Music Hall of Williamsburg
Valentine's Day VILLAGE OF LOVE Planned Parenthood of NYC  Benefit Concert & Dance

Panache & New York Night Train’s

Valentine's Day VILLAGE OF LOVE Planned Parenthood of NYC Benefit Concert & Dance

Reigning Sound, Kid Congo, Eleanor Friedberger, Cult of Youth / Wind Atlas Collab, Austin Brown (Parquet Courts), Delicate Steve, Cassie Ramone, Gary Lucas, Frankie Rose, Rev Vince Anderson, Alana Amram, Daddy Long Legs, Breanna Barbara, Baby Shakes, Escape-Ism (Ian Svenonius solo project), Juan Wauters, Surfbort, & More, DJ sets by Ian Svenonius and Jonathan Toubin

Tue, February 14, 2017

Doors: 6:30 pm / Show: 7:30 pm

Music Hall of Williamsburg

Brooklyn, NY

$20 advance / $25 day of show

This event is 18 and over

Valentine's Day VILLAGE OF LOVE Planned Parenthood of NYC Benefit Concert & Dance
Valentine's Day VILLAGE OF LOVE Planned Parenthood of NYC  Benefit Concert & Dance
Planned Parenthood Benefit
Reigning Sound
Reigning Sound
Reigning Sound was formed in 2001 by Memphis, TN garage-punk legend Greg Cartwright (vocals/guitar), who is also known for his previous bands The Compulsive Gamblers and The Oblivians.

After Cartwright relocated his family to Asheville, N.C. in 2004, where he formed a new band. The current line-up includes: Benny Trokan (bassist), Mike Catanese (guitar), Mikey Post (drums), and Dave Amels (keyboardist).

Reigning Sound's debut,"Two Sides to Every Man", a three song 7" single, was released in May of 2001. One month later came their first full-length album "Break Up, Break Down" (Sympathy for the Record Industry). With its country-folk melodies, the first album was to be an early blueprint of where Cartwright's songwriting was headed.

"Time Bomb High School," (In the Red) was released in August 2002, and is known for its polished sound, pop hooks and near-perfect balance of classic R&B and rock-n-roll. Aside from the many stand-out originals on the album, cover songs like "Stormy Weather" and "Brown Paper Sack" prove Cartwright has mastered the art of revamping old songs and making them seem like his own.

The band's third album "Too Much Guitar," (In the Red) was released in May of 2004. With recording help from fellow Memphians Jay Reatard and Alicja Trout of the The Lost Sounds, it's by far Reigning Sound's loudest and noisiest album to date. Songs laced with psych-pop, garage and soul under a blanket of fuzz is the vibe heard throughout the entire album. The obnoxiously loud "We Repel" opens this record and from the first chord it's apparent that it's not a sequel to any of their earlier records. An opening slot on a huge American tour with the Swedish garage band The Hives helped to promote the album shortly after its release.

"Reigning Sound: Live at Maxwell's" (Telstar/Spoonful) was released in July of 2005, which was an interesting show to say the least. By the end of the gig Cartwright, with no back-up set, broke all but three guitar strings and still finishes the show for his usual rowdy crowd. This live album has a unique, rough-around-the-edges feel, not to mention it's also the only place to find the stand out track "I Need You Now," a soulful Sam Cooke cover song that allows Cartwright to pay homage to one of his favorite singers.

In September 2005 Reigning Sound released a rarities comp "Home for Orphans" (Sympathy for the Record Industry). The album features slower, moodier alternate versions of tunes from "Too Much Guitar" along with some other unreleased tracks.

Another live LP, "Reigning Sound: Live at Goner Records," (Goner Records) was released in late January 2006. This is a daytime in-store performance recorded in June of 2005, and with its crystal clear production, gives listeners an accurate account of what Reigning Sound is all about. The album also hosts great cover songs like "Black Sheep" by Sam the Sham, "Tennessee" by Carl Perkins and "Do Something" by The Swingin' Yo-Yo's.

