Calendar of Events
Upcoming events and things to do in Asheville, NC. Below is a list of events for festivals, concerts, art exhibitions, group meetups and more.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
Commemorating the lives lost for the 20th anniversary of 9/11 as well as those who have lost their lives to COVID-19
Featuring compositions written by René Clausen and Stephen Paulus performed by the Carolina Concert Choir and the Asheville Symphony Chorus
Autumn at the Opry
Please note: Proof of vaccination or a recent negative COVID-19 test and masks will be required at the performance. For more information on our COVID-19 safety protocols, please click here.
Grab your guitars and dust off your cowboy boots before heading back out to the Playhouse Barn for the second chapter in our Pickin’ and a Grinnin’ Series. Autumn at the Opry showcases everything from bluegrass to honky-tonk, tin pan alley to pop standards, and the blues to rock-n-roll. This ode to The Grand Ole Opry guarantees a hand-clappin,’ foot-stompin’ good time.
Lions & tigers & bears, oh my: GRAMMY Award Winning Billy Strings is performing a 3 night Halloween run in Asheville, NC on Oct. 29, 30 & 31 at the ExploreAsheville.com Arena.
We’re going all out for Billy’s favorite holiday… stay tuned for updates somewhere over the rainbow and we’ll see all you monkeys + munchkins there!
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The Regions is a new band formed by old friends who first met at the University of Miami where they studied under Professor Emeritus of Jazz Studies Ron Miller. The Regions is made up of core members Steve Rucker, Jon Gilutin, Steve Watson and Jeff Carswell, along with John Lovell and David Fernandez.
After recording a few songs together and feeling delighted in the results, the group decided to record a tribute album honoring the man who brought them so much inspiration years ago. This album features Miller’s original compositions in a new, reimagined format. Join the group on a trip down memory lane with exciting arrangements, world-class musicianship, and a whole lotta creativity and groove.
Songwriter and activist Erin McKeown returns to Asheville with her highly original take on classic American blues, jazz, and rock. With her cool and collected voice and brash electric guitar playing, expect an evening of intimate songs that will stay with you long after the show.
Erin McKeown is a musician, writer, and producer known internationally for her prolific disregard of stylistic boundaries. She has released 10 full length albums and several EPs over the last 20 years, all the while refining her distinctive and challenging mix of American musical forms. Leading her own band, she has performed at Bonnaroo, Glastonbury, and the Newport Folk Festivals. A familiar presence on NPR and the BBC, McKeown’s songs have also appeared in numerous commercials and television shows.
Hush Hush is back 10/29 for a Halloween masquerade that will send you into euphoric bliss. Based on the 1926 novella ‘Traumnovelle’ meaning 𝘋𝘳𝘦𝘢𝘮 𝘚𝘵𝘰𝘳𝘺, Eyes Wide Shut tells the tale of a night-long erotic adventure—we can’t wait to bring you an evening of mystery, ethereal vibes, sexy cocktails and (of course) an unforgettable dance party.
Masks and proof of vaxxx required. This is a costume party so dress to kill.
- 8PM DOORS / 9PM SHOW
- ALL AGES
- STANDING ROOM ONLY
On the porch of her one-time Nashville home, Liz Cooper had a multimedia project that combined two of her loves: lips and cigarettes. She painted her own lips with red paint and kissed a canvas two or three hundred times, later dotting them with the detritus left behind in ashtrays by her friends. An overlap of intimacy, indulgence, cheekiness, and sensuality, the piece complements Cooper’s roiling second record, Hot Sass. Over jagged, frenetic guitar parts, Cooper sets expectations aflame with the record’s title track. Her songs unfurl like smoke spiraling off an incense cone late in the afternoon, with Cooper pushing deeper into psychedelic openness, punk ferocity, and beyond.
Hot Sass marks multiple departures for Liz Cooper: from her nine-year home of Nashville, from her band addendum of the Stampede, from any genre-burdened expectations she’d accumulated over the years. After heavy touring in support of 2018’s Window Flowers, where her songs stretched out in live settings, she felt constricted by the Americana-adjacent associations that the Stampede carried. So with her bandmates’ blessing, she dropped the moniker, pursuing sounds and songs that let her chase the inspiration lent to her by the likes of Courtney Love, Lou Reed, and David Bowie.
