When he calls, Bob Mould is finishing work on his 15^th solo album, Here We Go Crazy. A distillation of the unfailing melodic skill, the emotional lucidity and dynamic fluency he’s developed over more than four decades, it’s also a typically bold realignment of his sonic paradigm. Its turbulent vignettes are scored by Mould’s familiar bruised tunefulness, but the sound is pared back to its fundaments, 11 songs blistering past in just over 30 minutes. “I’ve stripped things back to what excited me as a young guitarist,” he explains. “The energy, the electricity.”

Part of the inspiration for this more primal aesthetic is the heavy itinerary of touring he’s lately undertaken, several years spent circling the globe, either in the company of bandmates Jon Wurster (drums) and Jason Narducy (bass) or just by himself. “I was really throwing myself in the songbook and feeling where the audience is at,” he says. “And they were really responding to this very simple, just-me-and-a-guitar setup. And I thought, maybe I shouldn’t be overcomplicating things, ‘word’-ing or ‘craft’-ing it up. Just grab for the simple bits of life we still have control over: our emotions, our relationships.”

After shows, Mould would hang out signing merch and talking to fans. “Sometimes people bring a lot of their lifetime emotional content to me,” he says, “like they’ve compressed all this coal into a tiny little diamond. Sometimes I’m surprised at the weight of it, the heaviness. I’m like, ‘I’m here for you. I’m listening.’ I’m shocked and grateful they share so readily with me. I don’t know what I did to earn that trust.”

Mould has earned that trust with every record he’s made, channelling his own “lifetime emotional content” for songs of wisdom, honesty and volcanic intensity. His first band, Hüsker Dü, bared his angst over furious noise and turbulent melody, an indelible influence on generations that followed. But by the time Nirvana infiltrated the mainstream, Bob Mould had already moved on, having sequestered himself in a farmhouse to lick his wounds and learn new ways to sing his songs. His solo debut, 1989’s folk-rock masterpiece Workbook, was a record of depth and sophistication. Then he pulled another sharp turn, his power-trio Sugar alloying his most melodic songs with his fiercest noise, yielding his most commercially successful work yet.

Over the solo career that followed Sugar’s own mid-90s flameout, he’s displayed a maturing gift for songwriting, transcending the ‘alternative’ tag and recognised alongside key influences like Pete Townshend and Pete Shelley. He’s adrenalized classic forms, alchemised angst into something addictive and powerful. “I’m just trying to figure myself out,” he says. “After 64 years of life – 55 spent writing songs – it’s what I do.” The concepts that shaped the songs of subsequent albums reflect those years. The ruminative Beauty & Ruin (2014) and Patch The Sky (2016) were written in the wake of losing his parents and other loved ones. 2019’s Sunshine Rock was a homage to the early Capitol singles of the Beatles and the Beach Boys, constant companions through his turbulent childhood. The terse, political Blue Hearts (2020) was written and recorded amid the dying days of the first Trump administration.

Here We Go Crazy, meanwhile, arrives at another moment of uncertainty, a time of disruption and fear. Mould sees the songs unfolding like the three acts of a play, each act exploring distinct but related themes. The first handful of songs concern “control versus chaos”, Mould explains. The opening title track contrasts images of nature – deserts, mountains, fault-lines – with the tumult of human life. Inspired by a riff that Mould says “sounded like a fistfight”, ‘Neanderthal’ is “a snapshot from inside my head as a young kid: growing up in a violent household, everything being unsettled, feeling that fight-or-flight response at all times,” while ‘Breathing Room’ is “about feeling isolated, cramped-up, and literally needing that breathing space”.

The furious, dynamic ‘Fur Mink Augurs’ signals the second act, where the darkness descends. The song channels claustrophobia, and “the cold, crazy, late-winter feeling I grew up with in the Adirondacks and in Minnesota. When the cabin fever really sets in deep – when the permafrost is set and it never gets warm – you become frayed, and things can really unravel, quickly.” ‘Lost Or Stolen’ chronicles lives undone by “people losing themselves in their phones,” Mould explains. From this focus, he pulls back and digs into “ideas about depression, addiction, self-medication and collapse… The words just fell out of me.” This anguished middle-passage of the album concludes with the cathartic ‘Sharp Little Pieces’, exploring “the end of innocence, the idea of a young child’s trust being violated. For those of us who lost trust as children, it disappears in a flash, and we spend years struggling to regain that innocence. And maybe it never comes back.”