After spending a portion of 2005 recording a George Soule album with legends Dan Penn and Spooner Oldham, the band once again began recording as a backing band with another rock legend, Mary Weiss of the 60s band The Shangri-Las, who is widely know for the hit song "Leader of the Pack." Cartwright wrote nine of the 14 songs on the record, he also co-produced the album with Norton Records owner Billy Miller. The album "Dangerous Game" (Norton) was released in March 2007 and recieved rave reviews from the likes of Rolling Stone Magazine. Reigning Sound also performed the Cartwright tune "Stop & Think It Over" with Weiss on NBC's Late Night with Conan O'Brien.

Reigning Sound's latest album, "Love & Curses" (In the Red) was released in 2009 to rave reviews and is available on CD, vinyl and iTunes. The album features mainly all new Cartwright signature originals, and one obscure Detroit garage cover ("Stick Up For Me").
Eleanor Friedberger
Eleanor Friedberger

New View, the third solo album by Eleanor Friedberger, was rehearsed in the Los Angeles neighborhood of Echo Park and recorded in upstate New York. The former is a place where characters in Warren Zevon songs get clingy with their old lady while toughing out heroin withdrawal; the latter is where Bob Dylan got clingy with Robbie Robertson after flying off his motorcycle and revisiting the highway with his face. Fittingly, there’s a fair amount of recovery in the songs of New View (though you won’t find much in the way of smack or motorcycles). “Today I’m frozen but tomorrow I’ll write about you,” Friedberger sings, and much of the album seems set in that post-traumatic tomorrow, when stuff’s calmed down, the figurative road rash has healed, the metaphorical junkie sweating up your mattress has finally packed his bags.

Counting the albums she made with her brother Matthew as the Fiery Furnaces, this is Friedbergers twelfth full-length. I’ve been listening since the beginning, and to me New View seems like just that — a vista that’s opened up when I thought I’d seen everything Friedberger had to offer. (Then again, I believed her last album Personal Record was indeed her best to date, so maybe I’m just susceptible to album titles.) Before she entered the studio with New View producer Clemens Knieper, Friedberger made a playlist of reference songs. A live version of “Warm Love” by Van Morrison was on there, as was 80s-era Dylan, Neil Young at his most bummed out, a scattering of Robert Wyatt-era Soft Machine, and the odd gem by Slapp Happy, Fleetwood Mac, Funkadelic, et al. There are ghost notes of all of those influences on New View, but mostly you hear Eleanor Friedberger. She’s never lacked confidence — this is someone who once took a fractured nine-minute ballad about the international blueberry trade and put it across like it was “Thunder Road” — but there’s a new kind of confidence on this record. You can hear it on the warm, stately “Your Word,” which holds a special place for Friedberger. She says:

“It was the last song I wrote for the album. I finished the lyrics with lines taken from a dream that Jonathan Rosen had about me. I stayed at a friend’s house in LA who had a bunch of later George Harrison CDs– already a huge fan, I thought I knew it all. But I heard ‘Love Comes To Everyone’ and it kind of blew me away. Everything I love about Harrison– beautiful slide guitar and vocals and vaguely spiritual lyrics– plus a weird disco thing. That was the big influence for the sound.”

The songs on New View were recorded live to tape with simple instrumentation: drums, bass, Wurlitzer and 12-string acoustic guitar on almost every track, courtesy of the band Icewater (Malcolm Perkins, Jonathan Rosen, Michael Rosen, Noah Hecht), with Dorian DeAngelo contributing a handful of well-placed guitar solos. Producer Knieper (son of Jurgen Knieper, the German composer whose credits include the score to Wim Wenders’ Wings of Desire) gives the album a classic sound, like something that’s existed forever on a record collector’s shelf, wedged in with Dylan’s New Morning and John Cale’s Vintage Violence.