In Burlington, Vermont, Cooper and her cohort — Ryan Usher, Joe Bisirri, and Michael Libramento — recorded Hot Sass at Little Jamaica, the personal studio/private residence of producer Benny Yurco (Michael Nau). The intimacy of the space and the players’ provided a wide-open approach to Yurco’s live setup for rolling forward with minimal takes, a sensibility abetted by a whole lot of psychedelic mushrooms consumed in the process. Cooper recorded her guitar parts from the kitchen and living room while Usher played drums in a bedroom.
Completing Hot Sass, Cooper realized she needed a change of scenery from her longtime home of Nashville, where she’d lived in a freewheeling house of itinerant artists known as the Pennock Palace. She settled in Brooklyn at the beginning of March 2020, and found herself confronted with the new challenges of staying still as touring ground to a halt.
“I’m learning more about how to take care of myself — just facing the darkness head on that I’ve been running from by being on tour and being so busy my whole life. It’s taught me more about what kind of artist I want to be and what kind of person I want to be,” she says.
But now, Hot Sass is crackling into public life, charging forward with Cooper’s revitalized creative energy. Her Nashville confidant Daniel Yocum, a painter and friend who collaborated with her on the music videos for Hot Sass, first encouraged Cooper to pick up the practice for herself. She’s finding new mediums to explore in paints and pedals, discovering even more exciting, untamed space to be herself.
Where did the concept of “hot sass” come from, and how did it become the central focus of your record?
It’s something that scares me. It’s another part of myself that I’d never really show. It’s something that pushes me that goes hand in hand with me not hiding behind a band’s name anymore. It is this other side of me, this wild side.
I feel like it is this madness that I’ve been more comfortable with accepting and like, this fucking attitude that I do possess that I’ve been hiding from. It’s this confidence and sexiness, it’s something that I’ve always been very afraid of. It’s me learning about what kind of woman I am and It’s not pretty all the time. It’s not this thing that you can put in a box. I’m inspired by women who speak their mind, and who don’t give a fuck what people think about them.
There’s a sense of restlessness that carries across the record, and right after you finished it, you left Nashville for New York. How did that feeling make its way into the songs?
A big thing about touring is how you’re not really able to reflect, you’re just so in the moment all the time, and you’re always surrounded by people. I am an introvert, and I feel like I have to refuel by being by myself, which is literally impossible when you’re on the road. I was exhausted. But I think it’s also a lot of growth and just learning about myself and trying to be confident. I’ve always struggled with my confidence and self worth, and facing that.
What was your approach with beginning to write Hot Sass? Where were you trying to push yourself musically?
Really what the beginning of it was, was, very organically and naturally, I met Benny Yurco, who is a fucking creative genius. I just texted him one day, and I was like, “I want to make a record with you.” And he was like, “Let’s do it.” So really that was the beginning push for me to be creating with an artist that I really respected. I knew I had to really bring it for him and for myself.
I wrote this album on the road and any chance I could find, so in between soundcheck and the show, I would hide in the van, or I would write in motel bathrooms. Whenever I’d get home for however long, which is not usually very long, I would just dive in and write.
As soon as we got to Benny’s, it was this complete safe haven. All of us trust each other so much, and we let our guards down completely. We flew through recording these songs and tracked the drums, the bass, guitar, and vocals all live. There was no intention besides just making the best song and without any ego.
You spent a few years touring pretty heavily, even by a lot of musicians’ standards, and you recorded most of Hot Sass live as a group. How has it been going without that kind of in-person energy for the last year or so?
This is the longest I’ve gone without playing music my entire life. It’s been really important for me, because music is my spirituality and my release, and I’ve never not had it. To take that away has been a total withdrawal, and an incredible emotional roller coaster to be in an unfamiliar city with that.
It affected me a lot. I know that I needed that break, because it made me learn more about myself: “Okay, well, if I can’t just chase this thing all the time, who am I without music? I’m still learning.”
What has picking up painting meant to you over the last few years?
