Mark O’Connor

Friday, Dec 18th, 2015
(also with touring band member Carrie Rodriguez)
Show time is 8:00 p.m. Doors open at 7:00 p.m.

Tickets go on-sale next Friday, Sept 11th at 10:00 a.m. at, The Egyptian Theatre Box Office, and at The Record Exchange.
Tickets are $40 adv / $45 day of show, (plus $4 service fee).
Reserved seating. All ages. Beer and wine served with ID.
The Egyptian Theatre is located at 700 W. Main St. in downtown Boise.

Mark O’Connor’s An Appalachian Christmas album (2011) reached the #1 ranking on Billboard’s Bluegrass Album charts and has been in the top five each year since. Hailed by critics from the Wall Street Journal, New York Times and Los Angeles Times as a top 10 album of the holiday season, it has become a perennial classic Christmas recording.

“All Christmas music should be played so elegantly on violin” — Boston Globe
“Heavenly” – Associated Press

“One of the most spectacular journeys in recent American music.” – The New York Times

“One of the most talented and imaginative artists working in music — any music — today.” – The Los Angeles Times

“Brilliantly original.” – The Seattle Times

O’Connor says, “Appalachia is the original melting pot of our country featuring more diverse styles of American music than just about anywhere. This theme makes for what is a trilogy of my “Appalachia” recordings now; ‘Appalachia Waltz,’ ‘Appalachian Journey’ and ‘An Appalachian Christmas.’ My album features well known carols as well as several Appalachian-themed songs about a beloved hunting dog, passing a fiddle down through the generations, and offering a new version of “Appalachia Waltz” itself with classical guitarist Sharon Isbin, one of my most well-known pieces. A few of my favorite Christmas centerpieces for the album include Renee Fleming’s soprano embraced by a mountain orchestra and fiddle solo, as well as the jazzy style of Jane Monheit with an all-acoustic string band.

Grammy-winning composer and violinist Mark O’Connor has created several arrangements of Christmas classics and fashions a wondrous mixture of both instrumental and vocal music in bluegrass and other American music genres. Concertgoers are treated to fresh takes on traditional songs with a few original compositions included. His renditions are playful and joyous, but can be strikingly earnest too.

The touring musicians with Mark O’Connor are substantial artists in their own right. Singer and fiddler Carrie Rodriguez has toured extensively with Bill Frisell, Cia Cherryholmes was the lead singer and banjoist in the hit bluegrass band The Cherryholmes, singer and mandolinist Forrest O’Connor is touring with his group Wisewater, Joe Smart is a two-time National Flatpick Guitar Champion, violinist Maggie O’Connor tours regularly with her husband Mark O’Connor performing violin duos, and bassist Michael Rinne regularly performs with Rodney Crowell.

This is the 4th year these performers are touring with An Appalachian Christmas. The ensemble has a dynamic energy on stage that brings their individual expertise as artists in the most delightful and musically satisfying way!

Current performers with An Appalachian Christmas tour:
Mark O’Connor – fiddle
Carrie Rodgriquez – fiddle and vocals
Cia Cherryholmes – banjo and vocals
Forrest O’Connor – mandolin and vocals
Maggie O’Connor – fiddle
Joe Smart – guitar
Michael Rinne – bass




with special guest John Fullbright
Tuesday, Oct. 21st, 2014 
Show time 8pm & Doors at 7pm.
Tickets go on-sale this Saturday, July 19th at 11:00 a.m. at, The Egyptian Theatre Box Office, and at The Record Exchange.
Tickets are $40 Adv / $45 Day of show, (plus $4 service fee)
Reserved Seating. All ages. Beer and wine served with ID.
The Egyptian Theatre is located at 700 W. Main St. in downtown Boise, Idaho.

“Ever since her recording debut in 1996, Patty Griffin’s generally been a critical darling. But the evolving consensus today is that, as good as she was in the early part of her career, she’s only gotten better with age.” – July 16, 2014 Read more here. 

American Kid, Patty Griffin’s seventh album, is her first album of mainly new material since Children Running Through in 2007. In between, she made the Grammy Award-winning Downtown Church (2010), her version of classic gospel (though it featured three original songs). She also became a member of Band of Joy, the group in which leader Robert Plant and his cohorts meld British and American folk, rock and spiritual music.

