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.
Sigal Music Museum’s current special exhibition, Worlds Apart: Musical Instruments from Secular to Sacred, highlights items from the JoAnn and Frank Edwinn Collection, which hails from all over the world. Showing November 2023 – May 2024, Worlds Apart uses a diverse range of historical instruments, objects, and visuals to bring together musical narratives from seemingly disparate parts of the globe.
Worlds Apart: Musical Instruments from Secular to Sacred aims to increase public access to historical instruments from around the world and improve visitors’ understanding of musical traditions at the global level. Expanding beyond the typical parameters of the Western musical canon, Worlds Apart seeks to expose audiences to musical instruments and customs that are often overlooked or exotified. The instruments and other exhibit materials will offer visitors new perspectives on global music and a chance to consider how music is used for prayer and leisure in cultures around the world. By celebrating these stories, the museum intends to further its mission to collect and preserve historical musical instruments, objects, and information, which engage and enrich people of all ages through exhibits, performances, and experiential programs.
Displaying various objects from the JoAnn and Frank Edwinn Collection, Worlds Apart: Musical Instruments from Secular to Sacred focuses on international musical instruments and cultures, celebrating rites and traditions with ancient histories and contemporary legacies. Frank Edwinn, a successful basso in the mid-20th century, studied and toured internationally, eventually settling in North Carolina, where he taught music at the University of North Carolina Asheville. Throughout his life, he purchased various objects from around the world, aiming to expose students, and himself, to the wide and wonderful world of musical instruments. This impressive collection occupies a unique position for educating audiences unfamiliar with the vast scope of global music.
And, UNCA’s Ramsey Library Special Collections is now processing the Edwinn’s papers and a few recordings that will be accessible next semester!
Plan to collaborate with other musicians at Sideways Farm & Brewery in Etowah. Bring your instruments and voices and enjoy making music and networking with other artists, while enjoying the beautiful scenery. Food truck is on site and beverages available for purchase from Sideways (small
batch craft beers, hard jun, ciders, wine, and non alcoholic drinks). Family, fans, friends, and leashed dogs are all welcome!
During winter months enjoy playing under the covered, sheltered, heated porch! And during the summer months enjoy
collaborating in the fields, on the stage, or under the patio
The Vaccines
Daisy The Great
When you look back at the sea of mid-noughties indie bands, there are few still standing and even fewer, some fifteen years later, who are still experiencing career highs. But this was the precise spot The Kooks found themselves in, four years ago.
After a worldwide arena tour, the release of their 2018 UK Top Ten album ‘Let’s Go Sunshine’ saw the Brighton band topping the bill at festivals across Europe and at home. The streaming boom had opened up The Kooks up to a new audience of young fans who loved their distinctive brand of indie rock and were itching to see them play live.
Coming off the back of a punishing tour schedule, frontman, Luke Pritchard — vowed to take a bit of a breather. But instead, found himself right back in the studio.
“I started going to Berlin for three or four days at a time. I was really affected by Brexit and I wanted to make a bit of a statement by creating a European record,” he explains. “We’re a European band, we practically lived out there and have so much love for Europe, so we wanted to keep that connection.”
Berlin has long been something of a creative Mecca for artists from all over the world and Pritchard found himself moving in those circles, meeting the collaborators he would work with on their behemoth of a sixth album, ’10 Tracks To Echo In The Dark.’ The period was one of work, inspiration and creativity as opposed to partying. “I wasn’t doing any drugs,” Pritchard attests. “It was more dive bars and a bottle of whiskey than Berghain.”
The environment quickly started to work its magic. “A lot of songwriters have found refuge in Berlin,” he says. “It’s a free place, it’s not so consumed by commerciality. I was looking for something a bit rawer, a little bit more minimal. Sometimes you just pick up these nuances somewhere. It’s not necessarily the people, it’s the place.”
Armed with a new mantra — to not overthink things and just make a record that he’d want to listen to at home, the ideas came freely and easily. Pairing up with Tobias Kuhn to co-write and produce the bulk of the record, their first writing session saw them pen intention-setting lead single, ‘Connection,’ in just a few hours. Things were moving well with the pair laying down five tracks, but in March 2020, COVID put a stop to Pritchard’s European dream, forcing him to return home to the UK to finish the writing sessions over Zoom until Tobias was able to fly out to London and record with him and the rest of the band, Hugh Harris (lead guitar/synthesiser/bass) and Alexis Nunez (drums).
Despite the dual locations, there’s a distinct Berlin sensibility to ’10 Tracks To Echo In The Dark.’ Flirting with genres from 80s synth-pop to funk to prog rock, the album is still, at its core, an indie record and a Kooks one, at that.