I’ve just been finding my voice with it just like music. And I definitely have ideas of how I want to push boundaries with it. It’s just another way to expose my insides which scares me but also makes me feel whole and healed. I love to paint because I don’t feel any pressure from myself or from anyone else. It’s just fun and it’s pure. Purely expressive. If I make something that is horrifying and super shitty, I don’t care. You move on, and you learn from it. And that’s it. Daniel is the one that really made me fall back in love with it. We push each other, and we’re gonna do some collaborations with visual art beyond videos, see what we can dream up in the painting world.
What do you most want to get across with this record?
I’m not sure if there’s anything specifically that I’m aiming to get across. I’m still processing these songs. Still reflecting. And I think that’s the thing — Hot Sass is just a stamp in time of what was happening in my life. I just want to continue making art that displays myself, the moments, and the people around me.
Charles has been playing music since she was 5 years old. At 18, she formed country duo The Driftwood Singers with Christian Lee Hutson, singing and playing guitar and autoharp. At 22, she joined garage rock band The Blank Tapes as drummer. After two fun-filled years immersed in the rock and roll lifestyle, she decided it was time to pursue her own songwriting, and began developing the songs that formed 2015′s eponymous debut EP. Drawn to poppy hooks and catchy choruses, Charles draws on what she loves about the 60s, 70s and 80s while developing her unique style as a solo artist.
In 2018, Pearl released debut album, Sleepless Dreamer, which Rough Trade described as “The best country pop we’ve heard in years” and Buzzfeed called her “A modern June Carter meets Lana Del Rey.” With the upcoming release of the follow up, Magic Mirror, out January 15, 2021, Pearl leans into furthering her own brand of country-disco.
“As if Tom Petty were riding shotgun, Charles and band capture a certain Southern California essence” – LA TIMES
“Bursting with blues-rock and blissed-out psychedelia” – PITCHFORK
Official 2021 Raffle Rules
PROCEEDS
This raffle is a fundraising event, and all net proceeds benefit the Brevard Music Center (BMC). Brevard Music Center is a 501(c)(3) nonprofit organization. EIN# 56-0729350
DRAWING
The drawing will take place on Monday, November 15, 2021 at 3:00pm EDT. All mail, phone, and internet orders must be received by 11:59pm EDT on Sunday, November 14, 2021.
TICKETS
The cost to purchase a single entry (“Ticket”) for the Raffle is $125 (U.S. Funds only) and is not tax deductible.
A wide range of Membership Program packages are available, offering benefits and perks including one-time or unlimited admission to the Moogseum for a year, guest passes, gift membership packages, access to virtual archival galleries and live streamed events, free or discounted admission to in-person and virtual events, and even private Moogseum tours. Membership packages are offered at price points from $25 – $500 per year.
Become a member of the Bob Moog Foundation and the Moogseum, which allows you access to tangible, members-only benefits and allows you to be an advocate in support of Bob’s legacy and contributions that revolutionized music!
Your membership provides invaluable resources and funding to support our mission to innovate, inspire, and ignite creativity.
Review the Membership Packages below and choose the one that best suits you!*
All packages include the Members-only “Synth-Insider” newsletter, sent quarterly,
and a 10% discount on Bob Moog Foundation Merchandise.
–Roots and Home
–Sprouting Earth Pottery
–Midnight Mountain Gems
–Botanical Bones
–Dying Times Dyes
–Creative Paths
–Farm House Moon
–Citizen Bloom Botanics
–Fonts and Fibers
–Kitsune No
-Hollywood Dyes
–Roam Collective
–Nova Gardens
–Louise Genetti Art
–Silver Cascadesa
–Blue Ridge Plant Company
Autumn at the Opry
Please note: Proof of vaccination or a recent negative COVID-19 test and masks will be required at the performance. For more information on our COVID-19 safety protocols, please click here.
Grab your guitars and dust off your cowboy boots before heading back out to the Playhouse Barn for the second chapter in our Pickin’ and a Grinnin’ Series. Autumn at the Opry showcases everything from bluegrass to honky-tonk, tin pan alley to pop standards, and the blues to rock-n-roll. This ode to The Grand Ole Opry guarantees a hand-clappin,’ foot-stompin’ good time.
