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.
“An organic mix of rumba, Gypsy, jazz, Middle Eastern and Spanish flavours – they all mix together beautifully… brilliantly executed!” – ERROL NAZARETH, CBC RADIO ONE
Chris McKhool (violin) and Kevin Laliberté (guitar), the songwriters behind the music of Sultans of String, take you on a musical journey around the world!
McKhool met Laliberté just as the guitarist was coming off the road from touring around the world with Jesse Cook and cross Canada with The Chieftains. When McKhool (who has performed with Jesse Cook, Pavlo, Club Django) first heard guitarist Laliberté’s rumba rhythm their musical mind-meld created Sultans of String’s sound – the intimate and playful relationship between the violin and the flamenco guitar. Acoustic strings meet with electronic wizardry to create layers and depth of sound, creating soundscapes that seem impossible to be coming from just two people.
Larger than the sum of its parts, this 3x JUNO Award nominated, 3x CFMA Award winning dynamic duo take you on a journey to hear the horses of Sable Island, underwater to hear the calls of Luna the Whale, and on the silk road through Spain and the Middle East, through the Gypsy-jazz cafés of Eastern Europe, and then back to Canada for a trip to the majestic Arctic.
“Kevin and Chris are two extremely talented and creative musicians. Each of them have an extensive background in various traditions and numerous musical accomplishments to their credit. Their own compositions are … exciting and highly original. They are musicians and songwriters of the highest calibre!” – KEN WHITELEY, PRODUCER
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If you’re a regular NPR listener, you know BJ Leiderman‘s music. BJ Leiderman is the noted composer of the theme music heard on NPR’s Morning Edition, Weekend Edition, and Wait Wait..Don’t Tell Me!. His themes are among the most instantly recognizable sounds in all of public radio.
Music and music making comes easily to Leiderman, who was born on Valentine’s Day 1956 and grew up as the only child in a musical family. As a member of a variety of different bands during his high school and college years, BJ found he was a natural at writing memorable music — including jingles.
With his heart in his music, BJ abandoned plans for a career in broadcast journalism in favor of touring, composing, and recording (in fact, he believes he may be American University’s oldest living senior). His professional credits also include jingles and soundtrack packages for countless corporate and broadcast accounts. In addition, BJ has worked as a writer (as in “copywriter”) for clients as diverse as Nickelodeon, The Chris Rock Show, Fox Kids, Cartoon Network, Christian Broadcasting Network, and Spike TV.
“The whole point of this record was to share every emotion that I feel,” says The Soft Moon’s Luis Vasquez. “No two songs are the same. It’s about existing in the world as a human being and experiencing many emotions and experiences throughout life.” And so hence the title Exister, a record rooted in the ecstatic joys and crippling lows that life can throw up and how just hanging on and existing is sometimes all we have. “Exister is my way of saying ‘I’m here, deal with it.’” Vasquez says.
The reason the album exists as such a personal one for Vasquez is because his life underwent a lot of changes throughout its creation. He left Berlin, his home of many years, and moved to the Joshua Tree to find some space musically, and personally, during lockdown. “I had a ton more freedom than I’ve ever had,” he says. For one, he could actually play drums, which he’s never been able to do before due to space constraints. Even his first album, which was typified by his whispering vocal style, was because of his neighbor situation. In the Joshua Tree, he could unleash himself and let rip and the clearest, and most symbolic result of that, is the prominent, powerful vocals of Vasquez that truly capture someone gaining confidence in their own voice. “I always complained that I never had enough freedom to do everything I wanted,” he says. “This time I literally had everything at my disposal.”
Sonically, this expression is a vast, expansive and potent one. The opening “Sad Song,” which unfurls with a dense brooding atmosphere, Vasquez describes as almost a ballad, while tracks such as “The Pit” capture the opposite end of the musical spectrum, exploding as a thundering piece of industrial techno complete with gut-churning levels of bass. “Monster” – a song that follows a human metamorphosis into an unrecognizable and destructive being – seamlessly combines a deeply melodic, almost electro pop, vocal hook with slowly building atmospherics to create something equally beautiful and unsettling. “Become the Lies” explores the devastating consequences of being lied to by your own family and is a post-punk stomper, merging charging basslines, pummelling drums, and snaking guitars, all of which combine explosively. Elsewhere the album runs the gauntlet of everything from ambient to dark wave – featuring ferocious guest contributions from fish narc and Special Interest’s Alli Logout on “Him” and “Unforgiven” – all while retaining that distinct tone that unmistakably The Soft Moon.
