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.
Wednesdays
4:30 pm-6:00pm
All students with some experience under their belt will take an intermediate or advanced group instrument class, and a band class.
- 4:30-5:15
Jam Band: Phil Jenkins & Carson Moore help young musicians find their voice in a band environment.
- 5:15 – 6:00
Option 1: Intermediate Guitar
Option 2: Intermediate Fiddle
Option 3: Intermediate Mandolin
Option 4: Three-finger banjo- all levels
Clover Pickers: 4:00- 6:00
PacJAM’s house band gets rigorous coaching this semester from Emily Wait and special guest coaches. Clover Pickers will spend 5 weeks of the semester practicing their teaching skills from 4-4:45 weekly, and 5 weeks working on choosing and arranging songs for Clover Picker performance. Band rehearsal and coaching last from 4:45-6 for all 10 weeks. Clover Pickers band is by invitation and the commitment requires extra rehearsals as determined by the group.
While participating in the Lights program, students can develop their songwriting, performing, and musicianship skills while exploring music from around the world. They will have extensive performance opportunities with a focus on music that inspires, uplifts, and spreads a music of unity and hope. Students will record their music in the One Mic studio and learn about the music industry and explore topics such as audio engineering, stage presence, graphic design, videography, website development and more while learning to use their music to be a force for change. Advanced students will have the opportunity to work towards touring locally and regionally with the Lights concert tour. They will also have the opportunity to regularly interact with and learn from LEAF resident artists. Students will be exposed to music from a diverse range of genres and cultures. Students will have the opportunity to see how music connects us on a deep level and how it can create joy, bring people together, and instigate change. LEAF lights will lift young leaders and give them a platform to make a difference in the lives of others.
Wednesdays at 5pm (Junior Group) & 6pm (Senior Group) at LEAF Global Experience (19 Eagle St, Asheville, NC, 28801)
Dates/times subject to change – interested in attending this class but unsure if it works with your schedule, or if it suits your student’s skill level? Reach out to us at [email protected]! We are always looking to adapt and expand our class schedules to accommodate new students!
Local music traditions may be old, but they’re far from gone. Students 6 – 16 years old are wrapping up another
season of learning to play music by ear, all through traditional songs of the Appalachian region.
For nine years, Tryon Fine Arts Center’s (TFAC) Pacolet Junior Appalachian Musicians (PacJAM) has been the
only group string-music program in Polk County. “PacJAM’s success is seen in the accomplishments of our
oldest students,” Program Director Julie Moore explains. “Those in our two student bands – youth who have
been with PacJAM nearly from the start – have evolved into mature, sought-after musicians. And our newer
students are inspired by seeing how much can be learned – with time and practice – through our program.”
PacJAM pairs the regions’ finest Old Time and Bluegrass musicians with eager students to learn two styles of
banjo, guitar, mandolin, ukulele, and fiddle. Context is added with singing, and “jam” classes, where youth
learn what it feels like to be in a band.
Jordan Tice is a singer/songwriter who combines witty musings on life, relationships, and time with deft finger-picking acoustic guitar skills. On his 5th record, Motivational Speakeasy, he breaks it down to just his voice and acoustic guitar for a collection of music that is while deeply informed by the rich history of American folk music, forward-thinking and modern in its conceit. Produced by Kenneth Pattengale (of The Milk Carton Kids), Motivational Speakeasy contains evidence of a variety of influences. From the classic Mississippi John Hurt style melodic blues of “Matter of Time” and “Goin on Down”, to the dissonant Tom Waits-like shuffle of “Creation’s Done” to the philosophical early Dylanesque chatter of “Walkin'” and “Where I’m At”, Tice spins his influences into a variety of highly personal, well-crafted songs. In addition, the album contains 3 instrumental tracks where Tice showcases his narrative guitar-playing and composing with performances that range from British Isles
A modern, theatrical world that is uniquely fresh and inspiring.
Jesus Christ Superstar is an iconic musical phenomenon with a world-wide fan base. In celebration of its 50th Anniversary, a new mesmerizing production comes to North America. Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director Timothy Sheader (Crazy for You, Into the Woods) and award-winning choreographer Drew McOnie (King Kong, Strictly Ballroom), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring.