Commemorating the lives lost for the 20th anniversary of 9/11 as well as those who have lost their lives to COVID-19
Featuring compositions written by René Clausen and Stephen Paulus performed by the Carolina Concert Choir and the Asheville Symphony Chorus
Hello StarTriber!
Ready to get down with Drumspyder & your Tribe??
Reserve your space at www.startribe.org
It’s tried and true that there’s something exceptionally powerful about an entire community sharing in the magic of ecstatic dance, and an essential part of making it that way is YOU – that’s why, at any StarTribe, dancing your heart out will be irresistible; so prepare to bass up and get down.
…And prepare to get costume-crazy at the Halloween Ecstatic Dance!…There will be prizes for the most epic costumes. Be there at 5:45PM for what will be the one-of-a-kind contest!
Scott Sterling (Drumspyder) brings a deep love of rhythm to his distinctive style of percussion-driven dance music. A masterful percussionist specializing in tambourines and frame-drums, he weaves together intricate hand percussion and bass-heavy production into finely sculpted grooves – always to be a magical inspiration to the dance-floor. Drawing from the Folk, Medieval, and Renaissance music of the British Islands and Europe, Drumspyder’s music is a unique alchemy of pagan traditions and tribal rhythms.
* Dance-floor powered with the classic 22 speaker StarTribe Sound System. BOOM.
* Free attendance for kids 12 & under.
* As always, this is a rain or shine event!
* Masks are optional. Hooray for health, but stay home if you’re feeling any symptoms relative to COVID.
* Free hot chai served at 6PM.
* Bring water!
* More TBA soon!!
The StarTribe Vision
For thousands of years, countless cultures all over the world have danced for the purpose of community and self improvement, making dance of this kind an invaluable part of life. This is the purpose of StarTribe.
In much of the Western world, however, the scope of dance has become narrow and limited with the theme often being of noisy, unnatural nightclubs and bars which may not exactly be empowering, relative to what’s possible.
But there’s a revival of late towards more meaningful dance – dance that takes place in special outdoor settings and within a real sense of community, much like it was for millennia. This is where to find your Tribe.
Thousands of people have participated in StarTribe, and for the real spirit of dance. There’s something especially moving and powerful about an entire community of people coming together for this experience, and YOU are warmly invited.
StarTribe is a 501c3 non-profit dedicated to community transformation. That includes YOU.
Join us for an enchanted evening of live music, drinks, dancing, good food & entertainment at the historic Melange Inn. When: Saturday, October 30th, 6 o’clock in the evening Attire: Formal + Masquerade Masks Tickets are $100 and include a welcome champagne cocktail hour, all non-alcoholic beverages & three course dinner.
Kari Jobe, in conjunction with Cody Carnes and Premier Productions, presents The Blessing USA Tour. Written and released the week before the the COVID pandemic hit the globe, Jobe co-wrote the tour’s namesake, “The Blessing,” with her husband and songwriter Cody Carnes and Elevation Worship’s Steven Furtick and Chris Brown. “The Blessing” was the most consumed new CCM song of the year in 2020 and also won for Worship Song of the Year at last year’s GMA Dove Awards. It is nominated for Best Contemporary Christian Music Performance/Song at the upcoming Grammy Awards.
- 7PM DOORS / 8PM SHOW
- ALL AGES
- STANDING ROOM ONLY
On his new album Born Against, Amigo the Devil – the artistic moniker of Danny Kiranos — has established himself as a multifaceted artist with a kaleidoscopic vision. The new record follows Kiranos’ beloved 2018 debut Everything Is Fine, an album that was chock full of violence, mayhem, and despair — and one that augmented his long-gestating cult following. Kiranos’ new collection of songs reveals him to be more than a one-trick pony stylistically as he opens up the creative channels and delves deeply into thematic and musical influences as august as Tom Waits, Leonard Cohen, and Fiona Apple.
“Every new record is an opportunity to sit and think about how much has changed in your life and the world around you,” Kiranos says. “It’s a new opportunity to bring in both new and old influences. I really wanted to dive into ideas that I’d either been avoiding or ignoring within myself and figure out ways to align them with music I grew up listening to. Influences that may have been set aside in our older recordings.”