It felt like something of a musical reset for Vasquez, who had come out of making his last album, Criminal, with some frustrations about the process and end result. “This is the first record where I felt completely detached from my career because of COVID and not touring,” he says. “It felt like all those years before were just a dream. I was trying to write music as if I was starting completely over.” This is also reflected in a new lyrical approach that embraced stream of consciousness delivery, allowing Vasquez to tap into the more pure and raw parts of his inner self.
Another part of this starting again was hoping to make amends with some difficult family situations that had existed from childhood, but the opposite ended up happening and it changed the direction and shape of the record, as he went through a “roller coaster of conflicts” with his mother, which was further exacerbated when his uncle came out of prison after 40 years. “I thought I was done with the album when I found out about family secrets that were so disturbing, I reached breaking point,” he says. “I was overwhelmed and angry. All that pain had to go somewhere and it went into the songs.”
A photo of Vasquez as a child is the album cover and it’s representative of a record that involved reconnecting with his younger self, with a mother-son relationship at the center of the album. “It’s my child self that you hear all over it,” he says. “I was reminiscing and hurting a lot during the writing process. This is possibly my most vulnerable record yet.”
However, despite the pain, anger, vulnerability, and hurt that can be found at the core of this record, there’s also a profound sense of hope and beauty. This transition from a place of discomfort to one of relief is key for Vasquez when making a record and going through a process of healing. It’s been a cathartic process for an artist who can find the creative process quite torturous and fear-inducing. “My main goal is always to express something on the very deepest level possible,” he says. “But to channel that I have to go deep into myself to bring that out. It can be dark.”
However, a key point of reaching deep within himself during the creative process is so the end musical result can act as a bridge. “It’s for other people too,” he says. “I want them to feel things – to not feel alone and to connect. It just makes me feel lighter and a little happier with my life getting shit off my chest.”
On the closing “Exister,” the album seems to reach a place of peace and solace, ending on a quiet, reflective and poignant moment that captures a sense of optimism after a period of upheaval. “I love that feeling of going through turmoil and then knowing that there’s that light at the end of the tunnel,” says Vasquez. “It’s kind of heroic. It’s like climbing to the top of a mountain.”
Model/Actriz bring a new kind of depth to harshness, and open-endedness to the familiar. They perform an intensity in their work that resembles a rubber ball approaching vibrational frequency bouncing between the closest points of extremes: joy and violence, humor and nihilism, flirtation and effacement. Model/Actriz is a special conjuring of grey areas without a whiff of indecision.
Seeing them perform live is when these push/pulls start to make sense. Model/Actriz are undeniably intentional, which muddies any association with “punk,” a close sonic reference. They also shy away from claiming a perch in any popular-music discourse—and therefore aren’t post-this or hyphenated-that. Instead, they leave such categorizing up to their fans, with a respect for the listener/viewer that is increasingly rare in our era of pre-packaged-mood-via-music.
This invitation to participate is something that Cole Haden, the vocalist, charismatically employs during performance: he sings as he winds among the audience, he falls/climbs/pushes-around. He has unhinged staring contests with a member here or there, and in this comes to present an open sexuality that shatters the traditional pursuer/pursued rock-stage dynamic. Set against the tight and rigorous rhythm of his band, it is like nothing else in our moment. Cole’s performance is a presentation of a wandering & adventurous social atmosphere. It is in this collapsing of the audience/entertainer dichotomy that a kinship with dance music starts to make itself clear.
Model/Actriz take from dance music not only the structural and compositional undertones, but also it’s experiential approach to music-making & performance. In that, they challenge the idol-centric vision of rock & pop music. There is an exciting freedom here, and intrinsic to it is a heightened responsibility of the viewer/listener. When taken for their word, Model/Actriz reminds a viewer why performance & audience matter. They represent the oft-forgotten intensity of a community composing a moment, in the moment. Hearing & seeing Model/Actriz is akin to the eruptive joy that follows seeing an imaginary come to fruition; it is desire, materialized. From this stems their music’s potent sexuality, confidence, & rupture; it is music as transgressive as we hope it to be.
After two years of self-imposed hiatus, Model/Actriz are returning with a four-piece lineup: Cole Haden (vocalist of Dagsboro, DE); Jack Wetmore (guitarist of Los Angeles, CA); Ruben Radlauer (drummer, of Los Angeles, CA); and Aaron Shapiro (bassist, of Burlington, VT). They write everything together, and practice a rigorously democratic approach to being a band from their current home base in Brooklyn, NY. Model/Actriz make dance music, and seeing really is believing.