It’s a record that doesn’t try to reinvent the wheel but takes that classic Kooks sound and adds something of a retro-futurist slant — both sonically and in mindset. It’s an album about being hopeful and seeing the great in the world, despite the darkness. There are unapologetic love songs (‘Without A Doubt,’ ‘Oasis’), tracks about partying through pain (‘Connection’), terrible exes (‘Cold Heart’) and even a song for Pritchard’s newborn son, Julian. (‘Beautiful World’), born prematurely while the band were on tour in Mexico.
Getting married and becoming a father you get a sense that we’re hearing from a new Pritchard — one whose demons are behind him and is optimistic about the future.
“I really hope that sense of inner peace comes across,” says Pritchard of the album’s resoundingly optimistic outlook. “I really want to have fun with my life at this point. But also — it’s kinda a reflection of what I was feeling in real-time in a pre-and-post COVID world. I was reading a lot of sci-fi — like Philip K. Dick, Azimov and surreal stuff like Boris Vian — which is obviously really distracting from what’s going on in the world, but helped me be imaginative with the songs.”
It’s a relief to hear a healthier perspective from a band who have had their struggles played out in the press for fifteen years. Bagging a slew of top 20 hits in their teens (‘Naive,’ ‘She Moves In Her Own Way’) with 2006 quadruple-platinum debut album ‘Inside In/Inside Out,’ the young band didn’t always know how to handle everything that came along with superstardom.
“Mental health has been a big focus of our band for quite a while now. Because we’ve all struggled in our own ways. That’s not to say we haven’t had amazing lives, but just we struggled with fame big time, like really struggled. And we got it wrong a lot of the time.
“We did get famous quite quickly and we didn’t have a lot of the stability required to not let that seriously affect you. All of us, in our own ways, have made some very poor judgements and some really good judgements. And we’re here, so it means we’ve done very well to keep it going and to keep ourselves sane. But I have ultimate compassion for anyone who gets famous anywhere.”
But as with everyone, there comes a point in life where you reach a sense of stillness, you become more comfortable in your own skin and the right path becomes clear to you. The band have been experimental over the years — most notably on 2014’s Inflo-produced jazz-funk album ‘Listen’ — something that has been key to their longevity, but getting back to what people love about The Kooks was front of Pritchard’s mind: whether that person was “a fifteen-year-old kid in South Africa or someone who was at our first concert.”
The result isn’t a rinse and repeat of their earlier sound, though. Instead, we get those infectious Kooks melodies and riffs, but over synths and electronic beats. There’s even some saxophone in there, moving their trademark sound well into 2022.
“Indie is a word we were running from for quite a long time,” he admits. “The band’s done a lot of different records, but we do have quite a style. A big part of it was not running from anything. We’re gonna just do what we do, but better and with a few more fresh ideas.”
In the studio, he made some rules: not to overcomplicate things, throw in some old-school Kooks riffs, “the very classic, Naive-y kinda stuff, but with more minimalism” and to get back to that noughties thing of treated vocals. “It’s not that I hate my voice — I just mainly dislike it. So the more you can disguise it, the better!”
Having that focus helped make a cohesive record that leans on the band’s legacy while still sounding fresh. “On certain albums you make decisions based on other things and you start trying to chase your own tail. This record isn’t about trying to smash everything up and reinvent. COVID hitting in the middle of recording was a good time to kind of really reflect on all our albums and be really happy with our journey.”
As The Kooks, continue to reach an ever-growing audience of young fans, ’10 Tracks To Echo In The Dark’ feels like a mission statement. It’s a celebration of getting through troubled times and a rallying cry for our future.
This is a band whose career highs are still to come. They’re right to feel optimistic about what’s next and that the future might be a little bit brighter.
And the key to seeing fifteen years of success as a band?
“Hard work,” says Pritchard. “And a lot of luck.”
Get ready to unleash your inner rockstar because on March 2nd, at 8 PM DSSOLVR is hosting a guilty pleasure event like no other. Hold onto your butts, it’s our “Take Me Higher: Nothing Butt Rock Night”!
What’s Butt Rock, you ask? It’s that high-octane, adrenaline-pumping rock music that gets your heart racing and your head banging! Remember when songs were simple, Riffs were formulaic, and lyrics without hidden meaning? Yah, we’re back baby! HARD RADIO ROCK.
Prepare for an unforgettable evening filled with the ultimate jams that’ll have you rocking out all night long. But that’s not all – we’re bringing the party to the next level with late-night karaoke, so you can take the stage and sing out your favorite butt rock anthems!
