade includes admission to a private pre-show event at the venue featuring a performance by Marty and the Superlatives, along with a Q&A Storytelling session with Marty and Band.
  • One VIP Laminate
  • Crowd Free Merchandise Shopping
  • Exclusive Signed VIP Poster
  • VIP Experience will begin approximately one hour prior to doors.

“You have to make the music that’s in your heart,” says Marty Stuart.  “Sometimes that lines up with what’s going on out there in the world, sometimes it takes the world thirty or forty years to catch up, but if you’re true to your heart, that’s all that matters.”

Altitude, Stuart’s exhilarating new album, is proof of that.  Recorded in Nashville with his longtime band, The Fabulous Superlatives, the collection finds Stuart picking up where he left off on 2017’s Way Out West, exploring a cosmic country landscape populated by dreamers and drifters, misfits and angels, honky-tonk heroes and lonesome lovers.  There’s a desert flare to the music here, a sweeping, spacious feel that conjures up wide-open horizons and endless stretches of two-lane highway, and the production is raw and cinematic to match, tipping its cap both to Bakersfield and Laurel Canyon as it balances jangle and twang in equal measure.  It would be easy for an artist as accomplished as Stuart to rest on his laurels at this point in his career, but Altitude instead showcases the work of a searcher with an insatiable appetite for growth and reflection, one whose ambition, much like his keen wit and rich imagination, only seems to grow with each and every release.

“I’ve always loved songs that feel like old friends but still sound new and fresh,” says Stuart.  “The beautiful thing about country music is that the blueprint Jimmie Rodgers laid down—rambling, gambling, sin, redemption, Heaven, Hell—it’s all just as relevant now as it ever was.  It’s the human condition, and if you’re honest about it and you’ve got a real band around you, you can make something that’s uniquely yours and stands the test of time.”

A Country Music Hall of Famer, five-time Grammy Award-winner, and AMA Lifetime Achievement honoree, Stuart knows a thing or two about standing the test of time.  Born and raised in Philadelphia, Mississippi, he landed his first big gig in Lester Flatts’ band at the tender age of thirteen, and by twenty-one, he was working on the road and in the studio with Johnny Cash.  Though Stuart built his early reputation backing up country and bluegrass royalty, it wasn’t long before Nashville recognized him as a star in his own right, and over the course of forty-plus years as a solo artist, he would go on to release more than twenty major label albums, scoring platinum sales, hit singles, and just about every honor the industry could bestow along the way.

“If country music had a president, it would be Marty Stuart,” famed documentarian Ken Burns once proclaimed.  “He is the embodiment of the culture.”

Stuart emerged as an unofficial caretaker of the culture, too, spending much of his career rescuing and collecting country music artifacts from throughout the genre’s history.  The first piece he picked up?  Patsy Cline’s makeup kit, which he bought from a junk shop for $75.  These days, Stuart, who Rolling Stone calls “one of the world’s foremost country experts and archivists,” has roughly 20,000 pieces in his collection, including a handwritten copy of Hank Williams’ “I Saw The Light” and Johnny Cash’s first black performance suit.  While select items have been exhibited everywhere from the Rock & Roll Hall of Fame to the Louvre, Stuart is hard at work building a dedicated arts and cultural center to preserve and display it all in his hometown of Philadelphia.

“I’m calling it The Congress of Country Music, and I want it to serve as an inspirational spot,” says Stuart, who’s raised funds for the center with annual late night jams at the Ryman featuring everyone from Emmylou Harris and Sheryl Crow to Tyler Childers and Billy Strings.  “I want it to be a touchstone where younger generations can learn about this stuff and figure out who they are and embark on their own musical journeys.”

It’s that last part that particularly excites Stuart, whose musical journey came full circle on Altitude.  Written primarily on the road, the collection was inspired in large part by Stuart’s 2018 tour supporting Byrds co-founders Roger McGuinn and Chris Hillman, who reunited for the 50th anniversary of their seminal Sweetheart Of The Rodeo album.