– Tom Moore
Cold Choir is an Electro/Darkwave duo with poetic, evocative lyrics, sensual vocals dressed in a cloak of moody soul, with a ferociously powerful delivery.
Growing up in Miami in the 90s they were heavily influenced by the music they would encounter playing in the clubs of the time. From Electro and Freestyle to Darkwave and Techno, their music has no rules or boundaries.
It evolves, and is never stagnant.
Their sound has been compared to a range of acts such as Fee Lion, Boy Harsher, Cabaret Nocturne, and Hante.
Velvet Surrender, their forthcoming EP, stays true to their exploratory vision. Being their second album, Franky and Rio felt the need to challenge themselves, both musically and creatively. They were obsessed. From this passionate desire, the duo’s first all Spanish song, “Solo Yo,” (Only Me) was made, a stand-out track about empowerment and feminism.
Inclined to challenge the post-punk genre, each song lives in its own world and together – the album takes you on a transcendent journey: conjuring memories and heightened emotional experiences.
Since they began in 2019, Cold Choir is working tirelessly to create, perform, network with other artists., and grow the local music scene in Asheville; where their based. This year has been quite busy for them as they embarked on their first 7-show northeast tour and shared lineups with Kiss of the Whip, Komrades, Pixel Grip, S Y Z Y G X, Patriarchy, and Vision Video
They just filmed a 30 minute performance video featuring four songs from their latest EP. The duo initially created this for Strict Tempo, a Seattle based show hosted DJ Vox Sinistra. This special performance will premiere on the show’s Twitch channel in August and after that, it will be fully available on the band’s YouTube channel.
Official 2022 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 Tuesday, November 15, 2022 at 3:00pm EDT. All mail, phone, and internet orders must be received by 11:59pm EDT on Monday, November 14, 2022.
TICKETS
The cost to purchase a single entry (“Ticket”) for the Raffle is $125 (U.S. Funds only) and is not tax deductible.
DETAILS
- By entering this raffle, entrants accept and agree to be bound by all the rules, limitations and restrictions set forth here and that their names and/or likenesses may be disclosed to and used by the news media and may otherwise be used by BMC for publicity purposes.
- The winner may choose a new 2022 Volvo, Subaru, or Hyundai prize vehicle from Hunter Automotive Group of Fletcher, NC with an MSRP up to $50,000.
- Vehicle choice will be subject to the current available inventory of the dealer. BMC reserves the right to substitute a Volvo, Subaru, or Hyundai model of equal value.
- The winner is responsible for all taxes, delivery costs, dealer fees, and any options he or she may choose above the vehicle’s manufacturer’s suggested retail price (MSRP) greater than $50,000.
- The gross winnings of the raffle will be reported to the federal and state tax authorities at the MSRP and the winner is responsible for income tax withholding prior to taking title to the prize.
- Individuals may purchase as many tickets as they wish; however, only 1,500 tickets will be sold.
- Participants must be 18 years old or older.
- BMC employees, faculty, and students 18 or older are eligible to participate.
- Winnings are not redeemable for cash.
- If a minimum of 600 tickets is not sold, all ticket holders will receive a full refund and the raffle will not occur.
- BMC does not make or provide any representation, guarantee or warranty, expressed or implied, in connection with the car and accepts no liability or responsibility regarding the construction or condition of the car.
WINNINGS
Once the winner has selected a prize vehicle, the Dealer will notify BMC of the award vehicle’s MSRP. BMC will calculate the required federal income taxes due. The raffle winner is responsible for remitting the funds to BMC for the federal income tax. Brevard Music Center is required by law to report the base MSRP of the vehicle the winner chooses as gaming income to federal and state authorities and to withhold and deposit federal income taxes equal to 25% of the MSRP less the wager (raffle ticket). The winner’s payment of the federal taxes to BMC will be deposited with the US Federal Treasury and the winner will receive credit for the taxes remitted. In order for the dealer to release the winner’s vehicle, the winner will need to provide the following to BMC:
- A completed form W-9.
- Payment to BMC of the appropriate amount of federal tax withholding in cash or certified check.
Once both of these are received, BMC will authorize the dealer to release the vehicle. The winner will receive a Form W-2G by January 31, 2023 to use in preparing their 2022 income tax return.
The award-winning Celtic duo of harpist Sue Richards and guitarist Robin Bullock, present CAROLINA CELTIC, a monthly concert series at White Horse. Carolina Celtic showcases Irish and Scottish musical traditions and explores their commonality with the Appalachian ballads and stories of the Carolina mountains.