We’ll be unveiling our brand-new beer, “Take Me Higher” Double Barrel Brown Sugar Barleywine! It’s a brew crafted to elevate your senses and rock your taste buds like never before.
So grab your crew, don your best Affliction shirt, and join us for a night of epic ROCK.
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Sigal Music Museum’s current special exhibition, Worlds Apart: Musical Instruments from Secular to Sacred, highlights items from the JoAnn and Frank Edwinn Collection, which hails from all over the world. Showing November 2023 – May 2024, Worlds Apart uses a diverse range of historical instruments, objects, and visuals to bring together musical narratives from seemingly disparate parts of the globe.
Worlds Apart: Musical Instruments from Secular to Sacred aims to increase public access to historical instruments from around the world and improve visitors’ understanding of musical traditions at the global level. Expanding beyond the typical parameters of the Western musical canon, Worlds Apart seeks to expose audiences to musical instruments and customs that are often overlooked or exotified. The instruments and other exhibit materials will offer visitors new perspectives on global music and a chance to consider how music is used for prayer and leisure in cultures around the world. By celebrating these stories, the museum intends to further its mission to collect and preserve historical musical instruments, objects, and information, which engage and enrich people of all ages through exhibits, performances, and experiential programs.
Displaying various objects from the JoAnn and Frank Edwinn Collection, Worlds Apart: Musical Instruments from Secular to Sacred focuses on international musical instruments and cultures, celebrating rites and traditions with ancient histories and contemporary legacies. Frank Edwinn, a successful basso in the mid-20th century, studied and toured internationally, eventually settling in North Carolina, where he taught music at the University of North Carolina Asheville. Throughout his life, he purchased various objects from around the world, aiming to expose students, and himself, to the wide and wonderful world of musical instruments. This impressive collection occupies a unique position for educating audiences unfamiliar with the vast scope of global music.
And, UNCA’s Ramsey Library Special Collections is now processing the Edwinn’s papers and a few recordings that will be accessible next semester!
Gary Robinson, conductor
Caroline Robinson, harpsichord
Christoph Wilibald Gluck: Overtura from Orfeo ed Euridice
Philip Glass: Concerto for Harpsichord and Orchestra
Ottorino Respighi: Ancient Airs and Dances Suite No. 3
Johann Sebastian Bach: Orchestral Suite No. 3
If for you, the sound of the harpsichord conjures the luxury and excess enjoyed at the court of Marie-Antoinette, this concert starts there and takes you to places you couldn’t imagine. The experience is a romp through eras starting with Gluck’s response to the excesses of the Enlightenment, his Orfeo ed Euridice Overture. Then it takes a hard left with composer Philip Glass who was sick and tired of being called a minimalist and decided to explore the flowery Baroque period with his Concerto for Harpsichord and Orchestra, premiered in Seattle in 2002. The last movement will make you want to dance. The grace of Respighi’s Ancient Airs and Dances is all the bright-toned elegance you could wish for, followed by the original master of the Baroque, the one and only Johann Sebastian Bach. The instantly-recognizable majesty and beautiful melody of his third orchestral suite brings everything that’s just happened into sharp focus, and ties it in a profoundly Baroque bow.
Conductor Gary Robinson collaborates here with his daughter and celebrated keyboardist Caroline Robinson. This is an unforgettable program for them and for all who will be in the room to share it.
Gary Robinson, Conductor
Gary Robinson has been a part of the Greenville Symphony Orchestra family since joining GSO’s percussion section in 1985. He has performed as an orchestral percussionist since 1977 in Connecticut, Mississippi, Florida, Georgia, and North and South Carolina, as well as with the American Wind Symphony Orchestra of Pittsburgh, PA
In the 1990s, Robinson teamed up with then-GSO conductor David Pollitt to found the Side-By-Side project (at the time, the Apprentice Project) which paired GSO and student musicians for rehearsal and performance. Following the1997 completion of his Doctor of Music in Orchestral Conducting at the University of South Carolina, Robinson took on other GSO assignments that included conducting chamber concerts, GSO/Greenville Ballet productions of the Nutcracker ballet, and Symphonic Expeditions concerts for school-aged children. Robinson’s work in joint student/professional concerts continued through 2021 in the Side-By-Side pairing of GSO musicians and the orchestra he nurtured starting in 1985, Greenville County Young Artist Orchestra.