The song ends bluntly (Mould says the album’s “lack of sophisticated ornamentation is key – I was trying to stay out of the way of the songs, to strip away all the things I used to think were important, all those extra colours and complexities. I didn’t want to get deep into decorating the tree. I wanted to keep it simple, to use the simplest words”), raising the curtain on the closing act. The theme here is lifting oneself out of the darkness; ‘You Need To Shine’ is a song about “looking for the bright sides, the good parts of life, despite everything that’s happened”, Mould says, a sentiment borne out by the song’s spirited holler that “all that madness doesn’t matter anymore”. ‘Thread So Thin’ is “about trying to protect the one you love, and trying to feel protected”, Mould explains, while the closing ‘Your Side’ is a powerful love song from the edge of the darkness, Mould howling “If the world is going down in flames, I want to be by your side”. “We’re heading into a great unknown here,” Mould says, of the wider geopolitical and climate anxieties that inspired these songs. The message here is, simply, focus on that which can save you and deliver you from this moment. “This album talks a lot about uncertainty, helplessness, being on edge,” Mould adds. “How much can we control? How much chaos can we handle? In the end, the answer, the remedy, is placing your trust in unconditional love.”

Mould knows Here We Go Crazy is an album freighted with darkness; “There’s soothing melodies, and there’s lyrical discomfort,” he deadpans. “It’s manic, frantic, complex.” But no one ever came to Bob Mould for good news, for the easy answers. Pop music runs through his veins, as surely as the electricity that drives his chiming hooks into the realms of distortion, but he’s here to give you the truth, his truth. To give you songs that ring true when howled against a tornado of guitar, that compress all that “lifetime emotional content” into some kind of sonic diamond. There’s eleven of those precious gems here, sculpted to make the heaviness easier to bear, somehow. Treasure them.

J. Robbins is an independent music lifer. Starting out at the end of the 1980s playing bass in the final and longest-tenured lineup of DC hardcore mainstays Government Issue, he went on to gain prominence in the 90s as the singer/ guitarist of the prolific and widely-traveled indie rock band Jawbox. That band’s sound developed to become a template for most of J’s later work: passionate and tuneful vocals set to driven guitars that swing between melody and clashing dissonance, atop complex and driving rhythms, abrasive post punk and melodic guitar pop influences in an always uneasy alliance greater than the sum of its
parts.

One of the most outstanding instrumentalists in rock over the past 40 years, Texas guitarist Eric Johnson was already a legend before he recorded his first album. By the early 1980s, many celebrated guitarists were singing the praises of this skinny kid from Austin with the mind-melting chops. Comparisons were made to such guitar heroes as Jeff Beck and Jimi Hendrix and when he joined the ‘70s Austin fusion band Electromagnets they were being hailed as “the Mahavishnu Orchestra of Texas”. With the release of his highly-anticipated 1986 solo debut album Tones, the underground guitar legend finally emerged onto the scene fully-formed. It landed him on the cover of Guitar Player magazine, which hailed the album as a “majestic debut”, and earned him his first Grammy nomination for the song “Zap”. With the release of his follow up album, 1990’s platinum-selling Ah Via Musicom, which contained the Grammy Award winning song “Cliffs of Dover”, Eric Johnson became a bona fide international guitar phenomenon.

The New Age Music Guide once opined that “Eric Johnson plays guitar the way Michelangelo painted ceilings: with a colorful vibrancy that’s more real than life” while Rolling Stone included him in their list of the 100 Greatest Guitarists of the 21st century. A dynamic singer as well as an incredibly gifted guitarist, a pianist and a prolific songwriter, Eric has been featured on the cover of countless guitar magazines around the world while also racking up critical accolades along the way.

Since 1986 Eric has released seventeen albums, in addition to albums with other artists such as Eclectic with jazz guitarist Mike Stern, and the platinum-selling G3 Live with Joe Satriani and Steve Vai. Eric has received eight Grammy nominations along with numerous other recognitions, awards and wins in various polls and magazines. Among Johnson’s many accolades are a GRAMMY award in 1992 for “Cliffs of Dover” as Best Rock Instrumental Performance, lifetime induction into the Guitar Player Gallery of Greats, and his listing among the “100 Greatest Guitarists of the 20th Century” by Musician magazine. In his hometown of Austin Texas, a city full of guitarists, the readers of the Austin Chronicle voted Eric Johnson the city’s “Best Electric Guitarist” and “Best Acoustic Guitarist” in their yearly poll year after year. They also named him “Electric Guitarist of the Decade” and one of the top five “Musicians of the Decade”. In February 2024 Eric was honored with induction into the Texas Heritage Songwriters Association Hall of Fame.