Tonight’s Guest Performer is SUSI GOTT
Fiddler, singer, songwriter, tunesmith, Appalachian-style dancer, SUSI GOTT hails from western North Carolina, in the heart of the Blue Ridge Mountains. Having grown up pioneer-style, in a log cabin without electricity or running water or any other conveniences, she is one of the few modern-day artists who has lived the texts of the songs she sings. With 50 years of performance already in her pocket, Susi has played with such legends as EDDIE ADCOCK, MAC WISEMAN, MIKE SEEGER, and HAZEL DICKENS, among others. Also at ease in the Irish style, she has toured with MICK MOLONEY, ROBBIE O’CONNELL, and LIZ CARROLL.
In the 1980’s, as an ambassador of American music and dance, she participated in tours of West Africa and South and Central America for the U.S. State Department. In 1997/98 she served as Assistant Director of East Tennessee State University’s BLUEGRASS & COUNTRY MUSIC PROGRAM.
Throughout a 20-year stint of collaboration with European artists, Susi toured extensively for the JEUNESSES MUSICALES DE FRANCE, appeared in numerous theaters and festivals across Europe, and accompanied folk star HUGUES AUFRAY at the OLYMPIA in Paris. She also co-wrote the music for two televised films by ALINE ISSERMAN and won the 1996 bluegrass division of the CHRIS AUSTIN SONGWRITING CONTEST for her lyrics at MerleFest.
After nine critically acclaimed albums, after twenty bandmates, after countless bars and clubs and theaters and festivals, after two full decades, Will Sheff is letting Okkervil River drift out to sea with Nothing Special, a rich and cinematic collection that marks the acclaimed indie songwriter’s first release under his own name. Written through a period of painful loss and deep transformation and recorded with a mix of old friends and new collaborators (including singer/songwriter Christian Lee Hutson, Dawes drummer Griffin Goldsmith, and Death Cab For Cutie pianist Zac Rae), the record represents more than just a change in name; it’s an act of liberation and self-determination, an emotionally raw reckoning with grief, identity, and hope that blurs the lines between fiction and autobiography, surrealism and humor, stoicism and a deepening spirituality.
Formed in Austin, TX, Okkervil River embraced both frenetic rock and cerebral complexity as bandmates came and went over its twenty year run, but the group’s north star always remained firmly fixed in Sheff’s emotional vocals and striking lyrics, which could turn even the most seemingly mundane observations into profound philosophical revelations. NPR hailed the New Hampshire native’s “dazzling” way with words, while Pitchfork declared him “one of indie rock’s most ambitious thinkers,” and The New York Times raved that he “writes like a novelist.”
With Nothing Special, Sheff begins his next and most compelling chapter yet.
mmeadows
For musicians Kristin Slipp and Cole Kamen-Green, mmeadows is a means of survival, an outlet to anchor themselves from the currents of life. Fluid and rhythmic, organic and electronic, their singular alt-pop songcraft is the synthesis of complementary talents, mutual trust, and years of partnership. Each brings a distinct background to the sound: Slipp is a current member of Dirty Projectors, with writing and performance credits on their 2020 release 5 EPs. She grew up in Maine, devoting herself to the choir and a true New England-kind of work ethic which has since flourished in New York City’s music community. Kamen-Green has worked with Beyonce, writing and performing horns on Beyonce and Four, as well as projects with Diana Ross, Harry Styles, Laurie Anderson, Meshell Ndegeocello, and Taylor Swift. He came up as a ‘90s kid in lower Manhattan, immersed in the cultures of hip-hop, dance music, and jazz (his uncle is the avant-garde drummer Joey Baron). All the varying hues of
their influences now filter into Light Moves Around You, the duo’s full-length debut, a dynamic and deeply-honed collection of pop songs that silence chaos and celebrate the tender acts of making space and taking care.
White Horse’s legendary Open Mic takes place each and every Tuesday at 7pm.
You’ll hear a variety of wonderfully talented folks on their way up. You never know what you’ll hear… original songs, covers, guitar, piano….. and often something quite surprising.
The signup sheet is placed on the bar at 6:30 and the first ten to sign in are the performers for the evening. Each gets 15 minutes or three songs.
It’s a lot of fun… especially since it’s FREE !!!!!
Tony®-winning director Bartlett Sher and the team behind South Pacific and The King and I bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony-winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick.
The original production won ten Tony Awards, including a special Tony for becoming the longest-running Broadway musical of all time. You’ll be there when the sun rises on this new production, with stunning movement and dance from acclaimed Israeli choreographer Hofesh Shechter, based on the original staging by Jerome Robbins. A wonderful cast and a lavish orchestra tell this heartwarming story of fathers and daughters, husbands and wives, and the timeless traditions that define faith and family.