Guest Artist: Caroline Robinson, Harpsichord
Organist and church musician Dr. Caroline Robinson has been featured as a solo recitalist across the United States, in venues including New York City churches St. Thomas Fifth Avenue, St. John the Divine, Trinity Church Wall Street, and St. Patrick’s Cathedral; in Boston: Church of the Advent, Harvard Memorial Church, Cambridge, Methuen Memorial Music Hall; St. James in the City, Los Angeles; and Kansas City’s the Kauffman Center. She has also performed in England, France, and Germany. Her playing has been broadcast multiple times on American Public Media’s “Pipedreams,” “Pipedreams LIVE!,” and Philadelphia-based public radio station 90.1 WRTI’s Wanamaker Organ Hour. She has been a featured performer at conventions of the Organ Historical Society, the East Texas Pipe Organ Festival, and the American Guild of Organists, most recently performing in the closing concert of the 2022 AGO Convention in Seattle in collaboration with Seattle Pro Musica.
A prize winner at several distinguished organ competitions, Dr. Robinson is a laureate of the 2018 National Young Artists Competition in Organ Performance (NYACOP) and holds First Prize from the 11th annual Albert Schweitzer Organ Festival (2008) and from the 10th annual West Chester University Organ Competition (2010). She was a semifinalist in the 2014 Dublin International Organ Competition. In 2016, she was chosen as one of the Diapason’s “20 Under 30” promising young organists in the United States.
Caroline holds the post of Organist and Associate Choirmaster at the Cathedral of St. Philip in Atlanta. There, under the direction of Canon Dale Adelmann, she shares organ playing and accompanying responsibilities with Artist-in-Residence Jack Mitchener, and she leads the RSCM-based Chorister program. She is an active continuo player with early music ensembles, having performed at the Rochester Early Music Festival, San Francisco’s American Bach Soloists Academy, and now regularly with the Atlanta Baroque Orchestra.
Dr. Robinson completed her undergraduate work at the Curtis Institute of Music, where she studied with Alan Morrison. Aided by a grant from the J. William Fulbright fellowship fund, Caroline studied at the Conservatoire à Rayonnement Régional de Toulouse with Michel Bouvard and Jan Willem Jansen (organ) and Yasuko Bouvard (harpsichord). Caroline holds the Doctor of Musical Arts and the Master of Music in Organ Performance and Literature from the Eastman School of Music, where she studied with David Higgs. Dr. Robinson also received from Eastman the Performer’s Certificate and the Advanced Teaching Certificate in Theory Pedagogy.
Dr. Robinson is represented in North America by Karen McFarlane Artists, Inc.
⭐ Candlelight concerts bring the magic of a live, multi-sensory musical experience to awe-inspiring locations like never seen before in Asheville. Get your tickets now to discover the music of Coldplay at Asheville Masonic Temple under the gentle glow of candlelight.
General Info📍 Venue: Asheville Masonic Temple📅 Dates and times: select your dates/times directly in the ticket selector⏳ Duration: 60 minutes (doors open 45 mins prior to the start time and late entry is not permitted)👤 Age requirement: 8 years old or older. Anyone under the age of 16 must be accompanied by an adult♿ Accessibility: this venue is ADA compliant❓ View the FAQs for this event here🪑 Seating is assigned on a first come first served basis in each zone🕯️ If you would like to book a private concert (min 15+ people), please click here🎻 Check out all the Candlelight concerts in Asheville🎁 To treat your friends and family to a Candlelight gift card, click here
Tentative Program
“Clocks”“My Universe”“Speed of Sound”“Trouble”“Fix You”“Paradise”“Shiver”“Yellow”“Something Just Like This”“The Scientist”“A Sky Full of Stars”
Performers
Listeso String Quartet
Reviews of Candlelight Concerts💬 Awilda R. ⭐⭐⭐⭐⭐: “Wonderful venue… incredible musicians.”💬 Dixie L. ⭐⭐⭐⭐⭐: “Incredible talented and entertaining. The venue was beautiful:) so thankful for a beautiful experience.”💬 Holly H. ⭐⭐⭐⭐⭐: “Very well run and the very talented musicians were great!”
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Jack’s Bluegrass Brunch kicks off every Sunday at 12 noon — with lively bluegrass tunes courtesy of The Jack of the Wood Bluegrass Brunch Boys from 1-3pm. Sip a Bloody Mary or Mimosa or a warm Irish coffee. Tasty brunch specials alongside our regular menu and 18 taps of rotating craft brews! Sláinte, y’all!