American Kid, much of which Griffin says “was written to honor my father,” returns to typical Patty Griffin territory, which is to say that it features a group of remarkably powerful, personal and unpredictable songs arranged and performed in a style that doesn’t entirely repeat anything she’s done on her previous albums while drawing on all of them. Yet Griffin’s catalog is among the most unified in modern popular music, because her singing is as unmistakable and inimitable as her songwriting.

official music video:


“Fullbright synthesizes the best songcraft from his home state — [Jimmy] Webb, Leon Russell and, by default, Merle Haggard.… He’s got a tune called “Forgotten Flowers,” a thoughtful country lament, that Tom Waits and Randy Newman could fight over.”— Thomas Conner, Chicago Sun-Times

Fullbright’s plainspoken approach is part of what’s fueled the young Oklahoman’s remarkable rise. It was just two years ago that Fullbright released his debut studio album, ‘From The Ground ’ to a swarm of critical acclaim. The LA Times called the record “preternaturally self­assured,” while NPR hailed him as one of the 10 Artists You Should Have Known in 2012, saying “it’s not every day a new artist…earns comparisons to great songwriters like Townes Van Zandt and Randy Newman, but Fullbright’s music makes sense in such lofty company.” The Wall Street Journal crowned him as giving one of the year’s 10 best live performances, and the album also earned him the ASCAP Foundation’s Harold Adamson Lyric Award. If there was any doubt that his debut announced the arrival of a songwriting force to be reckoned with, it was put to rest when ‘From The Ground Up’ was nominated for Best Americana Album at the GRAMMY Awards, which placed Fullbright alongside some of the genre’s most iconic figures, including Bonnie Raitt.


at The Egyptian Theatre Tuesday, July 8th, 2014 at 8pm.
Doors open at 7pm.
This will be Baez’s 1st return to Boise’s Egyptian Theatre since March of 2009.

This is a reserved seating all ages show.
(plus $4.00 service per ticket)

Tickets go on sale Saturday, April 19th at 11:00 am. Purchasing options; online at:
Visit The Egyptian Theatre box office, and The Record Exchange.
Call the Egyptian Theatre box office at 208-387-1273 to charge by phone during normal box office hours, Tuesday through Saturday from 11:00 am. to 6:00 pm.

“The most accomplished interpretive folksinger of the 1960s, Joan Baez has influenced nearly every aspect of popular music in a career still going strong.”

Joan Baez has been as busy as ever in the five years since she celebrated the landmark years of 2008-2009, the 50th anniversaries of her legendary residency in 1958 at the famed Club 47 in Cambridge, and her subsequent debut at the 1959 Newport Folk Festival.

In addition to multiple tours of the US and abroad, the recent past has included the induction of Joan’s 1960 debut Vanguard LP by the National Recording Academy into the Grammy® Hall Of Fame and the presentation to her of the inaugural Joan Baez Award for Outstanding Inspirational Service in the Global Fight for Human Rights at Amnesty International’s 50th Anniversary gathering in 2012.

She remains a musical force of nature whose influence is incalculable – marching on the front line of the civil rights movement with Martin Luther King, inspiring Vaclav Havel in his fight for a Czech Republic, singing on the first Amnesty Interna­tional tour and more recently, standing alongside Nelson Mandela when the world celebrated his 90th birthday in London’s Hyde Park.  She shined a spotlight on the Free Speech Movement, took to the fields with Cesar Chavez, organized resistance to the Vietnam War, then forty years later saluted the Dixie Chicks for their courage to protest the Iraq war.  Her earliest recordings fed a host of traditional ballads into the rock vernacular, before she unselfconsciously introduced Bob Dylan to the world in 1963, beginning a tradition of mutual mentoring that continues to this day.

Amongst the many honors bestowed upon her, she is the recipient of the Lifetime 
Achievement Award, the greatest honor that the Recording Academy can bestow (2007).  Day After Tomorrow, her 2008 album was praised by critics and nominated for a Grammy. Its release was followed by the PBS American Masters premier of her life story, Joan Baez: How Sweet The Sound. 

Joan Baez Website

Friday, June 20th, 2014 at The Visual Arts Collective
Show time is 9pm. Doors open at 8pm.

Tickets are $18 in advance / $22 at the door.
General Admission. 21+.
Tickets available Friday, May 9th at 11:00 a.m. at The Record Exchange or online at:

The Visual Arts Collective is located at 3638 Osage Street in Garden City, Idaho.

“The Pimps can’t be pigeonholed into a genre — it’s all soulful, but one song might segue from an Afrobeat groove to an electronic club beat with sitar. It’s all pretty damn funky, and it’s impossible to hear it and sit still.” – Charleston City Paper

If you have yet to encounter the Brooklyn-based band, The Pimps of Joytime, prepare to take a funky ride! The PJT’s live events and recordings have captivated fans all across the country, as they have begun writing their own success story, show-by-show, and track-by-track. 

Bandleader Brian J is a charismatic and soulful visionary, whose well-crafted songs invite the listener to enter a world of infectious dance grooves and indelible melodies. Spending formative years in New York City, New Orleans and Los Angeles, Mista J honed his craft, becoming an accomplished live performer, multi-instrumentalist and producer. 