Featuring the Broadway classics “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “To Life,” FIDDLER ON THE ROOF will introduce a new generation to this uplifting celebration that raises its cup to joy! To love! To life!
Join us for a weekly mountain music JAM with players in a round, where the session is focused on regional fiddle tunes and songs! You are welcome to come and listen or to learn and join in. This event supports the Henderson County Junior Appalachian Musician (JAM) Kids Program. Free but donations are accepted. Weekly event takes place at Oklawaha Brewing Company.
Robert was born in a Houston hospital more dead than alive but revitalized with prayers and deals from loving parents. He spent most of his adult life travelling the world under varying circumstances, mostly in poverty but occasionally in riches, although you’d never know the difference.
He is well studied literature and mathematics, was an Academic All-American linebacker, speaks several languages, held all kinds of jobs and occupations and is currently in the process of releasing his third studio album, PERSEVERE, a nine-song collection written and recorded in Galveston, Texas, where Robert resides.
His first album, “Everybody Knows” (2014), was embraced by the local press and commercially successful enough to free him from his day labor at a Houston Shirt Factory and devote time and energy to touring and playing music with his surf, rock and roll, blues, folk and reggae band of friends which included the late great extraterrestrial blues legend, Little Joe Washington.
They toured all over the United States and Mexico for years having a good old time until the last day of August 2019 while on the road in Western Colorado in support of their second release, Maria the Gun. Robert suffered a nearly fatal van wreck that left him hospitalized in critical condition. He returned to Galveston six weeks later hundreds of thousands of dollars in debt, but happy to be alive at all.
With funding and support of friends and fans from around the world, Robert began a long quiet healing process that gave rise to the moniker, GALVEZTON and its debut, PERSEVERE, a transcendent psychedelic folk experience of electronic and organic instruments; poetry and sound; light and darkness. It’s uplifting and out there for Robert and will be available soon in all forms. This world is changing so fast. Robert hopes it will take him back on the road to share this meaningful new music with the friends and family he’s made along the way.
Come enjoy an evening of live music, food and drinks at Isis Music Hall. Advanced Reservations are highly recommended.
When their voices join in harmony, radiating an energy that’s both soft and comforting yet wildly enchanting, this 30-member South African vocal ensemble transports Asheville audiences on an 8,350-mile journey across an ocean and two hemispheres. The group expertly blends elements of African gospel, Negro spirituals, reggae and American pop music, earning mass international acclaim, including three Grammy Awards for Best Traditional World Music Album.
Tony®-winning director Bartlett Sher and the team behind South Pacific and The King and I bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony-winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick.
The original production won ten Tony Awards, including a special Tony for becoming the longest-running Broadway musical of all time. You’ll be there when the sun rises on this new production, with stunning movement and dance from acclaimed Israeli choreographer Hofesh Shechter, based on the original staging by Jerome Robbins. A wonderful cast and a lavish orchestra tell this heartwarming story of fathers and daughters, husbands and wives, and the timeless traditions that define faith and family.
Featuring the Broadway classics “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “To Life,” FIDDLER ON THE ROOF will introduce a new generation to this uplifting celebration that raises its cup to joy! To love! To life!
Rod Picott has released thirteen albums over the last twenty years and at the age of fifty-seven his engine is still running strong. Picott, a former construction worker, traded his hammer for a guitar and never looked into the rear view. Picott has written two poetry collections God in His Slippers and Murmuration (Mezcalita Press). His book of short stories titled Out Past the Wires is published by Working Title Farm. Rod Picott was born in New Hampshire, raised in Maine, and has lived in Nashville Tennessee for twenty-five years. He is unnaturally prolific and released four albums in the last three years to rave reviews.
Although they’re based in Nashville, Wild Ponies have always looked to Southwest Virginia — where bandmates Doug and Telisha Williams were both born and raised — for inspiration. There, in mountain towns like Galax, old-time American music continues to thrive, supported by a community of fiddlers, flat-pickers, and fans.
Wild Ponies pay tribute to that powerful music and rugged landscape with their most recent release, Galax, a stripped-back album that nods to the band’s history while still pushing forward. Doug and Telisha took some of their favorite musicians from Nashville (Fats Kaplin, Will Kimbrough, Neilson Hubbard and Audrey Spillman) and met up with revered Old-Time players from Galax, Virginia (Snake Smith, Kyle Dean Smith, and Kilby Spencer). Recorded in the shed behind Doug’s old family farm in the Appalachians (steps away from the site where Doug and Telisha were married), it returns Wild Ponies to their musical and geographic roots.