Featuring award-winning music by Andrew Lloyd Webber and lyrics by Tim Rice, Jesus Christ Superstar is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.
Debuting in the U.S. in 2012, We Banjo 3 has since emerged as fast-rising touring darlings in the country that two of the members now call home. The Galway, Ireland, and Nashville-based quartet––comprised of two sets of brothers, Enda & Fergal Scahill and Martin & David Howley––continually push musical boundaries while maintaining an unwavering devotion to the essential audience experience. WB3 seamlessly converge the shared and varied traditions of Americana, Bluegrass, and Celtic music with pop-sensible songcraft to create a truly unique and gratifying signature sound. Brilliantly commanded instruments––banjo, fiddle, mandolin, guitar, and percussion––effortlessly elevate lead singer David Howley’s propulsive voice. Live on stage, their songs carry the listener along until, at the perfect moment, the band crescendos into catchy choruses with pitch perfect harmonies. We Banjo 3 deliver their music with such palpable rapport, stunning precision, and infectious energy, it’s impossible to pigeonhole what kind of listener might suddenly consider themselves a WB3 fan. With recent stunning performances at such broad ranging festivals Merlefest, BottleRock, Summercamp, ROMP, Wintergrass and others, enthusiasts of almost every genre of music are taking notice.
Actor/comedian and musician Steve Martin says of the band, “We Banjo 3…are making waves…here in America. They are playing the banjo in a style that I didn’t even know could be played like that.” Northwest Cultural Blog said, “There are few adjectives left to describe the authenticity and the electrifying experience you get when you first see/hear We Banjo 3 live on stage…It’s the incorporation of each and every one ofits members, their individual charisma, their energy, their passion and their very soul, that makes them one of the greatest live musical acts the world has to offer today.”
We Banjo 3 released their 6th CD, Roots To Rise Live, in July of 2019 in conjunction of the band’s summer and fall 2019 U.S. tours. Recorded at The Ark in Ann Arbor, Michigan, the CD features a mix of original material, traditional compositions, select cover songs, and two previously unreleased tunes. The CD debuted at the beginning of August at # 1 on Billboard’s Bluegrass Albums Chart spending 4 weeks in the peak position. The band’s 2018 studio recording, Haven, spent 3 weeks at # 1 on that chart, marking the first time an Irish band held the # 1 position on this chart. When Haven re-entered the chart at # 5 in August 2019, joining Roots To Rise Live at the #1 position, WB3 made history again as the only Irish band to hold two top-5 chart positions simultaneously. Of Roots To Rise Live, Songlines Magazine reviewed “…this album by Celtgrass pioneers We Banjo 3 scorches its way through a rollercoaster set colliding their native Galway heritage with liberal helpings of blistering bluegrass and a telling nod to pop music.”
We Banjo 3 is committed to giving back to the community, and raising awareness around the issue of mental health is a cause that is dear to their hearts. Toward this effort, We Banjo 3 donate $2.00 for every t-shirt and CD sold on their U.S. tours to organizations that work to provide mental health resources. In 2019, WB3 raised $7500.00 for Mental Health America, the nation’s leading community-based nonprofit dedicated to addressing the needs of those living with mental illness and to promoting the mental health of all Americans. For 2020, We Banjo 3 is pleased to partner with start-up not-for-profit Backline. Backline works to support the mental health of music industry professionals and their families by providing streamlined access to mental health and wellness services and educational resources specific to the work and lifestyle of the music industry community. For more information on Backline, visit www.backline.care.
For tickets purchased online via Ticketmaster.com: You will be receiving a direct message in the next 24-72 hours with refund information. If you want to keep your tickets, no further action is needed at this time.
For tickets purchased at the HCCA Box Office: Please visit our Refund Inquiry page to begin processing your refund. Please allow 1-4 business days for a reply as we do our best to reply to all inquiries.
For tickets purchased via third-party sites such as StubHub, Vivid Seats, or related platforms: These sites are not official venue ticketing platforms. You will have to contact these sites directly for requests.