For everything new about New View, it still fits comfortably in the continuity of Friedberger’s work. By coincidence, Knieper’s studio in Germantown, NY where the album was recorded is in a barn that was once rented by Matthew Friedberger and stored the furniture of their grandmother — the same grandmother whose spoken word reminiscences were the basis of the Fiery Furnaces LP Rehearsing My Choir. You won’t hear much of that album here, but songs like “Open Season” recall the Furnaces at their most magisterial. The wry, plainspoken “Because I Asked You” builds on the style Friedberger first polished on her solo debut Last Summer. And then there’s “A Long Walk,” the sun-striped finale that lends a memorable afterglow to New View. It’s a sweet, aching goodbye from an album that seems full of them.

Delicate Steve
Delicate Steve

When the world first met Delicate Steve in 2011, Steve Marion and the band he principled were an artfully crafted fiction. Tasked with introducing Wondervisions, Delicate Steve’s beguiling debut record of highly evocative and emotionally concise guitar-driven songs, Luaka Bop, the seminal David Byrne-owned New York indie label, balked. There was the music to get to; itself essentially reference-less and unqualifiedly unique. But what of the guy who created it? The guitarist who wrote the whole thing, who played every instrument. An enormous unknown talent without an attendant backstory to match the spectral and boundless qualities of his music. Enter Chuck Klosterman. The celebrated writer was brought on to completely fabricate a biography based on a band and album he was asked not to listen to.

While the record racked up high praise from outlets including The New York Times and NPR, nearly everything music fans read about Delicate Steve was a fiction. Listeners were left to the music alone to determine who Steve was.

As is often the case, some of the first people to recognize Delicate Steve’s music were fellow artists who became vocal supporters, as the young guy from upstate New Jersey began to develop a growing fanbase in small New York clubs like Glasslands, Union Pool, and Mercury Lounge. Following the 2012 release of Positive Force, Delicate Steve had cornered the status of ‘your favorite band’s favorite band’, as Steve himself became a fixture in and an on-demand collaborator among disparate scenes, players, and bands, making some of the most celebrated and forward thinking music today: Co-signs and work with David Byrne, Dirty Projectors, tUnE-yArDs, Mac DeMarco, Dr. Dog, and elder statesmen like Lee Ranaldo and Built to Spill. Likely the only guitarist alive who will cut records with Sondre Lerche and Death Grip’s Zach Hill. Handpicked to open a sold out North American tour for Tame Impala. And most recently, providing guitar on Paul Simon’s new record.

These wild artistic relationships came to be because Steve happens to be one of the most talented songwriters and guitarists currently working. But they are also a direct reflection of the person, the soul of a guy any artist or fan who’s met him will identify immediately. It’s the same soul that fills his songs.

This is Steve, Delicate Steve’s first new record in 4 years, and first for the ANTI- imprint, is an articulation of this spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve’s case, it’s very hard to separate the person from the art. It’s real. It’s pure. This, is Steve.

Melody begins with the needle drop on This is Steve, and it’s this hallmark as a songwriter on display in tune after tune that has defined all of Delicate Steve’s work. It’s his incredible capacity to write wordless songs that are impossible not to sing along to. He works in no genre, there are no words, but there is never a question as to what he is saying.

Tunes like “Animals,” “Help,” and “Nightlife,” establish their hooks immediately, and drop you with Steve as he runs alongside leopards, scales a Western peak, nurses a boozy Kingston come-down, before clocking out at under three minutes and depositing you somewhere else on a technicolor continuum. Throughout the set, Steve’s guitar melodies rise and crest, unguarded expressions of wonderment and positivity.

Steve produced and played all the instruments on this record. He created it as an introduction from himself to you, and named it appropriately. If there is a question as to who This is Steve’s creator is, you’ll find it imbued in these ten songs. As he has done from the start, Steve lets the music speak for itself. Without a word.
Cassie Ramone
Cassie Ramone
Brooklyn-based artist and musician Cassie Ramone, best known for her previous bands Vivian Girls / The Babies, has launched her solo music career with her debut album The Time Has Come. Reminiscent of a contemporary Karen Dalton, Cassie's introspective personality is present in all that she creates: both audibly and visually.
Gary Lucas
Gary Lucas
A world class guitar hero, a Grammy-nominated songwriter and composer, an international recording artist with over 20 acclaimed solo albums to date, and a soundtrack composer for film and television, GARY LUCAS is on the move in 2012.