Come enjoy an evening of live music, food and drinks at Isis Music Hall. Advanced Reservations are highly recommended.
Reserved Seat Tickets are available with Dinner reservations – You must call the venue at 828-575-2737 to make dinner reservations and secure those tickets.
General Admission Tickets are available for the main stage balcony only. Seating in the balcony is first come, first serve. Dinner service is NOT currently being offered for general admission tickets.; drink service is available at the downstairs bar on the main floor.
You must call the venue at 828-575-2737 for Reserve Seat Tickets and to make dinner reservations.
Pease Leave us a message with your daytime phone number and the # in your party, your call will be returned in the order it was received.
All ticket sales are final.
Multi Grammy winner and multi instrumentalist Tim O’Brien has traveled the world and delighted audiences since 1975 with his warm vocals, string wizardry, and heartfelt original songs. His latest recording “He Walked On” maps a pathway through today’s world. In duet with his wife Jan Fabricius on mandolin and vocals, you can expect rootsy acoustic instrumentation and sweet harmony singing, interspersed with O’Brien’s self deprecating humor.
PAUL BURCH
Paul Burch’s thoroughly modern yet instantly classic songs have attracted fans and collaborators from Rock to Bluegrass inspiring Pop Matters to call him “one of the finest contemporary roots performers, not to mention one of the best damn songwriters, operating today.” Over a career of a dozen albums, Burch’s wide vision of American music has drawn together what for other artists would seem contradictory colleagues. Whether it’s taking part in First Lady Michelle Obama’s Let’s Move program with Doug E. Fresh at the White House or writing a one-of-a-kind opera inspired by Jimmie Rodgers (Meridian Rising), Burch’s work reveals a punk rock ethic for dismantling orthodoxy while forging deep connections everywhere.
Original banjo music at the intersection of bluegrass and jazz
Ben Krakauer is a banjo player and composer rooted in bluegrass, jazz, and new acoustic music. He has toured and recorded with David Grisman, was a founding member of Old School Freight Train, and has won awards at Merlefest, RockyGrass, and Telluride. His debut solo album, Heart Lake, features twelve original tunes with playful, interactive, and unusual textures. Ben is a professor of music at Warren Wilson College, where he teaches ethnomusicology, music theory, bluegrass, and banjo.
Come enjoy an evening of live music, food and drinks at Isis Music Hall. Advanced Reservations are highly recommended.
Tony®-winning director Bartlett Sher and the team behind South Pacific and The King and I bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony-winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick.
The original production won ten Tony Awards, including a special Tony for becoming the longest-running Broadway musical of all time. You’ll be there when the sun rises on this new production, with stunning movement and dance from acclaimed Israeli choreographer Hofesh Shechter, based on the original staging by Jerome Robbins. A wonderful cast and a lavish orchestra tell this heartwarming story of fathers and daughters, husbands and wives, and the timeless traditions that define faith and family.
Featuring the Broadway classics “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “To Life,” FIDDLER ON THE ROOF will introduce a new generation to this uplifting celebration that raises its cup to joy! To love! To life!
The JLloyd MashUp is paying tribute to Paul Simon with a full set of his songs from various points in his career. Ben Falcon will be leading the Vocals along with Dani Cox and Jonathan Lloyd. Expect a full set of Paul Simon songs followed by another dance set of various artists!
The JLloyd MashUp (the band that plays Mondays at One World West) explores different genres of music including Acid Jazz, Funk, Soul, Afro Beat, Reggae, Break Beat, Latin and world music. Led and curated by Jonathan Lloyd (Dubconscious/ Cadillac Jones), the band is made up of some of Asheville’s busiest and hardest working musicians on the scene. The group features special guests with different material every show.
Ben Falcon (The Lumpy Heads) – Vocals, Dani Cox (Secret Agent 23 Skidoo) – Vocals, Jonathan Lloyd (Dubconscious/Cadillac Jones) – Vocals/Trombone, Vic Stafford (Toubab Krewe/Donna The Buffalo) – Drums, Duane Simpson (Dirty Logic/Pimps of Pompe) – Guitar, Thommy Knoles (The Fritz) – Keys, Ben Bjorlie (Yo Mama’s Big Fat Booty Band) – Bass, Mikey Evan (The Fritz) – Percussion, Jonathan Cole (Dirty Logic) – Saxophone & More To Be Announced!