Kiranos, who grew up in Miami in a multicultural household but now lives in Austin, decamped to Dallas to record the album at the venerable Modern Electric Studio with Beau Bedford (Texas Gentlemen). This marked the first time Kiranos had explored some of the world music he’d had long loved, including Eastern European folk and Australian country (“It has such an amazing sound to it,” he says of the honky-tonk of Down Under. “The rhythms are so dry and brutal.”) Kiranos felt Bedford was the only producer who could draw those sounds out of him. Together they entered the studio with merely the skeletons of the songs Kiranos had written. One by one, they fleshed them out in wildly inventive fashion. To say they threw the kitchen sink at this album would be an understatement; these guys threw the whole damn shack. From plucking the strings on the back of the piano to dropping heavy objects on the floor to create odd-sounding crashes, clicks and clacks, Kiranos doesn’t deny there was a bit of Rain Dogs-era Tom Waits worship involved.
As for the songs themselves, Born Against finds Amigo the Devil embracing a more widescreen narrative form in his writing, moving slightly away from the dark-night-of-the-soul diaristic tone of the first album. Whether it’s getting revenge on a daughter’s murderer, a final love letter from a death-row inmate, or an ode to one’s own flaws and mortality, the songs on Born Against pack an emotional wallop and manage to accord dignity to the darker aspects of humanity some of us would rather turn our eyes from. But at the end of the day, Kiranos understands that’s it’s stories – even the darkest of ones – that connect us through it all. And he’s worked hard to get better at telling those stories.
“It’s been a goal to become more efficient writing songs,” Kiranos says, adding that “this was a very conscious attempt to promote imagery over sentiment.”
Once Covid began to take root, Kiranos says the pangs of cabin fever set in. His entire professional life over the last decade has revolved around touring, and he was feeling boxed in. He was suffering creatively and having trouble tapping into the old wellsprings that had previously birthed songs. Writing in the third person allowed him to immerse himself in other characters’ stories, which he presents on the record in first-person for more immediate effect. These are vivid, sepia-toned snapshots of lives on the brink. Mini-movies, if you will. And they have a horrifying familiarity in the year that was 2020.
“There was a girl at the bar/ She overdosed in a photo booth/ Nobody found her body until last call/ The pictures all showed her terrified and a loner/ while everyone cried what a great friend she was,” Kiranos sings on “Quiet As A Rat.”
The new writing approach proved to be fruitful, and one Kiranos hopes his fans will embrace. Since he began touring nearly ten years ago (often playing sets in bathrooms at music festivals), Amigo the Devil has steadily amassed a fanbase whose devotion to his music is unstinting. Kiranos says he knows of 1,200 fans who have Amigo the Devil tattoos. There is also a Facebook group that grew out of his coterie of fans that has now become a sort of community support forum for those suffering from things like mental illness, addiction, and grief. “The energy my fans bring to the shows is incredible, and the fans are what make the shows good. Sometime, I can’t even hear myself over the system because .”
As is the case with any artist who has great success with a certain sound or specific album, making a shift to something new can prove daunting. But it’s a step Kiranos feels he has to take as an artist. “I hope this album can start to shift the lyrical expectations and people just don’t consider me ‘the death guy’ and ‘the serial killer guy,’ and that people can start to see different avenues and opportunities. I hope it opens up the project of Amigo the Devil so that people understand it’s not a specific sound-based project, and that we can go in different directions and it’s okay.”
The artistic strength of Born Against let us know that Kiranos’ new direction is more than “okay.” It’s a major mile-marker for a creative soul whose work will only continue to evolve and grow.
Tejon Street Corner Thieves hail from the Colorado Rockies. The outlaw blues and trash-grass pioneers forged their original brand of whiskey roots from the ground up. Honing their craft on the streets, they swiftly gained recognition from the music community with the 2015 Gazette “Best of the Springs” award, 2017 Pikes Peak Art Council “Best In Show”, and back-to-back 2018 and 2019 Colorado Springs Independent “Best Original Band”.
As an internationally touring act, the band has become notorious for their shenanigans and over the top live performance. TSCT’s consistent show schedule and heart filled showmanship has captured the hearts of show goers everywhere. These guys are wild.
IV (Son of Hank Williams III) and his band…IV and the Strange Band.