Gary was profiled last May in the New York Times, the Wall Street Journal, and the International Herald Tribune to coincide with the release of his supergroup Gods and Monsters' new studio album "The Ordeal of Civility" (Knitting Factory), produced by Jerry Harrison which is receiving rave reviews—4 Stars in MOJO and named one of the Best of the Year in Rock's Backpages. The album is due to be released in the UK and Europe this spring. He has just released a vinyl only album in the Czech Republic "Gary Lucas Plays Bohemian Classics" (Faust Records) of his solo acoustic arrangements of Dvorak and other Czech classical composers. He's just returned from a European solo tour selling out Liverpool's Philharmonic Hall two nights in a row with his Captain Beefheart Symposium, performing his live score for Spanish "Dracula" at the annual music festival of Bilbao Spain, recording with Bryan Ferry in London, performing solo in Portugal where he was profiled on the cover of two national newspapers, and finishing in Paris where he was profiled in the French left paper Politis. Last summer Gary performed at the Grammy Museum in LA as part of their "Great Guitar" Series which further bolstered his credentials as "one of the best and most original guitarists in America" (Rolling Stone).

Gary just wrapped recording the debut album of his psychedelic dance music project Wild Rumpus with his partner Colleen "Cosmo" Murphy, and their latest 12 inch vinyl single "Cloudhopping" sold-out its first pressing in one week. He recently premiered his new live solo guitar score for Luis Bunuel's "El Angel Exterminador" at the 33rd Havana Film Festival in December and rocked the 48th New York Film Festival last fall with the US premiere of his Spanish "Dracula" project performing his original solo guitar score live to accompany a screening of the legendary 1931 film. He is about to perform the third film of his Latin horror trilogy, Jose Mojica Marins a/k/a Coffin Joe's "This Night I Will Possess Your Corpse" at SXSW after a successful US debut at Lincoln Center's LatinBeat Film Festival last August.

Last year Gary Lucas made successful performing debuts in China, Cuba, the Canary Islands, Colombia, Brazil, Costa Rica and Mexico alongside his usual non-stop touring in Europe and North America. His new live expanded concert version of his celebrated album of arrangements of 30′s Chinese pop, "The Edge of Heaven", featuring his band and two female vocalists he auditioned in Shanghai last year, just received standing ovations last June at both the 64th Holland Festival in Amsterdam and the Nijmegen MusicMeeting. His recent album, "Rishte" (Harmonia Mundi), a blues/raga collaboration with Indian vocalist Najma Akhtar, made #4 on the World Music Charts Europe and the pair garnered a 5 star review in The Financial Times for their live show and an ovation at WOMAD Los Palmas. He released his first ever coloured vinyl single "Music for the Eden Project" on 5nakefork Records last year to acclaim which has been used as the soundtrack for UK visual artist Paul McGowan's installation at the Eden Project in Cornwall. And he is scheduled to perform for the second year in a row at the Zappanale in Bad Doberan, Germany with his Beefheart tribute band Fast 'N' Bulbous.

Dubbed "The Thinking Man's Guitar Hero" by The New Yorker, "The world's most popular avant-rock guitarist" by The Independent (UK), "One of the 100 Greatest Living Guitarists" (Classic Rock), "Legendary Leftfield guitarist" by The Guardian (UK), "Guitarist of 1000 Ideas" by The New York Times, "a true axe God" by Melody Maker, and "One of the five best guitarists in the world" by the national Czech newspaper Lidove Noviny, the British world music magazine fRoots recently described Gary Lucas as "without question, the most innovative and challenging guitarist playing today." Rolling Stone's David Fricke wrote: "Gary Lucas is one of the best and most original guitarists in America…a modern guitar miracle." Best-selling author/producer Dan Levitin ("This Is Your Brain On Music") recently cited Gary as "the greatest living electric guitarist".