If you have any further questions at this moment, please e-mail us directly.
KNOW BEFORE YOU GO
From The Indigo Girls: “We’ve made the difficult decision to postpone our upcoming shows on October 27 in Asheville, NC and October 29 in Charlotte, NC. The safety and comfort level of our fans, band, and crew remains our number one priority. As infection rates slow and vaccination rates increase, we feel a brief pause in the action and a return to North Carolina in Spring 2022 is the best way forward. Thank you for your patience and understanding as we navigate this difficult year. We encourage you to hang on to your tickets! We can’t wait to see you in the spring! All previous ticket purchases will be honored for the rescheduled dates. Refunds can be made at point of purchase.”
RESCHEDULED FROM NOVEMBER 14, 2021. All previously purchased tickets will be honored at the rescheduled date. Please email [email protected] if you have any questions. Deadline to request a refund is November 4, 2021
Nashville-based, Oregon-born Mat Kearney is back with his new studio album January Flower. Written between an isolated retreat in Joshua Tree and his home studio, January Flower sees Kearney in his rawest form, distilling the songwriting process and rediscovering the joy of making music. Over his career, Kearney has released five studio LPs, claimed the #1 spot on iTunes, topped multiple Billboard charts, made four entries into the Hot 100, amassed over 2.5 BILLION global streams. Kearney, a Multi-Platinum songwriter and producer, has performed live on TODAY Show, Ellen, The Tonight Show, Letterman and Jimmy Kimmel Live! and has garnered raves from USA Today, Entertainment Weekly, People, Billboard, PARADE and Marie Claire. He also has an incredible touring history, sharing the road with everyone from John Mayer to NEEDTOBREATHE.
Dates: July 11 – 16, 2022
Application: Available now through MyBMC
Cost: A $600 fee covers all housing, meals, classes, materials, and concert tickets. Spots are limited and applications will be reviewed on a rolling basis.
Please note: Proof of COVID-19 vaccination is required for all students, faculty, and summer staff for the 2022 season. Please see our FAQ page for more information.
Program Summary
Brevard Music Center (BMC) presents The Brevard Project: Reimagining the Future of Orchestral Programming, a six-day intensive seminar and think-tank on orchestral programming intended for professionals and influencers in the orchestral field. Presented by Brevard Music Center in partnership with Bard College, the Blair School of Music at Vanderbilt University, the Chicago Sinfonietta, the South Dakota Symphony, the University of Michigan School of Music, and Project Director Joseph Horowitz, The Brevard Project takes place July 11-16, 2022. The central goals of The Brevard Project are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire.
Curriculum
The Brevard Project: Reimagining the Future of Orchestral Programing complements Brevard Music Center’s week-long “Dvořák’s Prophecy” festival from July 11-16 and is inspired by Joseph Horowitz’s acclaimed new book Dvořák’s Prophecy and the Vexed Fate of Black Classical Music. Part think-tank, part seminar, this inaugural Project gathering equips practitioners and scholars alike to begin to answer questions about the dense nexus of culture and race, of historical, political, and moral reckonings surrounding the story of American orchestral music. The central goals of this program are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire. The Brevard Project is designed for conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and engaged orchestra Board members.
Moving forward requires a fresh and closer look at our musical past – and to the lagging formation of an American symphonic canon. A new narrative of American classical music will be proposed that explores timely and topical issues that impact present and future orchestral programming. Why did our repertoire remain so stubbornly Eurocentric? What can we learn from this history? What can be mined from the treasure trove of long-hidden indigenous and Black music that can help to pave the future?
Classroom sessions will be highly interactive, drawing upon first-hand accounts of humanities-infused approaches to programming and community engagement. Topics of exploration include creating a “new paradigm” for American orchestral repertoire, rethinking the concert experience, and redefining the role of the music director. Participants will be challenged to envision programming and organizational initiatives to promote symphonic events grounded in the American experience, past and present.
The Faculty
A remarkable faculty has been assembled for this groundbreaking exercise.