2023 found Eric on his ‘Treasure Tour’, 67 US dates that were split between a Spring and a Fall tour. In January and February 2024 Eric joined the ‘G3 Reunion Tour’ with Joe Satriani and Steve Vai, and the resulting new live album from the tour will be released in January 2025. In August 2024 he heads out for a run of dates in the north and northeast including the Backroads Blues Festival in New York. In September and October 2024 Eric was a featured performer on the ‘Experience Hendrix 2024 Tour’, crossing the country from Washington state to Florida, and then rejoined in March and April 2025 for the ‘Experience Hendrix 2025 Tour’ throughout the east and
northeast USA and Canada.

Over the course of more than four decades, Eric Johnson has been traveling on a prolific odyssey. Along the way, his creations have cross-pollinated the various musical genres which include rock, blues, jazz, fusion, soul, folk, new-age, classical, and even country. Inevitably EJ says it best himself in sharing that regardless of the genre “It really boils down to the music and the song at the end of the day”, he explains. “The most important thing for me is to grow musically and make a more expansive and meaningful artistic statement with every new project”.

Eric Johnson Soundcheck + Q&A Package

– One premium reserved ticket in the first 3 rows or Box Seats
– Early entry into the venue
– Access to an intimate preshow soundcheck by Eric Johnson
– Q&A session with Eric Johnson
– Eric Johnson CD
– Eric Johnson tour poster
– Specially designed Eric Johnson tote bag
– Commemorative VIP laminate & lanyard
– Priority merchandise shopping
– Limited availability

A haunting album cover reveals the unique and dramatic world of GENESIS on stage, released as GENESIS LIVE (1973). The show would include songs from NURSERY CRYME, FOXTROT – Genesis’ latest album – but also rarities the band would never perform again.

The audience would witness for the first time PETER GABRIEL‘s antics and mysterious costumes adorning SUPPER’S READY, GENESIS’ masterpiece.  This show has acquired a cult-like following amongst GENESIS fans and is considered the quintessential early GENESIS performance.

GENESIS LIVE was recorded at De Montfort Hall in Leicester England on February 25^Th 1973.

50 years later, THE MUSICAL BOX, internationally renowned for its historical accuracy, presents the original GENESIS LIVE performance in painstaking detail and offers an evening of time travel.

PETER GABRIEL

“TMB recreated, very accurately I must say, what Genesis was doing. I saw them in Bristol with my children so they could see what their father did back then”

PHIL COLLINS

“They’re not a tribute band, they have taken a period and are faithfully reproducing it in the same way that someone would do a theatrical production“

The Eagles Project returns to Memorial Hall for a special acoustic performance of favorites from the catalogues of the Eagles and their solo projects. This special holiday-flavored performance will include the Eagles Project Strings.

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!

The United States Air Force Band of Flight’s popular music ensemble, Flight One, is a versatile and energetic group of active-duty Air Force musicians that performs a mix of classic rock and roll, the top hits of today, and everything in between. Stationed at Wright-Patterson Air Force Base in Dayton, OH, they proudly represent the professionalism and valor found in every Airman throughout your United States Air Force. Flight One: In Tune with America’s Soundtrack!

Memorial Hall’s May 14 presentation of Dave Mason has been cancelled due to a serious health issue. Dave’s representation wishes to share the following message:

Hello to all our Dave Mason fans. We want to share that Dave has been hospitalized due to a serious infection that developed quickly. The entire Dave Mason family, band, and crew deeply appreciate your love and prayers during this time. Tickets for all March, April & May shows will be refunded at the point of purchase. We’re all hoping for a swift recovery!

Ticketholders are being contacted by Memorial Hall. If you purchased tickets by credit card, your ticket(s) will be automatically refunded in the next several days. If you’ve not seen the refund hit your account by the conclusion of your next billing cycle, or for any other questions, please contact the Memorial Hall Box Office at 513.977.8838 (Tu – Fr, 1pm – 6pm)

A man like Dave Mason never leaves touring. Yet, at 78, there are no guarantees…so now is the moment to experience a legend! Don’t miss your chance to see this iconic artist live and may these 2025 performances become treasured memories that last a lifetime.

Dave Mason returns to touring in 2025 with ‘Let It Flow’, which isn’t just the name of a song, but it’s his philosophy in life. As a guitarist, singer, songwriter and a producer, Dave has always put forth that great songs come from a state of being quiet enough to hear the flow of the music before it ever hits the page. He has devoted his life to developing a deep sense of inner listening and the gifted capacity to bring it all to life.

You don’t want to miss this legendary artist as he performs deep cuts and classic favorites that have been loved by legions of fans for more than half a century. Fans can expect a unique concert experience as all songs are interwoven with Dave’s rich storytelling of a history that encompasses over five decades in rock n’ roll.

