Calendar of Events

Rapidly rising on the bluegrass scene, Billboard-charting artists Liam Purcell & Cane Mill Road perform internationally and stateside winning both industry awards and the hearts of fans who turn out to see them at some of the industry’s most iconic venues.

Named Momentum Band of the Year by IBMA in 2019, Liam Purcell & Cane Mill Road have been recognized as one of the fastest growing bands in the industry. Their latest release “Roots” debuted at #6 on the Billboard Bluegrass Album Charts, joining their three previous albums for a total of 12 weeks in the Top 10.

Growing up just down the road from Doc Watson, Liam Purcell leads Cane Mill Road as they rock the traditional bluegrass standards they were raised on, yet boldly write original music with roots in the fertile grounds of bluegrass, old-time, and Americana. Their powerful arrangements and dynamic stage presence have landed them main stage slots at legendary festivals across the country.

Multi-platinum artists Fitz and the Tantrums have quickly grown from independent upstarts to bonafide hitmakers. The LA-based band
recently released their much-anticipated, fourth full length album “ALL THE FEELS,” featuring singles “123456” and “I Just Wanna
Shine.” “ALL THE FEELS” follows the band’s 2016 release “FITZ AND THE TANTRUMS,” which spawned the group’s biggest hit to
date, “HandClap.” The RIAA-certified 2x Platinum single has logged more than 400 million global streams, went top 5 on both the Hot
AC and Alternative Radio charts, and also enjoyed major airplay across the country at Top 40. The band has brought the infectious
energy of their live shows to the small screen, with nationally televised performances of “HandClap” on ABC’s “Dancing With The
Stars,” “Good Morning America,” and “Jimmy Kimmel Live!,” NBC’s “TODAY,” “Tonight Show Starring Jimmy Fallon,” “America’s Got
Talent,” and Macy’s Thanksgiving Day Parade, and the syndicated “Ellen DeGeneres Show” among others.

Fitz and the Tantrums’ eponymous album followed their breakout major label debut, “MORE THAN JUST A DREAM,” which featured
back-to-back Platinum-certified, #1 Alternative Radio singles in “The Walker” and “Out Of My League.” Both singles also enjoyed Top
15 success at Hot AC. The band has performed countless, sold out headlining shows and is always a standout at music festivals
around the world, including Coachella, Bonnaroo, Lollapalooza, Austin City Limits, and more.

Fitz and the Tantrums are: Michael “Fitz” Fitzpatrick (vocals), Noelle Scaggs (vocals), James King (saxophone, flute), Jeremy
Ruzumna (keyboards), Joseph Karnes (bass), and John Wicks (drums, percussion).

A fever dream in sonic form, St. Paul & The Broken Bones’ new album The Alien Coast represents the most adventurous and original
output yet from an ever-evolving musical powerhouse. In a profound shift for the Alabama-bred eight-piece—Paul Janeway (vocals),
Jesse Phillips (bass), Browan Lollar (guitar), Kevin Leon (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone), and Amari Ansari (saxophone)—the band’s fourth full-length and first for ATO Records strays far from the time-bending
soul of past work like their 2014 debut, arriving at a convergence of rock & roll, R&B, psychedelia and funk. At turns explosive, elegant,
and unhinged, that sound makes for a majestic backdrop to St. Paul & The Broken Bones’ visceral exploration of the strangest
dimensions of the human psyche.

Produced by Matt Ross-Spang, The Alien Coast is the first album St. Paul & The Broken Bones have ever recorded in their hometown
of Birmingham. In creating the ultra-vivid dreamscape threaded throughout The Alien Coast, the band’s chief lyricist drew inspiration
from such disparate sources as Greek mythology, dystopian sci-fi, 17th century Italian sculpture, and colonial-period history books.

for tickets go to

FITZ & THE TANTRUMS and ST. PAUL & THE BROKEN BONES at Rabbit Rabbit on Jun 1, 2022 6:00 PM (etix.com)

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.