Gary Lucas tours the world relentlessly both solo and with several different ensembles, including his longtime band Gods and Monsters, whose ranks once included the late singer Jeff Buckley. Gary co-wrote two of Jeff Buckley's most famous hits, "Grace" and "Mojo Pin", which opened Jeff's double platinum Sony album "Grace", which MOJO magazine named the #1 Modern Classic Rock Album. Their early collaborations can also be heard on the Jeff Buckley and Gary Lucas album "Songs to No One", which charted internationally with worldwide sales approaching 100,000. Other notable Lucas albums include his recently reissued 2001 album "The Edge of Heaven", an album of Gary's lush arrangements of 30′s Chinese pop songs, which made #1 on the World Music charts and received rave reviews around the world. To date he has released over 20 acclaimed albums in multiple genres, and performed in over 40 countries.
Frankie Rose
Frankie Rose
After spending years as a major presence in Brooklyn’s thriving music scene, Frankie Rose relocated to her familial home of Los Angeles for 18 months with the intention of establishing yet another moment in her storied indie rock métier. Gradually, she found herself short on sleep, funds and optimism. "I moved to LA, drama ensued and I ended up on a catering truck. I was like, how can this be my life after being a touring musician and living off of music. I had really lost my way and I thought I was totally done."

Through sleepless nights of listening to broadcaster Art Bell’s paranormal-themed archives, Frankie’s thoughts had turned to "who am I, I’m not cut out for this business, it’s not for me." She continues, "I was literally in my room in L.A., not knowing how I was going to get out. But out of it all, I just decided to keep making music, because it is what I love and what I do – regardless of the outcome."

Towards the end of her time spent in Los Angeles, Frankie reached out to Jorge Elbrecht (Tamaryn, Gang Gang Dance, Violens) and began sketching what became the basic outline of what felt like a new album. Then, rather fortuitously, Frankie ended up back in Brooklyn with the realization that "in the end, I’m on my own. I have to do these things on my own."

The months that ensued meant basically working with no budget and finding ways to record in-between days. This time enabled Frankie to experiment musically with a variety of people that ultimately changed the way she worked. "I got a lot of input from people like Dave Harrington (Darkside), who was helpful reconstructing the songs, adding dynamics and changing up the rhythms."

The result of this existential odyssey is Cage Tropical, Frankie’s 4th album. It is awash with vintage synths, painterly effects pedals, upside down atmosphere and reverberating vocals. It evokes a new wave paranormality of sorts that drifts beyond the songs themselves. "My references aren’t just music," says Frankie, "I love old sci-fi. They Live is one of my favorite movies ever, same with Suspiria. 80’s sci-fi movies with a John Carpenter soundtrack, with silly synths – that makes it into my file, to the point that I’ll write lyrics incorporating that kind of stuff. It’s in there."

Beginning with the shimmery, cinematic and percussive sparkling of the album’s opening track "Love in Rockets," the song’s refrain of "a wheel, a wheel of wasting my life: a wheel, a wheel of wasting my time" immediately alludes to those darker circumstances that led to the creative origins of Cage Tropical."It’s all essentially based on what happened to me in Los Angeles and then a return to Brooklyn," says Frankie. "Misery turned into something good. The whole record to me is a redemption record and it is the most positive one I’ve made"

"I feel like I am finally free from worrying about an outcome. I don’t care. I already lost everything. I already had the worst-case scenario. When that happens, you do become free. In the end, it’s about me rescuing myself via having this record."
Alana Amram
Alana Amram
Singing, stories and songs are the first things I remember. I hit the road at 2 weeks old, touring around America with my musical family. I napped in a guitar case at the foot of the stage. Books about horses, a passion for trespassing, searching for lost caves and ginseng treasures in the upstate New York wilderness was what fed my curiosoty. I kept notebooks chronicling my adventures and poems.