Sigal Music Museum’s current special exhibition, Worlds Apart: Musical Instruments from Secular to Sacred, highlights items from the JoAnn and Frank Edwinn Collection, which hails from all over the world. Showing November 2023 – May 2024, Worlds Apart uses a diverse range of historical instruments, objects, and visuals to bring together musical narratives from seemingly disparate parts of the globe.
Worlds Apart: Musical Instruments from Secular to Sacred aims to increase public access to historical instruments from around the world and improve visitors’ understanding of musical traditions at the global level. Expanding beyond the typical parameters of the Western musical canon, Worlds Apart seeks to expose audiences to musical instruments and customs that are often overlooked or exotified. The instruments and other exhibit materials will offer visitors new perspectives on global music and a chance to consider how music is used for prayer and leisure in cultures around the world. By celebrating these stories, the museum intends to further its mission to collect and preserve historical musical instruments, objects, and information, which engage and enrich people of all ages through exhibits, performances, and experiential programs.
Displaying various objects from the JoAnn and Frank Edwinn Collection, Worlds Apart: Musical Instruments from Secular to Sacred focuses on international musical instruments and cultures, celebrating rites and traditions with ancient histories and contemporary legacies. Frank Edwinn, a successful basso in the mid-20th century, studied and toured internationally, eventually settling in North Carolina, where he taught music at the University of North Carolina Asheville. Throughout his life, he purchased various objects from around the world, aiming to expose students, and himself, to the wide and wonderful world of musical instruments. This impressive collection occupies a unique position for educating audiences unfamiliar with the vast scope of global music.
And, UNCA’s Ramsey Library Special Collections is now processing the Edwinn’s papers and a few recordings that will be accessible next semester!
Gary Robinson, conductor
Caroline Robinson, harpsichord
Christoph Wilibald Gluck: Overtura from Orfeo ed Euridice
Philip Glass: Concerto for Harpsichord and Orchestra
Ottorino Respighi: Ancient Airs and Dances Suite No. 3
Johann Sebastian Bach: Orchestral Suite No. 3
If for you, the sound of the harpsichord conjures the luxury and excess enjoyed at the court of Marie-Antoinette, this concert starts there and takes you to places you couldn’t imagine. The experience is a romp through eras starting with Gluck’s response to the excesses of the Enlightenment, his Orfeo ed Euridice Overture. Then it takes a hard left with composer Philip Glass who was sick and tired of being called a minimalist and decided to explore the flowery Baroque period with his Concerto for Harpsichord and Orchestra, premiered in Seattle in 2002. The last movement will make you want to dance. The grace of Respighi’s Ancient Airs and Dances is all the bright-toned elegance you could wish for, followed by the original master of the Baroque, the one and only Johann Sebastian Bach. The instantly-recognizable majesty and beautiful melody of his third orchestral suite brings everything that’s just happened into sharp focus, and ties it in a profoundly Baroque bow.
Conductor Gary Robinson collaborates here with his daughter and celebrated keyboardist Caroline Robinson. This is an unforgettable program for them and for all who will be in the room to share it.
Gary Robinson, Conductor
Gary Robinson has been a part of the Greenville Symphony Orchestra family since joining GSO’s percussion section in 1985. He has performed as an orchestral percussionist since 1977 in Connecticut, Mississippi, Florida, Georgia, and North and South Carolina, as well as with the American Wind Symphony Orchestra of Pittsburgh, PA
In the 1990s, Robinson teamed up with then-GSO conductor David Pollitt to found the Side-By-Side project (at the time, the Apprentice Project) which paired GSO and student musicians for rehearsal and performance. Following the1997 completion of his Doctor of Music in Orchestral Conducting at the University of South Carolina, Robinson took on other GSO assignments that included conducting chamber concerts, GSO/Greenville Ballet productions of the Nutcracker ballet, and Symphonic Expeditions concerts for school-aged children. Robinson’s work in joint student/professional concerts continued through 2021 in the Side-By-Side pairing of GSO musicians and the orchestra he nurtured starting in 1985, Greenville County Young Artist Orchestra.
Guest Artist: Caroline Robinson, Harpsichord
Organist and church musician Dr. Caroline Robinson has been featured as a solo recitalist across the United States, in venues including New York City churches St. Thomas Fifth Avenue, St. John the Divine, Trinity Church Wall Street, and St. Patrick’s Cathedral; in Boston: Church of the Advent, Harvard Memorial Church, Cambridge, Methuen Memorial Music Hall; St. James in the City, Los Angeles; and Kansas City’s the Kauffman Center. She has also performed in England, France, and Germany. Her playing has been broadcast multiple times on American Public Media’s “Pipedreams,” “Pipedreams LIVE!,” and Philadelphia-based public radio station 90.1 WRTI’s Wanamaker Organ Hour. She has been a featured performer at conventions of the Organ Historical Society, the East Texas Pipe Organ Festival, and the American Guild of Organists, most recently performing in the closing concert of the 2022 AGO Convention in Seattle in collaboration with Seattle Pro Musica.