*virtual participant
Joseph Horowitz, Project Director
Leon Botstein, President, Bard College; Music Director, American Symphony; Founder, Bard Festival and The Orchestra Now
Lorenzo Candelaria, Dean, Blair School of Music at Vanderbilt University
Mark Clague, Music Historian, University of Michigan
JoAnn Falletta*, Music Director, Buffalo Philharmonic Orchestra
Christopher Gibbs*, Music Historian, Bard Conservatory; Artistic Co-Director, Bard Festival
Delta David Gier, Music Director, South Dakota Symphony
Blake-Anthony Johnson, CEO, Chicago Sinfonietta
Keith Lockhart*, Artistic Director, Brevard Music Center
Douglas McLennan, Founder/Editor, ArtsJournal
Jason Posnock, Chief Artistic Officer, Brevard Music Center
Jesse Rosen, Former CEO, League of American Orchestras
Larry Tamburri, CEO, Newark School of the Arts (former CEO, Pittsburgh and New Jersey Symphonies)
The Performers
Lara Downes, Pianist, producer, arts advocate
Sidney Outlaw, Baritone/pedagogue, Ithaca College
George Shirley, Tenor/pedagogue, University of Michigan
Enrollment Information
Conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and Board members are all encouraged to apply for The Brevard Project.
Capacity is limited. A $600 fee covers all housing, meals, classes, materials, and concert tickets for the week. Applications will be reviewed on a rolling basis. Apply now through MyBMC.
Volunteer at
TFAC events this spring!Email Sharol at [email protected] or call 828-859-8322
T-F 10AM – 4PMUshers & Bartenders
needed for the following events.EVENTS
- April 16: Livingston Taylor concert on main stage
- April 21-24: Enchanted April community theater on stage
- April 28: Amphitheater concert (outdoors)
- May 8: Ranky Tanky concert on main stage
- May 5: Amphitheater concert (outdoors)
- May 12: Amphitheater concert (outdoors)
- May 19: Amphitheater concert (outdoors)
- May 26: Amphitheater concert (outdoors)
Queer Music Exploration with Kayla Lynn – Students will explore guitar, bass, drums, singing and piano with a focus on learning music by artists from the LGBTQ+ community. Students will have the chance to interact with their peers and share their experiences through music
Marilynn Seits is a performer, composer, and jazz piano teacher. She has played at the Waldorf Astoria and Plaza Hotels in New York City, in the SunFest Festival in South Florida, and all around the Asheville area at the Biltmore estate, Isis Music Hall, Asheville Area Piano Forum benefit concerts, and for the Museum’s own Pianoforte series. Seits is accompanied by Sean McAusland, who has played a six-string fretless bass for many years with jazz, rock, and blues bands in Asheville, West Palm Beach, FL, and Burlington, VT.
This evening, Seits and McAusland play music from a range of holiday traditions.
THURSDAY NIGHT LIVE
On select Thursdays, local musicians enliven our spaces with music to complement your visit. As you stroll the galleries, a variety of tunes adds new dimensions to your viewing experience.
Marilynn Seits is a performer, composer, and jazz piano teacher. She has played at the Waldorf Astoria and Plaza Hotels in New York City, in the SunFest Festival in South Florida, and all around the Asheville area at the Biltmore estate, Isis Music Hall, Asheville Area Piano Forum benefit concerts, and for the Museum’s own Pianoforte series. Seits is accompanied by Sean McAusland, who has played a six-string fretless bass for many years with jazz, rock, and blues bands in Asheville, West Palm Beach, FL, and Burlington, VT.
This evening, Seits and McAusland play music from a range of holiday traditions.
THURSDAY NIGHT LIVE
On select Thursdays, local musicians enliven our spaces with music to complement your visit. As you stroll the galleries, a variety of tunes adds new dimensions to your viewing experience.
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| Spring 2022 Amphitheater Series
An eclectic mix of music in TFAC’s popular Peterson Amphitheater awaits you this spring! From energetic folk to blends of country and rock, TFAC’s lineup of 90-minute, outdoor concerts will fill the air with music and have you singing & dancing.