In high school, I began collecting music and penned a zine. I attended SUNY Purchase College to study filmmaking but left to pursue music with various rock and roll bands.

My first solo release was a 7" on Noiseville Records. We recorded it inside the record store I worked at after we closed for the night. I started a band called "The Rough Gems" after a Walt Whitman poem. I was signed to Zealous Records (Velour Music Group) and released the E.P. "ALANA AMRAM & THE ROUGH GEMS" in 2008. We went to SXSW and did our first of many tours. In 2010, I recorded a full length, "PAINTED LADY" which we self-released. It was recorded with Jesse Lauter.

As an obsessed Fred Neil fan, I discovered the music of his singing partner Vince Martin. I wrote him a fan letter, a friendship blossomed and he would come and sit in with us at Brooklyn shows. That lead to us recording a tribute record called "SNOW SHADOWS: SONGS OF VINCE MARTIN." It was produced by Mark Sebastian and Jesse Lauter. The record was released by Kingswood Records to coincide with VAGABONDO!, a documentary made on Vince's life. The album features Vince Martin himself, lush string arrangements by Van Dyke Parks and harmonica by John Sebastian (Lovin' Spoonful.)

In early 2013, Kingswood released a 7″ of a new song I wrote called "MOTORBIKE." The flip side was with THE INVISIBLE FAMILIARS - members of Sean Lennon and The Plastic Ono's band.

Recorded live in 2 days, my third full length, "SPRING RIVER", was released in early 2014 on Kingswood. We toured the USA, SWITZERLAND, GERMANY and the U.K. in support of the record.

A new split 7" with a song called "10,000 to 1" was recently recorded. The flip side is with Peter Curtis of A Global Threat. It is due out in the summer of 2016.

I have opened, sang and played alongside an array of bands and musicians as varied as my musical taste. The short list includes: Pete Seeger, Nels Cline, Peter Rowan, Steve Earle, Abigail Washburn, Tommy Ramone, Judy Collins, The Church, Jimmy Dale Gilmore, Langhorne Slim, Danava, Nicole Atkins, Hurray For The Riff Raff, Nikki Lane, Alberta Cross, Anti-Flag, Psychic TV, ? & the Mysterians, Sky Saxon, Odetta, Boss Hog, Mac Demarco, Jenny O, The Chapin Sisters, Daddy Long Legs, Black Oak Arkansas, Cherrie Currie, John McCuen, Janis Ian, Israel Nash Gripka, Deertick, Steve Aoki and many many others. My music has been featured in ads for Stetson, the web series "The Actress" and in several independent films.

I am also a filmmaker, artist, curator and bass player. I have played bass and or guitar with Hurray for the Riff Raff, Death Valley GIrls, Jessie Jones, Gyda Gash, Sophia Knapp, The Chapin Sisters, Lights (Drag City), Cliffie Swan, Nikki Lane, Voluptuous Horror of Karen Black, The Fame, The Stalkers, Blue Sparks, Adam Amram, David Amram, Gator Bait, Andy Animal, and Galaxy World.

- Alana Amram
Daddy Long Legs
Daddy Long Legs
From the esteemed Norton Records label comes one of the wildest and most exciting groups of the current roots and blues revolution. Daddy Long Legs-named for its harp-blowing, blues-bellowing frontman, is a blues hollerer who blurs any definition by age or color. He growls, barks, yelps, and wails without sounding like an imitation of anyone or anything. This is simply pull-the-cord-and-let-the-snot-fly blues.

His partners in crime are cut from the same sweat-and-whiskey-soaked cloth. Guitarist Murat Akturk cranks out everything from powerhouse country blues rhythms to multi-stringed slide riffs. Drummer/percussionist Josh Styles keeps it simple and right on, sometimes locking in with his bandmates and other times leading the charge himself, slamming shovelfuls of coal into the beast.