“I bought my first copy of Sweetheart Of The Rodeo for $2.99 at the discount bin in a shopping mall record store in Goodlettsville, TN, and it became the blueprint for my musical life,” Stuart recalls.  “Revisiting it on the road with Roger and Chris put me back under its spell all over again.  I was writing songs in dressing rooms and soundchecks and on the bus, and then one day, I looked up and there was enough to make an album.”

Stuart and his band spent much of 2019 breaking in the new material live, and by 2020, they were raring to get into the studio.  COVID, however, had other plans.  Not wanting to lose any momentum, Stuart moved the sessions from the temporarily shuttered Capitol Studios in Hollywood, CA, to East Iris Studios in Nashville, TN, where he and his bandmates were still able to perform live on the floor (albeit masked and six feet apart).

“We knew if we didn’t find a way to make the record in that moment, we might never recapture the same circle of fire around the songs we had going for us,” Stuart explains.  “If we waited for COVID to pass, the album might very well have passed us by, too.”

The electricity in the room is palpable on Altitude, which opens with the blistering and trippy “Lost Byrd Space Train (Scene 1).”  Played on Byrds guitarist Clarence White’s original B-Bender Telecaster (another prized possession in Stuart’s collection), the instrumental track chugs along at a breakneck pace, flirting with country, bluegrass, and even psychedelic rock as it sets the stage for the wide-ranging sonic journey to come.  Stuart keeps the energy high here—the scorching “Country Star” squeezes a lifetime’s worth of absurdist imagery into a three-minute tour de force, while the ecstatic “Time To Dance” is a slice of pure honky-tonk joy, and the rousing “Friend Of Mine” even offers hints of Link Wray and The Ventures—but he never loses sight of the emotional core of the music, even amidst all of the instrumental fireworks.  The ringing 12-string and bittersweet harmonies of “Sitting Alone,” for instance, only serve to heighten the song’s sense of distance and isolation; the hypnotic sitar line on “Space” amplifies the uneasiness and longing that simmers just beneath the surface; and the spare acoustic delivery of “The Angels Came Down” underscores the raw vulnerability in Stuart’s deeply autobiographical lyrics.

“‘The Angels Came Down’ is probably the most truthful song on the record,” Stuart reflects.  “There have been times in my life when I’ve felt like a lost and wandering soul, just chasing all the wrong things.  Some people lose their lives to that, but sometimes the angels offer you a hand up out of the darkness.”

It’s that big picture perspective that guides Stuart on the album’s old-school, shuffling title track, which takes a bird’s eye view of what really matters most in this life.  “To get to go and stay, must give all your love away,” Stuart sings over what turned out to be one of the final performances from late piano legend Pig Robbins.

“I like to say that the most outlaw thing you can possibly do in Nashville right now is play country music,” Stuart says with a laugh.  “This album is a reminder to me, and to anyone else out there who’s interested, that there’s still a few of us left who know how to do it.  This music is in our hearts.”

THE COUNTRY STAR” VIP PACKAGE:

• • • Limited to 40 people
    • VIP ticket buyers to be allowed access one hour prior to other ticket holds.
    • VIP Upgrade includes admission to a private pre-show event at the venue featuring a performance by Marty and the Superlatives, along with a Q&A Storytelling session with Marty and Band.
    • One VIP Laminate
    • Crowd Free Merchandise Shopping
    • Exclusive Signed VIP Poster
    • VIP Experience will begin approximately one hour prior to doors

Another Longworth-Anderson Series evening of great music, food, and drink!  Complimentary pre-concert reception features live local music, light bites from Ollie’s Trolley and N.Y.P.D. Pizza, and craft beer tastings from HighGrain Brewing Co.

VIP Meet & Greet with Jimmy Webb

Experience a special opportunity for you and a guest to meet Jimmy after the show for a photo and a signed CD.

$125 Additional Purchase (show ticket not included) includes:

– Signed live CD, signed by Jimmy in front of the patrons

– Photo with Jimmy After the Show

This concert is rescheduled from September of 2023. For anyone who did not get a refund or exchange their 9/2023 tickets to a different date, your original seats have automatically been held for the new date and your original tickets are still valid.