In 2005, Brian began to assemble a group of righteously soulful vocalists and musicians to assist in bringing to life the musical concept that would become The Pimps of Joytime. The band’s diverse sound and spirited attitude is strongly influenced by the Brooklyn DJ culture and live music scene from which they emerge. Recent collaborations with legendary artists Cyril and Art Neville of the Neville Brothers and Roy Ayers have helped vitalize the band’s connection to its roots. 

Over the course of the past five years, The Pimps have evolved into a road tested and audience approved groove machine. They have excited crowds at over 100 club dates and festivals in 2012 alone, and are on target to exceed that volume in 2013. The exponential growth of the band’s fan base can be partially attributed to an artful blend of musical styles, including elements of afro-beat, salsa, rock & roll and electronica. Brian J’s classic songwriting and the band’s undeniable swagger on stage consistently energize dance parties wherever they appear. 

In 2011, The Pimps of Joytime released their second studio album, Janxta Funk!  through the boutique label Wonderwheel Recordings.  With a steadily increasing repertoire and a passionate following of music lovers nationwide, the time was right to fortify their organization.  The wall of their Facebook page is constantly receiving enthusiastic posts from fans from around the globe as word of mouth further carries news of this fresh new arrival. 

The Pimps of Joytime are poised to bring their audacious sound to savvy audiences around the planet. Their forthcoming third studio album coming this fall will be a new chapter in the book of the Funk and a testament to the fact that real music is alive and kicking!


pimps and scott 520

“The band balances guitar and groove without sounding forced or awkward. You’ll hear elements of Jazz coming from Scott’s legit upbringing but it’s conveyed in a way that listeners of Funk, Blues, and Rock all can get equal enjoyment from the same album. It’s just plain good music, from the heart.”- Oregon Music News

“virtuostic and brilliant.”- Oregonian
Interview from Portland Blues Fest

The Music:
Until you have seen Scott Pemberton play the guitar it is hard to describe what he does.  His music comes from the heart, is very danceable and quite honestly, no one plays the guitar like him.  He gets regular comparisons to other great musicians such as Jimi Hendrix, Dick Dale, and James Brown, but after a brief listen it is clear that Scott has something all his own.

“Classic rock, jazz, psychedelia and everything in between collide and fuse around the notion of discovery that jumps with ease from the composer to the listener…Pemberton is a multi-genre master and a clever lyricist who can convey fun while digging deep”(Willamette Week)

Scott’s Path:

Scott is a Portland native and has supported himself solely with the guitar since the age of 19. Until recently, he followed the customary path of playing sessions, teaching lessons and performing in lots of bands. Not long ago he had an encounter with death that changed that path entirely.

The incident is a blur. Two years ago, bike met car. Doctors said Pemberton was unlikely to live. If he did, he might never speak again. Days later, Pemberton snapped to. After time, he started to play music again. He saw his path.

When Scott returned to playing the guitar it was as if he had been reborn, playing with a new focus of intensity and joy that can only come from someone who has faced death. He returned to intense practice from a beginners mind, as though he hadn’t played the guitar before, redefining how he approached music and the instrument. The mastery of his guitar playing combined with the fun recklessness of his songwriting show that the rules of songwriting and playing the guitar no longer exist for him. Scott plays with the uninhibited joy and intensity of someone who recognizes that every time time we make music is an honor and a gift.


JAKE SHIMABUKURO at The Egyptian Theatre is SOLD OUT!

Idaho Live presents a very special evening with JAKE SHIMABUKURO at beautiful The Egyptian Theatre on Wednesday, April 30th, 2014. This will be Shimabukuro’s 3rd brilliant return to Boise’s Egyptian Theatre. This is a reserved seating all ages show. Doors open at 7:00 p.m. Show starts at 8:00 p.m.  
Tickets go on sale Saturday, November 9th
at, The Egyptian Theatre box office, and at The Record Exchange. Call the Egyptian Theatre box office at 208-387-1273 to charge by phone during normal box office hours, Tuesday through Saturday from 11:00 a.m. to 6:00 p.m. 

In his young career, ukulele wizard Jake Shimabukuro has already redefined a heretofore under-the-radar instrument, been declared a musical “hero” by Rolling Stone, won accolades from the disparate likes of Eddie Vedder, Perez Hilton and Dr. Sanjay Gupta, wowed audiences on TV (Jimmy Kimmel, Conan), earned comparisons to Jimi Hendrix and Miles Davis, and even played in front of the Queen of England.

With his new record Grand Ukulele, Shimabukuro’s star may burn even brighter. 