A prize winner at several distinguished organ competitions, Dr. Robinson is a laureate of the 2018 National Young Artists Competition in Organ Performance (NYACOP) and holds First Prize from the 11th annual Albert Schweitzer Organ Festival (2008) and from the 10th annual West Chester University Organ Competition (2010). She was a semifinalist in the 2014 Dublin International Organ Competition. In 2016, she was chosen as one of the Diapason’s “20 Under 30” promising young organists in the United States.
Caroline holds the post of Organist and Associate Choirmaster at the Cathedral of St. Philip in Atlanta. There, under the direction of Canon Dale Adelmann, she shares organ playing and accompanying responsibilities with Artist-in-Residence Jack Mitchener, and she leads the RSCM-based Chorister program. She is an active continuo player with early music ensembles, having performed at the Rochester Early Music Festival, San Francisco’s American Bach Soloists Academy, and now regularly with the Atlanta Baroque Orchestra.
Dr. Robinson completed her undergraduate work at the Curtis Institute of Music, where she studied with Alan Morrison. Aided by a grant from the J. William Fulbright fellowship fund, Caroline studied at the Conservatoire à Rayonnement Régional de Toulouse with Michel Bouvard and Jan Willem Jansen (organ) and Yasuko Bouvard (harpsichord). Caroline holds the Doctor of Musical Arts and the Master of Music in Organ Performance and Literature from the Eastman School of Music, where she studied with David Higgs. Dr. Robinson also received from Eastman the Performer’s Certificate and the Advanced Teaching Certificate in Theory Pedagogy.
Dr. Robinson is represented in North America by Karen McFarlane Artists, Inc.
Jack’s long-running Traditional Irish Music Session is the perfect way to enjoy the Celtic-influenced sounds of talented pluckers from all over WNC & further afield! Stop in to enjoy a pint or afternoon Irish coffee with the music! Sláinte!
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Sigal Music Museum’s current special exhibition, Worlds Apart: Musical Instruments from Secular to Sacred, highlights items from the JoAnn and Frank Edwinn Collection, which hails from all over the world. Showing November 2023 – May 2024, Worlds Apart uses a diverse range of historical instruments, objects, and visuals to bring together musical narratives from seemingly disparate parts of the globe.
Worlds Apart: Musical Instruments from Secular to Sacred aims to increase public access to historical instruments from around the world and improve visitors’ understanding of musical traditions at the global level. Expanding beyond the typical parameters of the Western musical canon, Worlds Apart seeks to expose audiences to musical instruments and customs that are often overlooked or exotified. The instruments and other exhibit materials will offer visitors new perspectives on global music and a chance to consider how music is used for prayer and leisure in cultures around the world. By celebrating these stories, the museum intends to further its mission to collect and preserve historical musical instruments, objects, and information, which engage and enrich people of all ages through exhibits, performances, and experiential programs.
Displaying various objects from the JoAnn and Frank Edwinn Collection, Worlds Apart: Musical Instruments from Secular to Sacred focuses on international musical instruments and cultures, celebrating rites and traditions with ancient histories and contemporary legacies. Frank Edwinn, a successful basso in the mid-20th century, studied and toured internationally, eventually settling in North Carolina, where he taught music at the University of North Carolina Asheville. Throughout his life, he purchased various objects from around the world, aiming to expose students, and himself, to the wide and wonderful world of musical instruments. This impressive collection occupies a unique position for educating audiences unfamiliar with the vast scope of global music.
And, UNCA’s Ramsey Library Special Collections is now processing the Edwinn’s papers and a few recordings that will be accessible next semester!
The Innerdance is a music-based, meditative, healing journey, It involves the use of special soundscapes that mimic circadian rhythms and enable people to move effortlessly between different brain wave states. As a result, people experience an expanded sense of awareness and altered states of consciousness.
In this space of unlimited possibilities, very profound and mystical things can happen. Common movements in the Innerdance include drug-free psychedelic experiences, life regressions, circadian rhythms, near-death experiences, kundalini activations, and womb/birth memories.
Benefits may include nervous system regulation, circadian rhythm reset, mental clarity, inner peace, greater neural plasticity, increased intuitive discernment, emotional regulation, improved self-esteem, etc.