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Walkhome is a rock-n-roll band composed of Lewis, and a rotating cast of fellows – Paul, Xandy, Landon, Julien and Zach .
Gummy is Alison, Mark, and Newt: a group of small & humble worms from Asheville, NC. Their interests include big pencils, counting, and beanie babies. Direct all questions about oxygen to Jimmy.
IDEAL SELF
Stile Antico is firmly established as one of the world’s most accomplished and innovative vocal ensembles. Working without a conductor, its twelve members have thrilled audiences on four continents with their fresh, vibrant and moving performances of Renaissance polyphony. Its bestselling recordings have earned accolades including the Gramophone Award for Early Music, Diapason d’or de l’année, Edison Klassiek Award, and Preis der deutschen Schallplattenkritik. The group has received three Grammy® nominations, and performed live at the 60th Grammy® Awards at Madison Square Garden.
Sponsor:
Comporium
Auditorium seating is reserved.
COVID-19 protocols have been implemented for all concerts at Parker Concert Hall.
Beginning September 1, 2021, proof of vaccination or a negative COVID-19 test taken within 72 hours prior to performance will be required. Masks are required for all patrons and visitors regardless of vaccination status. Read more…
A modern, theatrical world that is uniquely fresh and inspiring.
Jesus Christ Superstar is an iconic musical phenomenon with a world-wide fan base. In celebration of its 50th Anniversary, a new mesmerizing production comes to North America. Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director Timothy Sheader (Crazy for You, Into the Woods) and award-winning choreographer Drew McOnie (King Kong, Strictly Ballroom), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring.
Featuring award-winning music by Andrew Lloyd Webber and lyrics by Tim Rice, Jesus Christ Superstar is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.
The curious thing about being a fan of brasshouse? You’re pretty much talking about being into one solitary but extremely unforgettable band: the amusingly monikered Too Many Zooz.
The musical style was “branded” by drummer King of Sludge, who recognized that there was no worthy existing classification for the New York trio, whose other two members are the equally unclassifiable Leo P (saxophone) and Matt Doe (trumpet).
“Brasshouse is a high energy musical conversation,” Matt insists. “Though I honestly don’t think there is a good way to describe it in words. It’s about many different feelings and sounds and emotions.”
Or as KOS so decisively puts it, “I don’t really care about what’s happening in music — I just make art that I enjoy making.”
It’s exactly this indifference to convention and trend that has garnered Too Many Zooz a fanbase that KOS describes as “wide-ranging and fanatical.” One of those fans? In 2016, Beyonce asked them to perform with her at the Billboard Music Awards…and it’s quite possible they got just as much attention as did she.
After two years, a gazillion live performances and four EPs, their debut album Subway Gawdz (an unsubtle reference to their birth in the underground stations of NYC), was released to enthusiastic acclaim in 2016. Its sound was truly like nothing else, with inescapable grooves that take in dub, soul, funk and ska, utterly exhilarating horn blasts that shoot right up your spine, and, of course, equal doses of fun and attitude.
And right now, TMZ are riding higher than ever, surely poised for the leap into genuinely widespread international recognition that was likley inevitable since they first set foot in an NYC subway station. Indeed, following a deal with Ministry of Sound, their single “Warriors” racked up major play on Radio One (if you think you haven’t heard it, when you hear it, you’ll quickly realize you already have), followed by high-profile remixes from the likes of Armand Van Helden and KDA.
Then, UK sensation Jess Glynne penned lyrics and added vocals to morph the song into “So Real (Warriors),” which has been generating massive buzz while climbing the European charts. In the meanwhile, a live video for “Car Alarm” has furtively racked up more than 500K views in one week.
But surely signaling their mainstream “arrival”? A Canadian KFC commercial featured the band and their songs — so don’t be surprised if listening to their music suddenly makes you hungry.
Though they’ve also been up to more serious matters. Leo, in fact, was asked to play at the BBC Proms Charles Mingus tribute at a sold-out Royal Albert Hall in August 2017 — certainly no small honor.