An ambitious follow-up to 2011’s Peace, Love, Ukulele (which debuted at #1 on the Billboard World Charts), the Hawaiian musician’s new record finds him collaborating with legendary producer/engineer Alan Parsons, best known for his work on Pink Floyd’s Dark Side of the Moon, The Beatles’ Abbey Road and his own highly successful solo project. “It was very organic how it happened,” says Shimabukuro (she-ma-boo-koo-row). “He attended a couple of my shows near where he lives in Santa Barbara and the concert promoter put us in touch. I was stunned. I mean, THE Alan Parsons? We ended up having dinner before the show and he casually mentioned the idea of possibly working together on a project. It was a priceless opportunity I didn’t want to pass up – he’s a genius.”

Parsons ended up helping Shimabukuro expand his sound, bringing in a 29-piece orchestra and a big-name rhythm section, including drummer Simon Phillips (The Who, Toto), session superstar bassist Randy Tico and Kip Winger (Winger, Alice Cooper), who helped with the orchestration. “The best thing was that, even with all those people, we recorded everything live with no overdubs,” says Shimabukuro. “It was great, tracking live with an orchestra and a rhythm section. We picked up on each other’s subtle emotional cues – you could feel everyone breathing together. It was like the old days of recording – when everyone tracked together – there’s a certain magic that happens.”

While still highlighting Shimabukuro’s musical dexterity on the uke, Grand Ukulele also shows off new sides to the musician, thanks to his new-found collaborators. That said, it’s still Jake’s show. “Alan wanted me to arrange each song as if I were performing it solo, then add the band around it,” he says. Highlights from the album include originals like “Island Fever Blues”, a beautiful and traditional Hawaiian song titled “Akaka Falls” and a unique track called “Missing Three,” performed with only three strings – an entire song created during a day when Jake was missing the third string on his instrument.

Given that Shimabukuro first won acclaim for a YouTube video of him covering George Harrison’s “While My Guitar Gently Weeps,” it’s no surprise that Grand Ukulele features a number of wonderful reinterpretations, including Sting’s “Fields of Gold” (with Parsons cameo-ing on keyboards) and, most prominently, Adele’s “Rolling in the Deep,” a seemingly ubiquitous song given new life on the four-string. “That one is fun to play,” says Shimabukuro. “I visit schools in Hawaii because I love sharing my passion with kids, but I don’t necessarily play all original pieces, because the kids may not recognize them. So when I cover a popular tune like ‘Rolling In The Deep,’ they really respond!

This fall Jake will embark on a 30-plus city tour, performing solo for the most part. “Someday I’d love to tour with a full orchestra, but these solo shows will be fun, especially since we arranged them so the new songs can stand on their own,” he says. For Shimabukuro, Grand Ukulele feels like the next step in a career that really started at the age of 4 when he first picked up the instrument, through a successful local career in Hawaii and his first brush with fame on YouTube. Now, he’s a respected, popular musician looking to make a lasting musical mark. “I feel really connected to this record,” he says. “It was an honor to work with Alan and all those great musicians. It really felt like old friends coming together – there was so much positive energy surrounding the project – it was a magical experience that I’ll never forget.


Bohemian Rhapsody: VIDEO

While My Guitar Gently Weeps: VIDEO

Head For The Hills at The VaC!

Wednesday, Nov 13th at 8pm!
Head for the Hills is pleased to announce their third studio album, Blue Ruin, was released on July 9, 2013… think Meta-fictional sea shanties, pop-infused newgrass murder ballads and urbane lyricism, twang and punch.
Doors open at 7pm / Showtime begins at 8pm with local guest Possum Livin / 21+ General admission. Tickets $8 ADV / $10 DOOR

On Blue Ruin, Head for the Hills fuses bluegrass, jazz, hip-hop and indie rock into songs inspired by love and misery and comic books. It was recorded and mixed in Fort Collins, Colorado at Swingfingers Studios with ace engineer and banjoist Aaron Youngberg (Hit and Run, Martha Scanlan, Cahalen Morrison and Eli West). Blue Ruin features guest musicians: resophonic guitarist Andy Hall (The Infamous Stringdusters), cellist Kathleen Starr, electric pianist James Thomas, trumpeter Gabe Mervine (The Motet), vocalist Erin Youngberg (Uncle Earl), and Youngberg on banjo and pedal steel. Head For The Hills is Adam Kinghorn on guitar, Michael Chappell on mandolin, Joe Lessard on fiddle, and Matt Loewen bass.

“Blue Ruin” – Available Now

“Head for the Hills has created a sound that is all at once organic, precise, timeless, and brand-new,” as reported by the Missoula Independent. The acclaimed Colorado Bluegrass quartet has been receiving nation-wide recognition in response to their refreshing take on acoustic music. Described as progressive acoustic/contemporary roots, H4TH produces an endearing mixture of homegrown compositions, traditional harmonies, and improvisation. In the live setting, H4TH effortlessly ventures into a myriad of musical styles and sonic landscapes that appeal to a boundless array of listeners.