FULLY SEATED SHOW
Adult Classes
Wednesdays
2:45-3:45 pm & 6:15-7:15 pm
Afternoon adult classes are for fiddle, beginning guitar, and beginning mandolin. Evening adult classes are for bluegrass jam, and beginning clawhammer banjo.
“If you don’t let things develop, it’s like keeping something in a bag and not letting it out to fly”
— Earl Scruggs
It’s never too late to learn to play and/or enjoy being part of the synergy that is created by adult PacJAMMERs!
Adult classes are $15/session, for a total of $210 for the 14-week session.
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Sigal Music Museum’s current special exhibition, Worlds Apart: Musical Instruments from Secular to Sacred, highlights items from the JoAnn and Frank Edwinn Collection, which hails from all over the world. Showing November 2023 – May 2024, Worlds Apart uses a diverse range of historical instruments, objects, and visuals to bring together musical narratives from seemingly disparate parts of the globe.
Worlds Apart: Musical Instruments from Secular to Sacred aims to increase public access to historical instruments from around the world and improve visitors’ understanding of musical traditions at the global level. Expanding beyond the typical parameters of the Western musical canon, Worlds Apart seeks to expose audiences to musical instruments and customs that are often overlooked or exotified. The instruments and other exhibit materials will offer visitors new perspectives on global music and a chance to consider how music is used for prayer and leisure in cultures around the world. By celebrating these stories, the museum intends to further its mission to collect and preserve historical musical instruments, objects, and information, which engage and enrich people of all ages through exhibits, performances, and experiential programs.
Displaying various objects from the JoAnn and Frank Edwinn Collection, Worlds Apart: Musical Instruments from Secular to Sacred focuses on international musical instruments and cultures, celebrating rites and traditions with ancient histories and contemporary legacies. Frank Edwinn, a successful basso in the mid-20th century, studied and toured internationally, eventually settling in North Carolina, where he taught music at the University of North Carolina Asheville. Throughout his life, he purchased various objects from around the world, aiming to expose students, and himself, to the wide and wonderful world of musical instruments. This impressive collection occupies a unique position for educating audiences unfamiliar with the vast scope of global music.
And, UNCA’s Ramsey Library Special Collections is now processing the Edwinn’s papers and a few recordings that will be accessible next semester!
Sing with our Choir at a progressive church
Come join us! Contact Mark Acker for more information ([email protected]).
Rehearsals on Wednesday’s, 3:30-4:45
Beginning & Intermediate youth music classes on traditional and ol’ time instruments including but not limited to, fiddle, mandolin, banjo and guitar. Students will attend 40 minutes of music enrichment, including multiple flat-footing sessions led by Alice Kexel, story-telling, visits from guest musicians, as well as learn about the heritage of the music and the region. They will have 40 minutes of group music classes, and 40 minutes of singing or JAM rehearsal.
Advanced students will have 40 minutes of group instrument lessons, followed by 30 minutes of advanced singing including harmony and shape-note singing, and finish with 50 minutes of coached, small-ensemble rehearsal.
Classes are $15/session, for a total of $210 for the first student, and a 20% discount of $168 for each additional sibling. Parents may choose to split payments when registering. Inquire with Julie Moore at [email protected] or 864-420-6407 about scholarships.
Youth Classes
Wednesdays, 4-6 pm
Grab some dinner and a pint while enjoying our long-running Old-Time jam! Featuring many talented musicians from the local WNC area, our traditional Appalachian mountain music jam runs from 5-9pm every Wednesday night at Jack of the Wood!
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.
Karaoke Night at Hickory Tavern
Music to Your Ears Discussion Series:
FOR IMMEDIATE RELEASE: Hosted by the Asheville Guitar Bar, a discussion series
provides deeper understanding and greater enjoyment of classic albums and recording
artists. Led by Asheville speaker, author and music journalist Bill Kopp, Music to Your
Ears is an interactive experience that shines a light on important music and people. Music
to Your Ears is a 90-minute conversation, held at the Guitar Bar, a music magnet in
Asheville’s historic River Arts District. The March 6 event is a listening party and
discussion focusing on the landmark concept album The Lamb Lies Down on Broadway.
In 1974, English progressive rock band Genesis was at its peak. With a nuanced and
melodic musical core, the group provided a complex and intriguing backing for the
vocals and lyrical visions of front man Peter Gabriel. On the heels of a critically-
acclaimed string of adventurous albums, Genesis embarked on a creative endeavor to
make its most ambitious work yet: a double-length conceptual work. Featuring wordplay and social commentary, the words and story
of The Lamb Lies Down on Broadway were the product of Gabriel’s creative mind, and the accompanying music was a collaborative
effort with guitarists Steve Hackett and Mike Rutherford, keyboardist Tony Banks and drummer Phil Collins.