Yet for all this, the forward plan for Too Many Zooz, is, as ever, constant touring. The reason is simple: it’s their outrageous, electrifying live performances that consistently continue to add the numbers to their growing worldwide legion of fans. Autumn 2018 will take them coast to coast, from Seattle to Houston to Philadelphia, and across Europe, with stops in Krakow, Strasbourg and Marseille, amongst others.
“I don’t think there’s any recording that can do a live performance justice,” reckons Matt. “You’ll see people of all different colors, creeds, genders, ages, sexuality at our shows. I really can’t find a constant between them…besides liking our music — haha.”
But for everything that’s happened in the last couple of years, the trio aren’t actually all that surprised by their success.
“I always knew we had something special,” Leo enthuses. “Thousands of people everyday loved our music…and I knew it would just continue to spread.”
In 2016, Karina joined Marco Benevento’s band on bass, replacing Dave Dreiwitz (Ween /Joe Russo’s Almost Dead). In the many U.S. tours, trips to Japan and the UK since then, Karina has developed a permanent and powerful presence in the band, playing headlining shows, festival sets, and opening for bands such as Vulfpeck, Dispatch, The Claypool Lennon Delirium, Guster, and many more.
Aside from her gigs with Benevento, Karina’s musical résumé has almost grown too large to keep track of, but includes highlights we’d be remiss to exclude: a performance on the Today Show with Julia Michaels, a now-famous soundcheck at Madison Square Garden with Phish, playing in the backing band (in front of Howard Stern and co. at Radio City Music Hall) on America’s Got Talent with a flame-spewing helmet on her head, gigs with the Everyone Orchestra alongside members of moe., The Disco Biscuits, Soulive, Robert Randolph, + many more) and finally, the formation of her own band.
Karina put out two singles in 2019: Plants and Elevator, as well as two more in 2020 (City Kids & Dirty South) – the songs have garnered six-figure streaming numbers + air time on Satellite radio. A few live highlights include opening for Khruangbin at The Capitol Theatre, playing moe.down and Hulaween, and a plethora of headlining shows for ravenous fans. The group has welcomed special guests including Nels Cline, Robert Walter, Skerik, + more. And this is just the beginning for the young NYC-based bassist.
Step Into the heart of Rwanda With Culture Keeper David Kwizera + the LEAF International Rwanda Jr. Troupe! This spring documentary is exactly what you need!
Dates: July 11 – 16, 2022
Application: Available now through MyBMC
Cost: A $600 fee covers all housing, meals, classes, materials, and concert tickets. Spots are limited and applications will be reviewed on a rolling basis.
Please note: Proof of COVID-19 vaccination is required for all students, faculty, and summer staff for the 2022 season. Please see our FAQ page for more information.
Program Summary
Brevard Music Center (BMC) presents The Brevard Project: Reimagining the Future of Orchestral Programming, a six-day intensive seminar and think-tank on orchestral programming intended for professionals and influencers in the orchestral field. Presented by Brevard Music Center in partnership with Bard College, the Blair School of Music at Vanderbilt University, the Chicago Sinfonietta, the South Dakota Symphony, the University of Michigan School of Music, and Project Director Joseph Horowitz, The Brevard Project takes place July 11-16, 2022. The central goals of The Brevard Project are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire.
Curriculum
The Brevard Project: Reimagining the Future of Orchestral Programing complements Brevard Music Center’s week-long “Dvořák’s Prophecy” festival from July 11-16 and is inspired by Joseph Horowitz’s acclaimed new book Dvořák’s Prophecy and the Vexed Fate of Black Classical Music. Part think-tank, part seminar, this inaugural Project gathering equips practitioners and scholars alike to begin to answer questions about the dense nexus of culture and race, of historical, political, and moral reckonings surrounding the story of American orchestral music. The central goals of this program are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire. The Brevard Project is designed for conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and engaged orchestra Board members.
Moving forward requires a fresh and closer look at our musical past – and to the lagging formation of an American symphonic canon. A new narrative of American classical music will be proposed that explores timely and topical issues that impact present and future orchestral programming. Why did our repertoire remain so stubbornly Eurocentric? What can we learn from this history? What can be mined from the treasure trove of long-hidden indigenous and Black music that can help to pave the future?