Adam Chase and Felix Pastorius have collaborated on a lot of great projects in Asheville, perhaps none better than their collaboration with Snarky Puppy’s Justin Stanton.
The collective approach to the performance resulted in an epic night of music that featured songs written by each member of the group along with some amazing renditions of tunes by the likes of Soundgarden, Joshua Redman, and more.
With Chris Bullock joining the group for the performance, there will undoubtedly be the extra swag that Bullock delivers in his songwriting for Snarky Puppy as well as his tunes written for his solo project, Boomtown.
ADAM CHASE
Drummer, Adam Chase, is an acclaimed music director and drummer. Adam has a knack for bringing amazing musicians together for envisioned sets of incredible music. The shows that Chase puts on are known for being legendary. From recreating James Brown’s LOVE, POWER, PEACE, Live At Olympia, Paris 1971 with Adam Deitch and co., to performing 2 hours of groundbreaking improvisation with MonoNeon, John Medeski, Scott Metzger, and Matthew Chase, there have been countless epic performances manifested through the work of Adam Chase.
Chase has worked with an uncanny amount of notable musicians including Fred Wesley, Clyde Stubblefield, John Medeski, MonoNeon, George Porter Jr. (The Meters), Adam Deitch (Lettuce), Aron Magner (Disco Biscuits), Scott Metzger (JRad), Craig Robinson, Antwaun Stanley, Jennifer Hartswick (Trey Anastasio Band), Shaun Martin (Snarky Puppy), Domi Degalle, Dennis Chambers, Marcus King, Isaiah Sharkey (John Mayer), Robert Walter (Roger Waters, Greyboy Allstars), Jeff Sipe, Claude Coleman Jr. (Ween) and hundreds of others.
FELIX PASTORIUS
Bassist, Felix Pastorius bears the name of his father, whose reputation often proceeds him. While the lineage is intriguing for most, the dedication to the mastery of the bass guitar is more notable than his last name when it comes to the musician that is Felix Pastorius.
Having toured with the YellowJackets as a teenager and traveling the world with groups including Jeff Coffin’s Mu’tet, Cindy Blackman Santana Group, and Hipster Assassins, Pastorius has continues to prove to be able to do anything imaginable on the bass guitar. From the most complex explorations to the tastiest pocket grooves. Pastorius alone is worth the cost of admission.
JUSTIN STANTON
Justin attended the prestigious University of North Texas, where he performed for two years in the One O’Clock Lab Band, recording three albums as well as performing at major festivals throughout Europe. While at North Texas, Justin joined the group Snarky Puppy that, since its humble beginnings, has gone on to earn four GRAMMY Awards. Justin has performed and recorded with the group since 2006, appearing on the majority of their numerous studio and live recordings.
In addition to Snarky Puppy, Justin maintains an active schedule performing, recording, and writing with a variety of original artists and groups, including his newest project with Becca Stevens, Gisela João, Louis Cato, and Michael League entitled Mirrors.
Justin appears on recordings with artists as diverse as David Crosby, Donald Fagen, Harry Shearer/Derek Smalls, Larry Carlton, Randy Brecker, Robert Glasper, Trombone Shorty, Musiq Soulchild, Kirk Franklin, Laura Mvula, and Salif Keita. He has also shared the stage with Joe Walsh, Michael McDonald, Toto, Derek Trucks, Terence Blanchard, Chris Potter, Eric Harland, and Fatoumata Diawara, to name a few.
CHRIS BULLOCK
Chris Bullock is a Brooklyn, NY-based saxophonist, multi-instrumentalist, and composer. He has enjoyed an expansive career performing with a variety of artists across all sorts of musical styles. Most notably, he is known for his longtime role as a saxophonist and composer in the genre-bending ensemble, Snarky Puppy. With this band, he has received four Grammy awards and is often on tour around the world performing at concert halls to music festivals to small rock rooms.
In 2018, Chris released his debut solo album, Boomtown. This music is a hybrid of sorts. On the album, Chris explored ways to combine his interests in improvisation, jazz, chamber music, electronic music, and hip hop production elements. With his Boomtown band, Chris has brought a synth-heavy, grooving sound environment on live tours across the US and Canada.
As a multi-instrumentalist, Chris has performed and recorded with a variety of artists including David Crosby, Michael McDonald, Lalah Hathaway, the Los Angeles Philharmonic, Charlie Hunter, Chris Thile, Eric Harland, Metropole Orkest, Phish, and Soulive. In addition to his work as a live musician, he recently wrote and recorded his first commissioned film score.