If you have any questions, please contact the box office at (513)977-8838.

A master lyricist and satirical storyteller, John Hiatt delivers songs filled with tales of redemption, relationships and surrendering on his own terms. Hiatt’s finest album is 1987’s Bring the Family; other catalog highlights include the pop and rock of 1983’s Riding with the King, the rough-hewn blues-rock of 2008’s Same Old Man, and 2021’s Leftover Feelings. His lyrics and melodies have graced more than 20 studio albums, have been recorded by Bob Dylan, Emmylou Harris, B.B. King, Willie Nelson, Bonnie Raitt and scores of others, and have earned him a place in the Nashville Songwriters Hall of Fame, a BMI Troubadour award, and a lifetime achievement in songwriting designation from the Americana Music Association.

Another Longworth-Anderson Series evening of great music, food, and drink! Complimentary pre-concert reception features live music by Sarah Asher, light bites from Ollie’s Trolley and N.Y.P.D. Pizza, and craft beer tastings from HighGrain Brewing Co.

Fifteen-time GRAMMY® Award-winner Ricky Skaggs’ career is easily among the most significant in recent country music history. If Skaggs’
burgeoning trophy case full of awards wasn’t already enough evidence of that fact, consider that legendary guitarist Chet Atkins once credited
Skaggs with “single-handedly saving country music.” His life’s path has taken him to various musical genres, from where it all began in bluegrass music, to striking out on new musical journeys, while still leaving his musical roots intact.

Born July 18, 1954 in Cordell, Kentucky, Skaggs showed signs of future stardom at an early age, playing mandolin on stage with bluegrass pioneer Bill Monroe at 6 and appearing on TV with Lester Flatt & Earl Scruggs at 7. He emerged as a professional bluegrass musician in 1971, when he and his friend Keith Whitley were invited to join the legendary Ralph Stanley’s band the Clinch Mountain Boys.

Skaggs then went on to record and perform with progressive bluegrass acts like the Country Gentlemen and J.D. Crowe & the New South, whose self-titled 1975 Rounder Records debut album was instantly recognized as a landmark bluegrass achievement. He then led Boone Creek, which also featured Dobro ace and fellow New South alumnus Jerry Douglas.

But Skaggs turned to the more mainstream country music genre in the late ‘70s when he joined Emmylou Harris’s Hot Band, replacing Rodney Crowell. He became a recording artist in his own right in 1981 when his Epic label debut album Waitin’ for the Sun to Shine topped the country charts and yielded a pair of #1 hits. Overall, his productive stay at Epic Records would result in a total of 12 #1 hits. Additionally, he garnered eight Country Music Association Awards–including the coveted Entertainer of the Year trophy in 1985.

Skaggs, of course, fit right in with young “new-traditionalist” ‘80s artists like Randy Travis, and helped rejuvenate the country music genre after the worn-out “Urban Cowboy” period. But, Skaggs put his own stamp on the country format by infusing his bluegrass and traditional country music roots into the contemporary Nashville sound.

Skaggs’ 1997 album Bluegrass Rules!, released on his newly-formed Skaggs Family Records label, marked a triumphant return to bluegrass—which he’s solidified ever since with a series of GRAMMY® Award winning albums, recorded with his amazing bluegrass band, Kentucky Thunder (8-time winners of the IBMA ‘Instrumental Group of the Year’). Skaggs’ label has also served as a home for similar bluegrass and roots music-oriented artists including The Whites.

In the past decade, he has been honored with inductions into the Gospel Music Association’s Gospel Music Hall of Fame and the Musicians Hall of Fame. In 2018, a landmark year, Skaggs was also awarded membership into the National Fiddler Hall of Fame, the IBMA Bluegrass Music Hall of Fame and country music’s greatest honor, the Country Music Hall of Fame. Most recently, he was awarded the prestigious National Medal of Arts in 2020 for his contributions to the American music industry.