Four writes the songs. Then the whole band gets with IV and turns them into what you will hear on the record. “We try to keep an essence of their original form, while adding drums, 100 watt amps, fuzz bass and fiddle”.—J. Dietz (bassist/producer)
Unlike the rest of my family, I got started with music later in life. Not necessarily by choice, but that’s just what the situation is. Rock and Roll doesn’t pay the bills, and I had goals and other projects to take care of first. This project is a collection of years of my work and the friends who have made it possible. Our goal is to make music that would be accepted as a Friday show at the Muse or a Tuesday night at the Ryman.
Autumn at the Opry
Please note: Proof of vaccination or a recent negative COVID-19 test and masks will be required at the performance. For more information on our COVID-19 safety protocols, please click here.
Grab your guitars and dust off your cowboy boots before heading back out to the Playhouse Barn for the second chapter in our Pickin’ and a Grinnin’ Series. Autumn at the Opry showcases everything from bluegrass to honky-tonk, tin pan alley to pop standards, and the blues to rock-n-roll. This ode to The Grand Ole Opry guarantees a hand-clappin,’ foot-stompin’ good time.
Lions & tigers & bears, oh my: GRAMMY Award Winning Billy Strings is performing a 3 night Halloween run in Asheville, NC on Oct. 29, 30 & 31 at the ExploreAsheville.com Arena.
We’re going all out for Billy’s favorite holiday… stay tuned for updates somewhere over the rainbow and we’ll see all you monkeys + munchkins there!
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Co-produced by White Horse Black Mountain and RadHaus.Studio Krave Amiko is an indie electronic folk group from Asheville, NC. Dreamy vocals, heartfelt lyrics, a dash of epic rock guitark and a splash of super soaker bass makes this award-winning, genre-defying band a force to be reckoned with in the indie music scene. Krave Amiko began in early 2019 by Rob Walsh and a handful of songs crafted by combining homemade lo-fi acoustic guitar samples, trip-hop inspired rhythm sections, and lyrical storytelling. Stephanie Barcelona joined soon after, bringing her soulful vocal style that would come to define their sound. Nestor Teran was recruited to lay down his specific brand of lead guitar and they headed into Echo Mountain Recording Studio in Downtown Asheville under the wise tutelage of Producer Autumn Greenfield. That album, “BEFORE THE WORDS,” was released on May 5, 2020. In October 2020, they added the final piece of the sonic puzzle, bassist Joseph Allawos. Their unique blend of folk, electronica, indie |
A little house, a little blues, a little funk, a little rock, and a whole lot of soul blast through BoomBox.
Since first emerging in 2004, founder, songwriter, producer, and multi-instrumentalist Zion Rock Godchaux has been quietly seasoning and simmering this recipe to perfection. At the same time, the Muscle Shoals, AL native stays true to what attracted countless fans in the first place.
“I remain open to anything you would hear coming out of a boombox,” he explains. “There are a lot of different vibes and angles, but it still adheres to a universal rhythm. This new record (Western Voodoo) is the most musical and varied, yet it’s tightly wound in respect to that syncopation. There are only a few rules. It should be heavy groove. It should make you want to move. Overall, I’ve further developed the sound people are used to.”
“You hear about different forms of magic around the world,” he goes on. “The West, in general, has its own voodoo influenced by the blues. That’s what shaped me as a musician growing up in this country. It’s hard to put in the words, but you know it when you hear it.”
You hear it in everything that BoomBox has done thus far. Over the course of five albums, the group has become a streaming favorite with numerous tracks cracking a million plays on Spotify. Moreover, they’ve made audiences groove everywhere from Electric Forest and Hangout Music Festival to High Sierra Music Festival and Red Rocks.
In the spring of 2019 Zion enlisted his “brother from the same mother” Kinsman MacKay to embark on BoomBox’s most exciting configuration to date. “There’s a special kind of chemistry between two brothers playing music together,” Zion explains. “Since 2003 we’d get together and make tracks just for fun, and realized we had a strong connection in the studio.” The two always knew they would work on a project together someday, and when the doors opened up logistically in 2019, it was the natural move for the brothers to take form as BoomBox.