The past year has been outright explosive year for the quartet, having been voted by the Westword (Denver, CO) as the “Best Bluegrass” band in Colorado, a highly esteemed honor. Additionally, the band has been receiving national attention, not only from their recently released self-titled studio effort, but also from E-Town (Boulder based not for profit radio station and community builder). A portion of their performance of Harvestival-Fort Collins, CO (recorded October 2009), was aired nationally on radio stations this past April, alongside the David Grisman Quintet, who also performed at the event. The group was selected to perform at SxSW in 2011, and were also a “SxSW Critics Picks-Must See” choice, via the Austin Statesman/360

To get a sense of Head for the Hills’ snowballing momentum, look no further than the surrounding talent on their self-titled sophomore release (2010), Head for the Hills. The album garnered the group a charted position on the CMJ Top 200 national radio listings. The six-year old pickers attracted heavyweights like longtime bluegrass aficionado, Drew Emmitt (Leftover Salmon) as their producer who took them up to Bill Nershi’s Sleeping Giant studio to record. Studio engineer Gus Skinas engineered the effort, boasts a particularly intriguing history having digitally remastered Pink Floyd’s Dark Side of the Moon; helped Sony develop the early iterations digital audio; and invented an innovative multi-tracker called Sonoma that combines the warmth of analog with the ease and efficiency of digital. In addition, Vance Powell — who adorns his mantle with a Grammy for his work on the Raconteurs wildly successful Consolers of the Lonely album — mixed the record. The self titled release earned the group a #29 position on Colorado Radio’s “Top 50 Albums of 2010.”

In 2007, for their debut studio effort, “Robber’s Roost,” the band joined forces with the talented producer/performer Sally Van Meter. Ms. Van Meter, among her impressive list of accomplishments, is credited for her 1994 Grammy Award Winning work on The Great Dobro Sessions. She has also produced albums for artists like Yonder Mountain String Band, Open Road Bluegrass and Allison Brown.

Head for the Hills have performed, supported, & shared programming with such notables as: David Grisman, Sam Bush, The Flaming Lips, Ben Folds, Bruce Hornsby, Emmylou Harris, Dr. Dog, Little Feat, Nickel Creek, The Avett Brothers, Yonder Mountain String Band, Tim O’Brien, Peter Rowan, Doc Watson, Railroad Earth, and have performed at Wakarusa Music Festival, Telluride Bluegrass Festival (NightGrass), Northwest String Summit, Mulberry Mountain Harvest Festival, Grand Targhee Bluegrass Festival (Official Evening Performance), Yarmony Grass Music Festival, Bristol Rhythm and Roots and many more.

Many respected avenues have sighted Head for the Hills as the next breath of fresh air to emerge from the acoustic realm. With direction from a plethora of talented company and an ever-evolving approach to progressive acoustic music, there is no telling what successes lay ahead for this group of talented musicians.

Head for the Hills possesses that secret ingredient that puts them above the rest.”
-Ryan Dembinsky, (Glide Magazine, Hidden Track)

Alejandro Escovedo and The Sensitive Boys

with special guest Amy Cook, at The Visual Arts Collective on Tuesday, Nov 19th, 2013.
This is a general admission show. Doors open at 7:00pm.
Show starts at 8:00pm. Purchase online at:, The Egyptian Theatre box office, and The Record Exchange. Call the Egyptian Theatre box office at 208-387-1273 to charge by phone during normal box office hours, Tuesday through Saturday from 11:00 a.m. to 6:00 p.m.
Tickets are $20 Advance / $25 Door.
General Admission. 21+. Full bar.
The Visual Arts Collective is located at 3638 Osage St in Garden City (Boise), ID.

“I can take a punch, I can take a swing,” sings Alejandro Escovedo on “Man of the World,” the opening salvo of Big Station, his new album on Fantasy Records. The two phrases well describe his 35 years as a musician and two decades as a solo artist, the sum of which attests to the redemptive power of rock’n’roll and the driving role that it has played in his life and art.

A stylistic synthesist who Rolling Stone notes “is in his own genre,” Escovedo casts his widest musical net to date on Big Station. The title can infer two meanings: A transit junction where journeys converge and then head off to new destinations, and a potent radio signal with an open playlist that brims with diversity and adventurous imagination.

The album begins with a blast of tongue-in-cheek bravado on “Man of the World” set to a shimmering meld of classic guitar rock and new wave bop. Themes of transition are the fulcrum for songs like the syncopated bounce of the title track and the ghostly march of “Sally Was A Cop,” which surveys the havoc wrought by Mexico’s drug cartels. A jazzy muted trumpet and saxophone weave through his rumination on love and determination on “Can’t Make Me Run.” Change, decay and Escovedo’s place in the world are explored in songs that touch down in the city where he has lived for decades, Austin, TX, as well as his nearby birthplace on, respectively, the Dylanesque “The Bottom of the World” and the dark-hued melodicism of “San Antonio Rain.”