Discussion led by music journalist/author Bill Kopp with special guest Bill Altman

Music to Your Ears will explore significant albums, artists and movements in popular music. The event is held at the Asheville guitar Bar in the River Arts District on the first Wednesday of each month. The first installment is Wednesday, June 1, and the topic will be Pink Floyd’s 1972 album Obscured by Clouds. It’s the little-known precursor to The Dark Side of the Moon, one of the most popular albums in the history of recorded music

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.

We are a group of women who love to sing a cappella harmony in a variety of styles. We are seeking Leads but welcome other parts too—Baritone, Bass, Tenor.
Because we care about quality, we require user -friendly auditions.

We meet weekly.

Check us out!

With a lilting, clear and so too, powerful set of pipes, Mary Kay Williams is the quintessential pitch perfect Jazz Songstress! The joy and peace one feels each time she opens her mouth to sing a fun and happy melody, is paralleled by the wonder and contemplative emotions she elicits with a more tempered, soulful tune. You’ll feel all the feels with MKW!  Don’t delay, purchase your tickets today. Peggy Ratusz opens

What: Stand up Comedy at The Orange Peel’s Pulp Lounge
When: Thursday 6.2.22. 8p-11p
Where: The Orange Peel’s Comedy Basement, Pulp Lounge103 Hilliard Ave, Downtown Asheville
Tickets: $15 (available at door or theorangepeel.net)
For More info: contact Michele at [email protected]
*** If time allows, there will be a (3m ea) comedy open mic after the show***
Stand up comedy featuring Kylie Vincent with special guest feature Andy Sanford with Tamar Rubin & Petey Smith McDowell. Hosted by Cody Hughes
Special guest: Andy Sandford is a comedian who got funny in Atlanta, moved to New York City, established himself as one if NY’s top tier comics and moved back to Atlanta in 2021 to record his latest album with 800lbs Gorilla Records. It’s called “Basket Case” and comes out June 10th. Andy has performed his jokes on Conan and The Late Late Show with James Corden. Andy’s debut album, Me the Whole Time; was one of Splitsider’s “9 Best Standup Albums of The Year.“ His hour special, “Shameful Information,” is currently featured on Amazon Prime. Sandford even played an animated version of himself on Adult Swim’s Aqua Teen Hunger Force. The Village Voice called him, “one of New York’s comedic gems;” a nice gesture, but not enough to keep him in New York. Andy is out of Atlanta now (sorry NY).
Kylie Vincent is a 22 year old stand-up, activist, and theater artist in New York City, currently traveling with her solo show BIRD and performing stand-up across the United States. New York audiences say Vincent is “a hilarious, thoughtful, badass” and BIRD is “honest, hilarious and tear jerking.” Vincent has sold out her solo show in Los Angeles (Lyric Hyperion Theatre), Austin (Fallout Theatre), & as a guest artist at LSU & Sewanee University. Other favorite credits include Adult Swim, NBC, Amsterdam Tour & headlining in Atlanta.
Host Cody Hughes is a comedian who cut his teeth in Chicago and Atlanta. He is now based out of West North Carolina and tours the Southeast. He has opened for Lewis Black, John Oliver and Maria Bamford among others and hosts the regular Slice of Life Comedy shows at The Orange Peel’s Pulp Lounge.

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.

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.

John Kirby and the New Seniors were born from fire under a full moon in the winter of 2019. Bonding over a mutual love of Van Halen and The Replacements, the three instantly connected and vowed their allegiance to rock and roll in both form and spirit. “We get to the chorus quick.. while also sticking it to the man…”.

Fueled by the guitar playing, singing and songwriting of John Kirby and anchored by the rhythm section of old school rockers John Hawkins (drums/vocals) and Chad Nance (bass/vocals), John Kirby and The New Seniors play guitar driven original rock with a little bit of power pop sprinkled on top.

Their music has also been described as “Punk/metal with a bouquet of guitar based pop”, “A cross between Westerberg and Petty” and “Nicely crafted power punk”.