A mix of fantasy and character development, Gabriel’s storyline for The Lamb Lies Down on Broadway centered around Rael, a young
New York man of Puerto Rican origin. Released in November 1974, The Lamb Lies Down on Broadway was a critical and commercial
success, peaking at #41 on the Billboard 200 album chart in the U.S. Described in The New Yorker as “The Ulysses of concept
albums,” The Lamb Lies Down on Broadway regularly ranks high on best album lists; Uncut named it as one of the ten greatest
concept albums ever made, and Allmusic awarded it five stars, the highest ranking.
At the time of its releases, the album also exerted an influence on a young Puerto Rican boy growing up in New York City. Today Jeff
Santiago is a well-known and celebrated figure in the Asheville music and arts community, leading his band Los Gatos. But in the
‘70s he was a kid whose musical tastes were informed by the music his older siblings and parents played. And they turned him onto
The Lamb Lies Down on Broadway. Its main character resonated with young Jeff even before he began his own musical journey.
Join host and music journalist Bill Kopp for an evening in discussion with Jeff Santiago about Genesis
and their album The Lamb Lies Down on Broadway. We’ll listen to key tracks and encourage questions
from the audience. The evening is the latest installment of the popular “Music to Your Ears” discussion
series, hosted by Asheville Guitar Bar and sponsored by AshevilleFM.
ABOUT THE DISCUSSION SERIES
Music to Your Ears is Bill Kopp’s monthly discussion series hosted by Asheville Guitar
Bar and co-sponsored by AshevilleFM. On the first Wednesday of each month, music
enthusiasts gather to discuss an important album, artist or musical movement. An
interactive evening, MTYE isn’t a lecture; it’s a discussion led by experts and designed
to enrich the listening experience.
ABOUT BILL KOPP (blog.musoscribe.com)
With over 500 bylines in regional publications (Mountain Xpress, Bold Life, WNC Magazine and more), Asheville-based speaker,
author and music journalist is an acknowledged expert on popular music. Author of two books – Reinventing Pink Floyd: From Syd
Barrett to The Dark Side of the Moon and Disturbing the Peace: 415 Records and the Rise of New Wave – Bill Kopp writes for
publications across the country and abroad. A contributing editor at Goldmine Magazine, he has authored more than 30 album liner
note essays and conducted more than 1100 interviews. He regularly hosts discussions on artists and albums of historical importance,
and is a frequent guest on music-focused radio programs and podcasts.
ABOUT JEFF SANTIAGO (jeffsantiago.com)
After settling in Asheville, NC, Bronx born singer-songwriter Jeff Santiago quickly became immersed in the city’s diverse music
community, forming Santiago y Los Gatos. The band brings a combination of emotionally driven lyrics and funky, rhythmic rock-
inspired jams to the stage. Santiago y Los Gatos is pop music at its core, indie rock at its root that is infused with Hispanic heritage
and Southern soul. All this, delivered in songs from the heart. Their live shows are full of passion, energy and emotion.
CHELSEA WOLFE
Grammy-nominated bluesman Jontavious Willis performs original, toe-tapping tunes in the style of Delta, Piedmont, Texas, and Gospel Blues. Don’t miss him live on March 6 at The Grey Eagle.
Jontavious Willis is reshaping the blues scene with his own unique style. Hailing from Greenville, Georgia, his deep connection to his rural Americana and black heritage infuses his artistry with authenticity and character.
Jontavious occupies a unique position as a child of the 90s whose artistic canvas, the blues, is among the most vintage of American art forms. His work provides an avenue for modern audiences to access a part of history all too often deemed inaccessible. On tour and in the studio, he is captivating audiences with his unique perspective, leaving an indelible mark on the world of music, breathing new life into one of America’s greatest contributions to music and culture.
His debut album, “Blue Metamorphosis,” received critical acclaim and was honored with the Best Self-Produced CD Award by the Blues Foundation. His second album, “Spectacular Class,” produced by Taj Mahal and Keb’ Mo’, solidi ed his status as a rising star, and earned him a Grammy nomination.
Currently, Jontavious is working on his upcoming album, which will showcase his evolution as an artist. The project is a product of Jontavious’ relationship with Georgia. He is working hard in his home state, drawing inspiration from both the historical and contemporary, to produce an album that will make its’ mark on the state’s musical tradition.