Anyone who’s listened to Dave’s music, or has seen him in concert, knows that he’s playing because he loves it. He is authentic. You wouldn’t know that he’s shy and introverted by nature if you’ve seen his powerful performances. Dave has been described as a ‘gunslinger’, and what you’ll witness firsthand is a man dedicated to preserving the vitality of music, staying genuine and faithful to the spirit of excellence.

The RUSH Tribute Project is an homage to one of the most enduring and influential bands in rock music.

Combining skilled musicianship with exciting performances, The RUSH Tribute Project (known as RTP to its dedicated fanbase) delivers the magic of Rush’s famous live concerts. Covering all 40-plus years of Rush’s amazing career, RTP painstakingly recreates the sound and energy that made Rush one of the top-selling rock bands of all time. With a lineup that has performed Rush tribute shows for over a decade across North America and around the world, including RushCon, RTP stands out as one of the premiere tributes to this legendary, RnR HOF power-trio.

Using vintage instruments, multi-camera projections, state-of-the-art lighting, and signature virtuosity, RTP delivers an unparalleled concert experience for the casual fan as well as the most discerning Rush loyalist. SEAN JONES is a classically trained multi-instrumentalist, which comes in handy when needing to cover Geddy Lee. He has played nationally and internationally in various Rush tributes over the past 20 years, including playing for RushCon and touring army bases in Kuwait. Along with Geddy, some of Sean’s biggest bass influences include Chris Squire and John Entwistle, all of whom incorporated keyboards, synth pedals, guitars, and other instruments into their performances.

BILL HECK is a 37-year veteran of guitar and has been playing at some level since childhood. Bill was the proud recipient of the Wisconsin Area Music Industry (WAMI) Award for best guitarist in 2017. He has always been heavily influenced by guitar-hero rock, hard rock, and metal, but always considered Rush and Alex Lifeson as the primary force behind his love for guitar playing. Bill could be considered the “new guy” in The Rush Tribute Project as he had to go through the heavy scrutiny of auditioning for the band but has happily been a member of RTP since its beginnings over eight years ago.

THOMAS SLAWNIK is the percussionist and has been with RTP since its start in 2013. Thomas started banging the drums at the young age of 4 and hasn’t stopped since. He has performed with several Milwaukee bands since the late ’70s. Thomas’ influences include Neil Peart and Scott Rockenfield. His current drum kit is a “Frankenstein” collection of drums and cymbals which include DW drums, Zildjian and Sabian cymbals, and various electronics. The kit is influenced by Rush’s R30 tour kit. When he’s not on tour, Thomas spends his free time with his daughter, Ina, and enjoys golf, bike rides, and a good IPA.

In celebration of the 25th anniversary of its release, the Magnetic Fields will spend 2024 performing their entire 69 Love Songs album in its entirety over the course of 2 nights —a 3-disc masterwork that marked a significant breakthrough for the American band. The band will be performing the full record for the first time in over two decades. Starting in March, 2024, the band will perform 69 Love Songs throughout the year in selected markets throughout the USA and Europe.

New dates have been added, in which composer Stephin Merritt will be joined by members Sam Davol, Shirley Simms, Chris Ewen, and Anthony Kaczynski, with special appearances from Claudia Gonson and John Woo in selected US markets.

Written and recorded entirely by Stephin Merritt, 69 Love Songs garnered universal acclaim at its 1999 release, landing on best of year-end lists in Rolling Stone, The New York Times, SPIN, LA Times and The Washington Post, and received notable praise from Pitchfork, The Guardian, Stereogum and much more.

The Magnetic Fields are the brainchild of Merritt, who also releases albums as the 6ths, the Gothic Archies and Future Bible Heroes. With the Magnetic Fields, he has written, produced, and recorded 12 albums to date. He composed original music and lyrics for three music theater pieces directed by Chen Shi-Zheng, and in 2008, mounted an Off-Broadway stage musical of Neil Gaiman’s Coraline, for which he won an Obie Award. Merritt composed the score for the Academy Award–nominated film Pieces of April and for the independent film Eban and Charley. Merritt’s song “The Book of Love” was performed by Peter Gabriel and appears in the film Shall We Dance, as well as in numerous other films and TV shows. Merritt has composed incidental music for the HarperCollins’ audio books of A Series of Unfortunate Events and Neil Gaiman’s Coraline.

The Magnetic Fields will perform 69 Love Songs as it was originally performed in the early 2000’s: In full order over 2 nights, with one half of the triple-disc album performed each night. Featuring multiple singers, the band delivers signature orchestral-pop arrangements with cello, ukelele, guitars and keyboards.

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.