Always looking to forge ahead, the band released their first EP “Don’t Kill the Magic” in September of 2019 and have followed that up with 9 singles and 1 live album release. The band will release their first full length album in early spring. JKandTNS also continues to be involved in the Black Mountain based Holy Crap Records music community.

Clarinetist Steve Loew and pianist/Artistic Director Daniel Weiser return to Isis for another exciting “JEWISH JAZZ” program, an exploration into the intersection of Klezmer-style music and the birth of American Jazz.   As Jewish immigrants and Klezmer musicians flowed into New York during the first decades of the 20th century, they combined with African-American migrants and Blues performers moving from the South and an exciting new American music was born.  This concert includes music by Gershwin, Goodman, and Joplin as well as Blues, Ragtime, Dixieland, and some Jewish Suites that reveal the close relationship between the Jewish and Jazz musical idioms.  They will finish the program with a rousing rendition of Gershwin’s “Rhapsody in Blue.”

Palimpsest is a (mostly) single-voiced audio drama about memory, identity, and the things that haunt us. Each ten-episode season is a unique and self-contained story, exploring the spaces between horror, fantasy, and psychological realism.

“Palimpsest is audio fiction’s best foray into the Gothic.” –Wil Williams, Wil Williams Reviews

“Palimpsest is perfect for those who like their horror with a little Shirley Jackson vibe.” –Tor.com

“Palimpsest is a masterclass in atmosphere. I absolutely cried.” — Elena Fernández-Collins, AudioDramatic

“Palimpsest […] manages to create a slow burn of dread and sorrow over its episodes. This is largely due to the tightly wrought storyline and Hayley Heninger’s magnificent performance. A wonderful take on the classic ghost story genre.” — Paul Bae, The Black Tapes, The Big Loop

“A spooky and melancholic and ultimately devastating tale, beautifully written.” — Jacquelyn Landgraf, It Makes a Sound

“The story is poetic and searching, instantly friendly, quickly creepy, and totally addictive.” -Asheville’s Mountain Xpress

The first season, Anneliese, tells the story of Anneliese Glaser, who is still mourning the death, years earlier, of her sister Claire. The podcast is presented as Anneliese’s audio notes to her former therapist as she works through her feelings about her sister, but soon takes an eerie turn to document hauntings in her new apartment, as well as Anneliese’s potentially flawed memories of Claire. The season ran bi-weekly from October 31st, 2017 until March 6th, 2018.

Season Two follows Ellen, who is running from her family’s criminal activities and finds herself working in a very unique freak show. Set in the 19th century and centering on a queer faerie love story, the second season incorporates season one’s themes into a different but equally unsettling tale. Season two ran from September 4th, 2018 until January 15th, 2019.

Season Three (Josie) ran Jan 4th-Sept. 1st, 2020, and follows Josie, a disgraced American codebreaker living in London during the Blitz, who begins seeing and interacting with what appear to be the spirits of the London dead. She quickly realizes the bombs may have released something much older and more ominous. Government conspiracies, Lovecraftian cults, and Lon Chaney’s The Wolf Man all figure in this expansive folk horror tale.

Season Four (Ash) began April 13th, 2021, and follows a construction company hired to renovate the Hawthorne House, an abandoned but not necessarily empty house with sinister ties to the lead contractor’s grandfather.

All seasons are available (and bingeable!) on all podcast platforms. Subscribe on Apple Podcasts, Stitcher, GooglePlay, Podchaser, or whatever podcatcher you prefer. You can also stream episodes on Spotify.

The JackTown Ramblers bring a high level of musicianship and an entertaining stage show that you will not easily forget. Hailing from North Carolina, the Ramblers blend mountain string band, bluegrass, swing and gypsy jazz into a audio experience like no other. Don’t miss a chance to hear for yourself and pat your foot to the grooves while you laugh out loud at the shenanigans of the JackTown Ramblers.

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.

Currently, only General Admission tickets are available on line

You must call the venue at 828-575-2737 for Reserve Seat Tickets and to make dinner reservations.

Come enjoy an evening of live music, food and drinks at Isis Music Hall. Advanced Reservations are highly recommended.