The resulting gutsy, rocking blues spans the gamut from the churning romp of the album opener “Death Train Blues” to the nasty hoodoo stomp of ”Evil Eye” that closes things down. Yeah, you’ve heard players bring the train into the station before – but by the time Daddy Long Legs wrestles the thing to a halt, everyone’s covered in sweat.

Their ”Evil Eye On You” LP was definitely not an attempt to domesticate the sound of Daddy Long Legs in a studio setting; the twelve cuts are wild and wooly and real. Infuse a few hisses and pops into the tracks and it would be easy to believe this music was recorded a few decades ago, but no – Daddy Long Legs is happening right now, boys and girls.
Breanna Barbara
Breanna Barbara
There is a particular place you get to without directions. you've been a thousand times but never once stayed past a moment. You pin the map each visit but it's always too dull to stick. You return to where you begin and aren't sure if you ever left. Is this voodoo? A southern occultist juxtaposed in the middle of New York City, Breanna Barbara writes songs that make your soul dance, songs that make you question how many lives you've led, and if you ever lived at all.

Mirage Dreams, The Debut LP by Breanna Barbara is now available via No Roads Records.

"This singer-songwriter is undeniably the product of steamy Southern summers, the kind where the air’s so sultry that there’s nothing to do but crank up the amps and drown your sorrows in a pool of sweat." - Consequence of Sound

"While it arises out of tragedy it does so with a gleeful vengeance, and in the case of this track, even a howl." - Interview

"Brooklyn-based musician Breanna Barbara ain’t just another super cute indie chick. This girl has got pipes, not to mention the unabashed soulfulness of the blues musicians of days past."
Baby Shakes
Baby Shakes
This year's Best of NYC band is Baby Shakes, a power-pop/garage rock four-piece (there's a ghost member in the band) that knows how to have fun. The group wins this poll's grand prize: the cover of the spring 2017 issue of The Deli - we are looking forward to that issue! The band's catalogue is pleasantly varied, with everything from relaxed surf rock tunes to easy rock-n-rollers to borderline punk, heavy-hitters. Though the expert guitar work of Mary Blount and Judy Lindsay is apparent, featuring harmonization, synchronized riffs, and the occasional shredtastic solo, what really makes Baby Shakes so infectious is the raw force and high energy of their songs. It's something you can pick up on even through earbuds. Be on the lookout for their new album Turn It Up out this spring. - Andrew Strader-Deli Magazi
Juan Wauters
Juan Wauters
In 2000, Alberto Wauters left Uruguay to live in a basement in Queens. Two years later he called his son, Juan, to join him. Juan Wauters crossed the threshold into manhood when he arrived in New York. Working at a factory, the father and son pooled their money to bring their family to the borough of opportunity. With no friends to speak of, Juan turned to music to take control of the loneliness of his isolation. Juan was inspired by his new neighborhood of Jackson Heights and delighted to find that his library card gave him access to an abundance of new music. In his debut solo record, N.A.P. North American Poetry, Wauters dreams big; coming into his own as a singer. Building on his songwriting, popularized by The Beets, Juan presents introspective tracks, like Water and Sanity, and reflections on humans’ relationship with technology in songs like Breathing—which features Carmelle Safdie. The record is completed, as always, by the artwork of dear friend and longtime collaborator Matthew Volz, who has honed the trademark visual aesthetic of Juan’s music. This album is a selection of recordings made between the fall of 2010 and the summer of 2012 at Marlborough Farms. N.A.P. delivers a fresh sound and lyrical candor from one of Queens’ most idiosyncratic adoptive sons. Live, Juan shares the stage with a revolving cast of international musicians of the highest caliber: vocalist Carmelle Safdie (Israel), multi-instrumentalist Tall Juan Zaballa (Argentina), percussionist Chie Mori (Japan), and flutist Amanda Rodi (Mexico). Matthew Volz heightens this lively and mood-altering experience with his painted banners, personal objects and manually manipulated light show. The ensemble is not to be missed. - See more at:

Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11249