Ricky struck his first chords on a mandolin over 60 years ago, and he continues to do his part to lead the recent roots revival in music. Clearly his passion for it puts him in the position to bring his lively, distinctively American form of music out of isolation and into the ears and hearts of audiences across the country and around the world. Ricky Skaggs is always forging ahead with cross-cultural, genre-bending musical ideas and inspirations.

Hailing from both the Appalachian and Piedmont regions of North Carolina, the Rangers have long held traditional bluegrass paramount, while possessing an exceptional ability to bring it down the mountain, and to incorporate accessible influence from all walks of the region. With the band’s last few albums, they have gained recognition from well beyond the world of bluegrass, earning a reputation as some of the most influential songwriters in Americana today.

Newcomer to this ship, Aaron Burdett, brings a soul-stirring element to the Rangers’ mastery of mountain music. Burdett is an award-winning singer-songwriter, and a student of folk tradition. He provides a fresh, emotional context to the songbook, which “can reach out and touch your heart or slap you in the face,” to use the praise of drummer and multi-instrumentalist, Mike Ashworth.

Steep Canyon Rangers is made up of Graham Sharp on banjo and vocals, Mike Guggino on mandolin/mandola and vocals, Aaron Burdett on guitar and vocals, Nicky Sanders on fiddle and vocals, Mike Ashworth on drums and vocals, and Barrett Smith on bass, guitar, and vocals.

Over the band’s esteemed career, the three-time Grammy nominees have released 14 studio albums, three collaborative albums with actor and banjoist Steve Martin, been inducted into the North Carolina Music Hall of Fame, and appeared on some of music’s biggest stages. In 2013, Nobody Knows You won the GRAMMY Award for Best Bluegrass Album, while 2012’s Rare Bird and 2020’s North Carolina Songbook garnered nominations in the same category.

Jimmy Webb, America’s Songwriter, has written songs that transcend generations and genres –think “Wichita Lineman,” “MacArthur Park,”  “By the Time I Get to Phoenix,” and “Didn’t We.”  This Motown-trained composer writes all of his own lyrics and music and is the only hit maker to have scored songs on the Pop, Country, R&B, Rap, Disco and New Age charts. During this Evening with Jimmy Webb, audiences will hear this multi-Grammy Award winner’s songs and experience his insightful and often humorous stories about his work with Glen Campbell, Frank Sinatra, Linda Ronstadt (“Still Within the Sound of My Voice”), Art Garfunkel (“All I Know”), The Fifth Dimension (“Up, Up and Away”), The Highwaymen (“The Highwayman”), Kanye West (“Famous”  features Webb’s “Do What You Gotta Do”), and more.

Jimmy Webb is the author of the memoir, The Cake and the Rain, and the “bible” of songwriting, Tunesmith: The Art of Songwriting.  In 2019 Webb released a piano-only CD, SlipCover, featuring some of his favorite songs from his contemporaries; Billy Joel, Paul Simon, The Rolling Stones and more.

“… A night with Jimmy at the keys is not unlike getting to hear George Gershwin or Cole Porter live. It’s hard to believe one guy could have written all these amazing songs…if you get a chance to see him live, grab it…”
– Paul Zolo, American Songwriter Magazine

VIP Meet & Greet with Jimmy Webb

Experience a special opportunity for you and a guest to meet Jimmy after the show for a photo and a signed CD.

$125 Additional Purchase (show ticket not included) includes:

– Signed live CD, signed by Jimmy in front of the patrons

– Photo with Jimmy After the sShow

The Eagles Project returns to Memorial Hall for a special acoustic performance of favorites from the catalogues of The Eagles and their solo projects. They will be returning with the Eagles Project Strings for a special holiday flavored performance.

It all began with an idea and a love of great music shared by talented musicians. Wanting a creative project to both enjoy and perform for fans became our mission and now we want to share it with you. All of our members have had success in the music industry and performed all over the country. Yet coming together to perform the music of the Eagles, Henley, Frey and Walsh and James Gang has created an explosive dynamic project. One that has been delighting and exciting fans of this music like never before. The Eagles Project presents the music as it should be, true to the originals. Come see for yourself, your ears will thank you!