He reflects on characters from his rebel past with searing tension on “Headstrong Crazy Fools,” while the specter of failed romance wafts through the airy “Never Stood A Chance” and “Too Many Tears” simmers with the friction of desire rubbing up against heartbreak. Rocking danceable grooves drive his existential questions on “Common Mistake” and the celebratory hedonism of “Party People.” Escovedo finally wraps up the set by splicing his Chicano roots with modernism on his first number sung in Spanish, “Sabor a Mi,” a classic Latin pop song from 1959 that has also been recorded by Vicki Carr, Luis Miguel, Los Lobos and many others.
As with his previous two albums, Escovedo collaborated with Chuck Prophet on most of the songs on Big Station. Likewise, it’s his third outing produced by Tony Visconti, known for his work with David Bowie, T. Rex, Thin Lizzy and many others. “He’s like a member of the band by now,” Escovedo says of Visconti, who shares songwriting credit on two numbers. The album was recorded in Austin with his group The Sensitive Boys at its core alongside his backing singers Karla Manzur and Gina Holton, whose vocal accents, enhancements and harmonies weave spells throughout the disc.

“I love this record,” enthuses Escovedo, who points out that, in contrast to his many earlier inward looking songs, this time his view is primarily outward. After the stripped down guitar-driven attack on his previous album Street Songs of Love, with Big Station, “I wanted it to be about the words, vibe and atmosphere. Chuck and I went into this knowing we wanted to work with rhythm in a way I never had before.” The key to doing so in the writing stage was a Roland TR-808 drum machine popular with hip-hop, R&B, house and electronic dance music artists and producers. “We’d find real deep simple grooves. He’d get on bass, I’d get on guitar and we’d jump around making fools of ourselves. I wanted things to rock, but in the way that Bo Diddley rocked – very rhythmically.”

For more information on Alejandro Escovedo:

THE WATERBOYS at The Egyptian Theatre

Saturday, October 12th, 2013.
with special guest Freddie Stevenson.
The Waterboys bring a night of musical fireworks and improvisations in their first continental North American tour in six years rendering songs from their grande catalogue plus their 2013 opus An Appointment with Mr. Yeats.

*Advance tickets go on sale this Saturday, June 29th at 11:00 am.
at The Egyptian Theatre box office, The Record Exchange, and online at Call The Egyptian Theatre box office at 208-387-1273 to charge by phone Tues-Sat from 11am to 6pm.
Tickets are $33 in advance, $38 day of show. (plus $3.50 service fee)
Reserved seating. Beer and Wine served.

“Mr. Scott’s catalogue, both solo and with various incarnations of The Waterboys, is wonderfully diverse and often quite poetic. His latest offering, An Appointment With Mr Yeats, is literally based on poetry, as he’s taken the poems of William Butler Yeats and set them to music.” – Huffington Post

Legendary Scottish bandleader and songwriter finds new inspiration in the poetry of W.B. Yeats on the Waterboys’ first new album in a half-decade

DUBLIN, Ireland — In what stands as one of the boldest, most ambitious projects of his storied career, Waterboys auteur Mike Scott has collaborated, figuratively speaking, with the legendary Irish poet W.B. Yeats on the 14 songs of An Appointment With Mr. Yeats, due out on Proper American on March 26, 2013.

“I love the way Yeats’ poems lend themselves to music,” says Scott. “But I also like Yeats as a guy — a dandified, opinionated, larger-than-life character. I feel a kinship to him. My purpose isn’t to treat Yeats as a museum piece, but to connect with the soul of the poems — as they appear to me — then go wherever the music in my head suggests, and that means some surprising places.” Scott will bring the Waterboys to New York’s Town Hall in March for the American premiere of this provocative song cycle uniting a pair of artists separated by a century.

While the notion of mounting classic poems in modern musical settings may strike some as challengingly esoteric, that is not the case at all with An Appointment With Mr. Yeats. On the contrary, the new album connects with the power and immediacy of Waterboys classics like This Is the Sea (1985) and Fisherman’s Blues (1988), unfolding with the widescreen vividness that has characterized Scott’s single-minded body of work during the course of the last three decades. This captivating oeuvre has come to be known as “The Big Music” after the early Waterboys song of the same name. At the same time, this wildly imaginative work heralds yet another musical metamorphosis in the ever-mutable world of the Waterboys.