Classroom sessions will be highly interactive, drawing upon first-hand accounts of humanities-infused approaches to programming and community engagement. Topics of exploration include creating a “new paradigm” for American orchestral repertoire, rethinking the concert experience, and redefining the role of the music director. Participants will be challenged to envision programming and organizational initiatives to promote symphonic events grounded in the American experience, past and present.
The Faculty
A remarkable faculty has been assembled for this groundbreaking exercise.
*virtual participant
Joseph Horowitz, Project Director
Leon Botstein, President, Bard College; Music Director, American Symphony; Founder, Bard Festival and The Orchestra Now
Lorenzo Candelaria, Dean, Blair School of Music at Vanderbilt University
Mark Clague, Music Historian, University of Michigan
JoAnn Falletta*, Music Director, Buffalo Philharmonic Orchestra
Christopher Gibbs*, Music Historian, Bard Conservatory; Artistic Co-Director, Bard Festival
Delta David Gier, Music Director, South Dakota Symphony
Blake-Anthony Johnson, CEO, Chicago Sinfonietta
Keith Lockhart*, Artistic Director, Brevard Music Center
Douglas McLennan, Founder/Editor, ArtsJournal
Jason Posnock, Chief Artistic Officer, Brevard Music Center
Jesse Rosen, Former CEO, League of American Orchestras
Larry Tamburri, CEO, Newark School of the Arts (former CEO, Pittsburgh and New Jersey Symphonies)
The Performers
Lara Downes, Pianist, producer, arts advocate
Sidney Outlaw, Baritone/pedagogue, Ithaca College
George Shirley, Tenor/pedagogue, University of Michigan
Enrollment Information
Conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and Board members are all encouraged to apply for The Brevard Project.
Capacity is limited. A $600 fee covers all housing, meals, classes, materials, and concert tickets for the week. Applications will be reviewed on a rolling basis. Apply now through MyBMC.
Volunteer at
TFAC events this spring!Email Sharol at [email protected] or call 828-859-8322
T-F 10AM – 4PMUshers & Bartenders
needed for the following events.EVENTS
- April 16: Livingston Taylor concert on main stage
- April 21-24: Enchanted April community theater on stage
- April 28: Amphitheater concert (outdoors)
- May 8: Ranky Tanky concert on main stage
- May 5: Amphitheater concert (outdoors)
- May 12: Amphitheater concert (outdoors)
- May 19: Amphitheater concert (outdoors)
- May 26: Amphitheater concert (outdoors)
Visiting Asheville soon and looking for a fun way to fill your Friday night? The Asheville Drum Circle is a tradition unique to the area. While locals usually begin the beating of drums, tourists are welcome to join, dance, or simply take in the incredible atmosphere at any point.
If you’re looking for things to do in the area during your stay, this is a must! Here’s everything you should know about the Drum Circle.
The Asheville Drum Circle is a free event that’s open to all.
In Flight has an eclectic sound that is unique to each performance. Keyboardist Ian Taylor and guitarist Bryce Robertson have been playing together since 2009 and have written over 50 original compositions together. Jay Good on drums completes the sound with worldly beats and solid grooves on a minimalistic kit. The electric trio performs original and improvised music combining funk, jazz fusion, and progressive rock with a unique take on American roots and world music.
Patty Griffin is among the most consequential singer-songwriters of her generation, a quintessentially American artist whose wide-ranging canon incisively explores the intimate moments and universal emotions that bind us together. Over the course of two decades, the GRAMMY® Award winner – and seven-time nominee – has crafted nine classic studio albums and two live collections, a remarkable body of work in progress that prompted the New York Times to hail her for “[writing] cameo-carved songs that create complete emotional portraits of specific people…(her) songs have independent lives that continue in your head when the music ends.”