For the last 20 years, this beloved local holiday tradition has ushered in the winter season with a world-class display of folk, drawing in more fans each year. This season, Solstice welcomes a charismatic mix of new and returning artists to perform a seasonal variety show of Celtic, American-roots and world-influenced music — a multifaceted reflection of Appalachian heritage to spread wholesome holiday cheer.
The 2022 line-up welcomes back Robin Bullock, Josh Goforth, Natalya Weinstein & John Miller as Zoe & Cloyd, Phil Jamison, E.J. Jones, and host Doug Orr. New to the celebration this season are storyteller Becky Stone and writer and singer Gina Cornejo.
GRAMMY® nominated multiple American Music Award, Billboard Music Award, and Dove Award-winning band MercyMe will take the stage at the Bon Secours Wellness Arena on November 18 with special guest Micah Tyler.
Click HERE for our standard arena policies and our most frequently asked questions. Ticket prices are always subject to change without notice. Additional fees apply.
Tony®-winning director Bartlett Sher and the team behind South Pacific and The King and I bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony-winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick.
The original production won ten Tony Awards, including a special Tony for becoming the longest-running Broadway musical of all time. You’ll be there when the sun rises on this new production, with stunning movement and dance from acclaimed Israeli choreographer Hofesh Shechter, based on the original staging by Jerome Robbins. A wonderful cast and a lavish orchestra tell this heartwarming story of fathers and daughters, husbands and wives, and the timeless traditions that define faith and family.
Featuring the Broadway classics “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “To Life,” FIDDLER ON THE ROOF will introduce a new generation to this uplifting celebration that raises its cup to joy! To love! To life!
The Main Stage Theatre at HART
Directed by Shelia Sumpter with Kids at HART
Our story begins in a faraway kingdom long ago. A cursed, unhappy King and a terror of a Queen rule the kingdom. In an attempt to keep their young Prince Dauntless single, Queen Aggeravain has decreed that only the princess that can pass her test may marry her son. Further, no one else in the kingdom may marry until Prince Dauntless does. Luckily, Sir Harry is able to find an amazing princess, Winnifred the Woebegone who instantly catches the attention of Prince Dauntless. She must endure Queen Aggeravain’s impossible tests as well as her scorn to win the Prince and save the kingdom. Mary Rodger’s classic Once Upon A Mattress is a delightful musical that is sure to become a fan favorite with the HART audience!
Womansong celebrates the unity, diversity and empowerment of women through musical expression, as we sing for joy, social justice and community. Our concerts help fund the operation of our nonprofit organization including the choir’s New Start Program which provides scholarships and emergency funds to local women in need.
Womansong concerts are accessible to the hearing impaired through music sign language interpretation by Shiner Antiorio.
Mearns reveals himself a singular artist of extraordinary imagination…truly a next-generation phenomenon.
Stephen Aron, Oberlin Conservatory of Music
Mearns’ virtuosic recording is a thrilling adventure for the hands and ears…reminding us of how exciting the guitar can be as a solo instrument when it suggests something greater than itself.
Jonathan Leathwood, University of Denver, Editor Soundboard Scholar
If you think you’ve heard Bach on the guitar, think again!
Rene Izquierdo, University of Wisconsin-Milwaukee
Alan Mearns was born in Belfast, Northern Ireland. He began his musical studies with the classical violin at age five, switching to the guitar at age ten. Moving to the United States in his late teens, he studied classical guitar performance with Douglas James at Appalachian State University (where he held the prestigious Fletcher Scholarship) and with Stanley Yates at Austin Peay State University.
The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again?
“Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday.
“Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through.
“Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years.
Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion.
Charles Moothart is an American multi-instrumentalist, singer and songwriter. He is best known for his collaborations with the garage rock musicians Ty Segall and Mikal Cronin. Moothart is the drummer for Segall’s current backing band, The Freedom Band. He was previously the guitarist for Segall’s backing band, the Ty Segall Band, and is the guitarist and vocalist in the pair’s hard rock project, Fuzz. Additionally, he is a member of Segall’s collaborative project with Ex-Cult’s Chris Shaw, GØGGS.
MSC is an empirically-supported 9-session program that helps participants develop and deepen the skills of self-compassion. Activities include meditation, talks, discussion, and experiential exercises. This class will be held rain or shine outdoors in a beautiful setting over nine Saturdays, 9/17-11/19, skipping 10/15.
We will meet from 10:30AM-2PM with a 30-minute break for lunch midway through each session. Each class participant will receive a copy of The Mindful Self-Compassion Workbook.
Register at mindfulselfcompassionasheville.com by 8/30 for early-bird pricing.