“When people read about this project, it’s natural for them to have preconceptions,” Scott acknowledges. “They tend to think that, because it’s based on poetry, it’s going to be difficult, stiff or wordy. But when they hear the record or come and see the show, they realize it’s really just more music from the Waterboys. I should stress these are songs — rock ’n’ roll, pop, psychedelic and roots songs — not recitations. They’ve got to stand up as contemporary songs, not like poems squashed into musical forms. In fact, the best thing is when people don’t realize they were written a hundred years ago, but just hear them and think, ‘That’s a song,’ and don’t question it.”

An Appointment With Mr. Yeats was produced by Scott and Marc Arciero and tracked live off the floor by an expanded Waterboys lineup consisting of fiddle maestro Steve Wickham, Katie Kim (vocals), James Hallawell (keyboards), Kate St John (sax, oboe), Blaise Margail (trombone), Ralph Salmins (drums), Sarah Allen (flute) and Joe Chester (guitar). Before they recorded the album, Scott and his band premiered the songs at Dublin’s hallowed Abbey Theatre during a five-night run in March 2010. “A stunning reinvention of Yeats’ poetry,” The Irish Times raved.

The stylistically wide-ranging album gets off to a thunderous start with “The Hosting of the Shee,” as the band brings to life Yeats’ depiction of the warlike gods of old Ireland. “It isn’t just the language of the poem that attracted me,” Scott clarifies. “It’s what he says with it — the way that he allows us to enter an old Celtic dreamscape. I loved going into that world with Yeats. I even asked the drummer to play it in a pre-Christian groove, to play it like a caveman. He never falls into a regular groove; he never puts the snare on the two and the four; it’s a warlike, prehistoric beat.”

The Kurt Weil-styled “’News for the Delphic Oracle” contains “three verses, each with a very different character, including Yeats’ invocation of the god Pan in the third verse,” says Scott, “so I’ve treated them as three separate pieces.” The blues ballad “The Lake Isle of Innisfree” is actually a home demo, with Wickham’s snarling fuzztone fiddle added later. And the epic rocker “September 1913” is taken from one of Yeats’ most overtly political poems, written about what’s known as the Dublin Lockout. “The laborers went on strike for better working conditions, and the clergy and the politicians resisted the change and tried to blackmail the workers,” Scott explains. “Yeats was very angry, and he asked the question in the poem, ‘Is this what the freedom fighters died for?’ It’s a very powerful poem, and a famous one in Ireland, often quoted to comment on the current Irish situation with the crooked bankers and the financial crisis that’s been going on in Ireland the last few years.”

Scott has been on quite a creative roll in recent years, having authored an enthusiastically received memoir, Adventures of a Waterboy (available in the States on the Hal Leonard-distributed Jawbone Press), while the new album is the result of two decades of dedication and a lifelong fascination with Yeats’ poetry. “My mother is a university lecturer in English literature, so I grew up in a house full of books,” says Scott. “When I was a kid, my mum talked about Yeats in hushed tones — and she pronounced it ‘Yates,’ which rhymes with ‘great.’ So it was a very serious, awe-inspiring name around the house, and I had a sense of Yeats being this magical figure. Later, as a teenager, I began to read his poetry for myself and got to discover him in my own time.

“Then, the first time the Waterboys played Dublin, I bought a volume of his poetry and became attracted to it all over again, but this time with greater understanding. Yeats’ poems seem to be exquisitely and deliberately sculpted, and yet they flow lightly off the tongue. I noticed that a lot of them lined and scanned like song lyrics. To me that was like an open window to go through; I had to put them to music because they were crying out for it. On the Fisherman’s Blues album, I made my first attempt at putting one of his poems to music with ‘The Stolen Child,’ and it became a favorite track on that album for a lot of people. Shortly after, I decided that Yeats’ poetry deserved a whole album, or even a whole stage show, and first I imagined it would be a ‘various artists’ undertaking, but in the end I did it all myself with my own band.”

As the years passed, Scott continually returned to Yeats’ poems, planting seeds in his imagination and cultivating them until they blossomed. “If I’d tried to write 15 Yeats adaptations in a year, I would’ve done a slapdash job on it,” he says. “So I did it without any time constraints, and every few years I would turn another poem into a song. Of course, I was doing lots of other things as well, touring and albums, but I held it in my mind as a project for two decades, and eventually, I had enough adaptations.”

Scott is far from the first musician to set Yeats’ poetry to music; hundreds have tried, though few have managed to create such elegantly seamless marriages of music and language. “I went on iTunes, did a Sherlock Holmes job and found over 300 interpretations of his poems — I bought them all as well,” Scott says with a laugh. “My favorite ones are when people bring something fresh and powerful to the task.”

And that is precisely what Mike Scott and the Waterboys have done on this rhapsodic and revelatory labor of love.

Here is a well-filmed, live performance: Mad as the Mist and Snow – The Waterboys Youtube Video


For more information about Freddie Stevenson:

SHOOK TWINS at The Egyptian Theatre!