The Austin, TX-based singer and songwriter made an immediate impact with her 1996 debut, Living With Ghosts, and its 1998 follow-up, Flaming Red – both now considered seminal works of modern folk and Americana. Since then, Griffin’s diverse body of work spans such classic LPs as 2002’s GRAMMY® Award-nominated 1000 Kisses – later ranked #15 on Paste’s “The 50 Best Albums of the Decade (2000-2009),” — to 2007’s Children Running Through, honored by the Americana Music Association with two Americana Honors & Awards including “Artist of the Year” and “Album of the Year.” To date, Griffin has received seven total nominations from the Americana Music Association, affirming her as one of the far-reaching genre’s leading proponents. 2011’s Downtown Church – which blends traditional gospel favorites with Griffin’s own spiritually questioning material – debuted at #1 on both Billboard’s “Folk Albums” and “Christian Albums” charts before winning 2011’s “Best Traditional Gospel Album” GRAMMY® Award, Griffin’s first solo GRAMMY® triumph among seven total career nominations. Griffin’s most recent LP, 2015’s Servant Of Love, marked the first release on her own PGM Recordings label via Thirty Tigers. Applauded by The Guardian as “bravely experimental,” the collection saw Griffin earn still another GRAMMY® Award nomination, this time in the “Best Folk Album” category.
Widely regarded among the best pure songwriters of this or any other era, Griffin has had her work performed by a truly epic assortment of her fellow artists, among them Linda Ronstadt, Emmylou Harris, Solomon Burke, The Dixie Chicks, Kelly Clarkson & Jeff Beck, Martina McBride, Miranda Lambert, Melissa Etheridge and Susan Boyle, to name but a few. Her songs have also been showcased in a variety of film, TV, and theatre projects, with her original music and lyrics featured in the 2007 musical, 10 Million Miles, produced Off-Broadway by the Atlantic Theatre Company and directed by Tony Award-winner Michael Mayer. Griffin has also been joined in the studio by a veritable who’s-who of contemporary Americana, including Harris, Buddy & Julie Miller, Shawn Colvin, Jim Lauderdale, Raul Malo, Ian McLagen, JD Foster, and many others. As if her own remarkable career weren’t enough, Griffin has found time to collaborate with a wide range of like-minded artists, among them Joshua Radin, Todd Snider, Dierks Bentley, Robert Plant, Jack Ingram, Gillian Welch, and David Rawlings.
In addition to her creative career, Griffin has also devoted considerable energy and focus towards the wellbeing of the planet as well as showing compassion for the less fortunate among us via personal and public acts of charity including helping to create the Lampedusa tours supporting the Jesuit Refugee Service.
Having crafted a rich catalog that chronicles love and death, heartache and joy, connection and detachment, Patty Griffin continues to push her art forward, as always imbuing every effort with compassion and craft, uncanny perception, and ever-increasing ingenuity.
Safety Requirements for this show:
While the Wortham Center for the Performing Arts has recently updated their covid policies on their website, Patty Griffin and her team have asked that we have specific covid precautions for this upcoming performance. Please refer to the requirements below and emails sent to ticket holders on 4/14 and 4/27 and not those listed on the Worthamarts.org webpage.
Proof of full vaccination against COVID-19 is required.
- Proof may be presented via a digital photo or physical copy of your vaccination card.
- Proof must be accompanied with a photo ID.
- Minors (ages 12-17) may show a vaccination card without photo ID.
Or, proof of a negative lab-conducted PCR COVID-19 test taken within 48 hours of the performance.
- Negative tests must be dated and show your name.
- A photo ID is required
- Minors (ages 12-17) may show proof of a negative test result without photo ID.
Children under the age of 12 do not have to show proof of vaccination nor a negative COVID-19 test.
A modern, theatrical world that is uniquely fresh and inspiring.
Jesus Christ Superstar is an iconic musical phenomenon with a world-wide fan base. In celebration of its 50th Anniversary, a new mesmerizing production comes to North America. Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director Timothy Sheader (Crazy for You, Into the Woods) and award-winning choreographer Drew McOnie (King Kong, Strictly Ballroom), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring.
Featuring award-winning music by Andrew Lloyd Webber and lyrics by Tim Rice, Jesus Christ Superstar is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.
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