BoomBox debuted their live horn section called “The BackBeat Brass” in the fall of 2019 to great reception. “It’s like these songs are my children that I’ve been raising for the past 15 years, and with the addition of the horns it feels like seeing them again for the very first time” says Godchaux. The Backbeat Brass, led by trumpet artist Nic Chaffee of Delta Nove, will be featured on select shows in 2020, bringing a classic live horn sound filtered through an array of psychedelic sounds and elements.
Official 2021 Raffle Rules
PROCEEDS
This raffle is a fundraising event, and all net proceeds benefit the Brevard Music Center (BMC). Brevard Music Center is a 501(c)(3) nonprofit organization. EIN# 56-0729350
DRAWING
The drawing will take place on Monday, November 15, 2021 at 3:00pm EDT. All mail, phone, and internet orders must be received by 11:59pm EDT on Sunday, November 14, 2021.
TICKETS
The cost to purchase a single entry (“Ticket”) for the Raffle is $125 (U.S. Funds only) and is not tax deductible.
A wide range of Membership Program packages are available, offering benefits and perks including one-time or unlimited admission to the Moogseum for a year, guest passes, gift membership packages, access to virtual archival galleries and live streamed events, free or discounted admission to in-person and virtual events, and even private Moogseum tours. Membership packages are offered at price points from $25 – $500 per year.
Become a member of the Bob Moog Foundation and the Moogseum, which allows you access to tangible, members-only benefits and allows you to be an advocate in support of Bob’s legacy and contributions that revolutionized music!
Your membership provides invaluable resources and funding to support our mission to innovate, inspire, and ignite creativity.
Review the Membership Packages below and choose the one that best suits you!*
All packages include the Members-only “Synth-Insider” newsletter, sent quarterly,
and a 10% discount on Bob Moog Foundation Merchandise.
Jack’s Bluegrass Brunch is every Sunday! Our menu kicks off at 12Noon with live tunes by Supper Break from 1-3pm. Try our $6 Bloody Mary or Mimosa, or grab a $15 Bottles of Champagne & OJ! Try one of our tasty brunch specials or order from our artisanal sandwich menu. Sláinte Y’all!
FIRST SET BY THE HOUSE BAND & SECOND SET IS A JAZZ JAM
Autumn at the Opry
Please note: Proof of vaccination or a recent negative COVID-19 test and masks will be required at the performance. For more information on our COVID-19 safety protocols, please click here.
Grab your guitars and dust off your cowboy boots before heading back out to the Playhouse Barn for the second chapter in our Pickin’ and a Grinnin’ Series. Autumn at the Opry showcases everything from bluegrass to honky-tonk, tin pan alley to pop standards, and the blues to rock-n-roll. This ode to The Grand Ole Opry guarantees a hand-clappin,’ foot-stompin’ good time.
Jack of the Wood : Sunday-Irish Session
Sundays
1 till who knows when?
Traditional Irish music is kept alive at Jack of the Wood with our unplugged Sunday session.
Jack of the Wood
95 Patton ave
Asheville, NC 28801
(828) 252.5445
Treats and fun all along Main Street in downtown Hendersonville. Trick & Treat at merchants, celebrate Dia de los Muertos, win fabulous prizes at the costume contest, play on inflatables, enjoy live music and dance…so much to do in Downtown Hendersonville this Halloween. Registration for the contest begins at 4pm and contest will begin at 5pm in front of the historic courthouse. 7 Costume Categories: ages 0-3; 4-7; 8-11; 12-15; 16+; group and pet
The Nat’O’Ween Spooktacular
As if Halloween couldn’t be any scarier, just you wait!
On All Hallows Eve, Flat Rock Playhouse will present the Nat-O-Ween Spooktacular starring the one and only Nat Zegree! You’ve seen Nat in the box office smash Million Dollar Quartet, Amadeus, Mozart to Pop Chart, and his multiple sell-out concerts!
Join us for this haunting concert as Nat takes the Playhouse on a spooky musical adventure. From “Monster Mash” to “Thriller” Nat will trick and treat with hair-raising songs and sing-a-longs.
Tickets for this fundraising event will go directly to support our Rock Solid Campaign.
ONE NIGHT ONLY, don’t wait!
Costumes are welcome!