Friday, September 20th at 8pm, doors open at 7pm!
Tickets $15 Advanced and $ 18 Day of Show.
General Admission seating. TICKETS ON SALE NOW!

Born and raised in Sandpoint, Idaho, Shook Twins are a quirky folk band now hailing from coniferous forested Portland, Oregon. Identical twins, Katelyn and Laurie Shook, Kyle Volkman & Niko Daoussis form the core quartet. Central elements of the Shook Twins sound are a wide range of instrumentation, including banjo, guitar, upright bass, mandolin, face drum (beatbox), glockenspiel, ukulele, djembe and their signature golden egg. Beautiful twin harmonies, layered upon acoustic instrumentation coupled with Laurie’s inventive use of a looping machine, and Katelyn’s repurposed telephone microphone ,set their sound apart, creating an eclectic and eccentric blend of folk, roots, pop and fun.

Original songs along with harmoniously paired vocals form an enchanting blend while musical elements add complexity and beauty exponentially. Each Shook Twins song tells a story, distinctive, sharp genuine and well – sometimes quirky. Drawing from their life experience, select subjects include, being potters’ daughters, imagined superpowers and a chicken named ‘Rose’ they befriended. Shook Twins also pull out unexpected takes on classic hits, retellings of their friends’ songs, heartfelt ballads and rhythm driven dance numbers.

After releasing their first album You Can Have the Rest, the twin sisters moved to Portland in December of 2009, conceptualizing their 2011 release Window. Both albums were recorded and produced in Santa Cruz, California, at InDigital Studios. Favorable reviews, radio airplay and a busy tour schedule have created an ever growing fan base & kudos from many major musicians. Shook Twins are currently composing their third album, as well as partnering with fellow Portland musician Ben Darwish on his folk Opera, The Clear Blue Pearl.

The Shook Twins have shared the stage with artists including Ryan Adams, Mason Jennings, Carolina Chocolate Drops, Sarah Jarosz, Laura Veirs, The FruitBats, Jonatha Brooke, Michelle Shocked, JJ Gray and MoFro, Crooked Still, Jason Webley, TheBoDeans, Elephant Revival, The Head and The Heart and many more.

Eclectic, amusing and whimsical, Shook Twins laid-back and fun stage presence draws the listener in, allowing them to take the audience away on the adventure that is their live show.


MarchFourth Marching Band at The VAC!

on Sunday, September 15th, 2013 at 8:30PM.
Tickets are $20 advance, $25 at the door.
Advance tickets will be available at The Record Exchange, The Egyptian Theatre box office, and on Saturday, July 20th at 11:00 a.m. Call the Egyptian Theatre box office at 208-387-1273, Tuesday thru Saturday from 11a – 6p, to charge by phone.

The MarchFourth Marching Band has evolved into a high-energy, eclectic and mobile unit of good times, taking a Fellini-esque mix of Mardi Gras mayhem, afro beat, Mexican hustle, sultry samba, big band, and gypsy folk to the streets and parks, and the club and festival scene–anywhere people seek liberation through booty-shaking beats, driving bass, and high-flying horn arrangements. Accompanied by their surrealist troupe of stilt-dancers, fire-spinners, and costumed beauties, they are a new love-party paradigm.

According to bassist, and one of the group’s founding members, John Averill, MarchFourth is “something entirely different. Musically, we’re not influenced by marching bands at all. I really think of us more as an alternative big band that happens to be able to march.”

MarchFourth Marching Band got its name from the date of their first show: March 4, 2003. It began when a handful of artists and musicians in Portland, Oregon decided to put together a marching band for a Fat Tuesday Mardi Gras party on March 4th, originally performing a 7-song set of tunes that included covers of Rebirth Brass Band, Fela Kuti, and Fleetwood Mac. The night was a smashing success and encouraged the group to book more shows. Opening for the Youngblood Brass Band and playing with Pink Martini cemented the group that first year: they played a total of 34 shows in their first ten months. By 2007 the band was becoming better known in Portland and beyond. They expanded their 4th anniversary party to include a family matinee and an adult evening show at the Crystal Ballroom and sold out both shows. It was time to take the show on the road. They bought a 1984 MCI coach on eBay, then converted it to fit about 28 people comfortably with convertible bunk-beds, wi-fi, kitchen and roof rack. Members of the band did all the bus customization. They haven’t stopped touring since.

“Wild, fun and excitable, this is the music I want playing at my wake, the band I want preceding
the hearse to my grave.” –

“The band’s sexy funk keeps me looking for James Bond. Horns pop people like kernels from the floor.” – Ashland Armory

“Throw up your batons! Toss about that pocket-stored confetti! Let the high steppin’, flair totin’ cyclone of happiness begin!”- Caitlin Donohue, San Francisco Bay Guardian



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