Music Hall of Williamsburg
Sincerely, L. Cohen: A Celebration of Leonard Cohen

Sincerely, L. Cohen: A Celebration of Leonard Cohen

Lee Ranaldo (of Sonic Youth), Will Sheff (Okkervil River), Josh Ritter, Richard Thompson, Amy Helm, Lenny Kaye (Patti Smith Group), Teddy Thompson, Lucy Wainwright Roche, Joan As Police Woman, Holly Miranda, Jared Samuel (Invisible Familiars), Elvis Perkins, Ian O'Neil (of Deer Tick), Dave Harrington, Osei Essed (The Woes), Cassandra Jenkins, Arc Iris, Adam Weiner (Low Cut Connie), House Band: Josh Kaufman, Walt Martin, Annie Nero, Ray Rizzo

Tue, January 24, 2017

Doors: 7:00 pm / Show: 8:00 pm

Music Hall of Williamsburg

Brooklyn, NY

$22 adv / $25 dos

Sold Out

This event is 18 and over

Sincerely, L. Cohen: A Celebration of Leonard Cohen
Sincerely, L. Cohen: A Celebration of Leonard Cohen
Join us on January 24th to pay tribute to one of music's greatest songwriters and wordsmiths, the late Leonard Cohen. The night will feature a variety of artists influenced by Cohen's work, including Josh Ritter, Richard Thompson, Lee Ranaldo (Sonic Youth), Amy Helm, Will Sheff (Okkervil River), Lenny Kaye (Patti Smith Group), Teddy Thompson, Lucy Wainwright Roche, Joan As A Police Woman, Holly Miranda, Jared Samuels (of Invisible Familiars) Ian O'Neil (Deer Tick), Dave Harrington, Osei Essed (The Woes), Cassandra Jenkins and more special guests to be announced. Pulling from his vast repertoire of songs that span over six decades, this incredible lineup will interpret Cohen's unique and compelling compositions for what will be a empowering evening of performance. Music direction will come from producers Josh Kaufman (Bob Weir, The National) and Jesse Lauter (Bob Dylan in the 80s).

All proceeds will go to benefit the Preemptive Love Coalition, a non-profit aiding children and families affected by terrorism and other crises across the globe (
Josh Ritter
Josh Ritter
For every cry in the night / Somebody says, "Have faith!"
"Be content inside your questions" / "Minotaurs inside a maze"
Tell me what's the point of light / That you have to strike a match to find?

Idaho songwriter Ritter has become an audience and critic's darling for fine, spare songwriting and energetic, no-frills performance and connection to audiences since he released his debut Golden Age of Radio. He writes wise, astute songs with a sense of tender, subtle humour on personality sketches, lyrics peppered with allusions and love songs, accenting the more unobtrusive aspects of living in the modern world. He has a profound sense of observance for scenery, ordinary characters and subtle emotional states. He may be the guy in the story or a tree on the sidewalk, but he's there…in the most enduring way.
Sermon on the Rocks, Ritter's eighth studio album, takes his songwriting in a new direction, one he describes as "messianic oracular honky-tonk." Catchy numbers are threaded with biblical imagery, contemplative ballads and lyrical narratives. Of it, he says, "I don't feel a huge connection to religion, except as a large accumulation of confusing stories." KC
Richard Thompson
Richard Thompson
Grammy-nominated musician Richard Thompson’s latest LP, Electric (out now on New West), has just debuted at #73 on the Billboard Top 200 and landed at #75 on this week’s SoundScan charts after scanning 6,667 units in its first week. This is Thompson’s highest chart position in SoundScan history, and his highest first-week sales since the 1996 album You Me Us.

Electric, a guitar-driven set of 11 new songs produced by Buddy Miller, is being met with critical raves. In addition to the above, Q Magazine calls it a “first-class showcase for Thompson’s spine-tingling solos,” while M Music & Musicians notes that the “songwriting, guitar work and vocals boast an abundance of depth and truth.” American Songwriter sums it up by calling it “another in a seemingly endless streak of quality albums from Richard Thompson.”

Produced by Buddy Miller (Patty Griffin, Robert Plant, Solomon Burke), Electric was recorded with drummer Michael Jerome (Better Than Ezra, John Cale) and bassist Taras Prodaniuk (Lucinda Williams, Elvis Costello) at Miller’s home studio in Nashville. Miller recently told Rolling Stone, “I played along on the record, playing rhythm guitar for [Richard], and I got a two-week guitar lesson while he camped out in my house.” Other guests on the album include Alison Krauss, who joins Thompson on “The Snow Goose,” and English singer-songwriter Siobhan Maher-Kennedy (formerly with River City People), who adds vocals on several tracks. Renowned fiddle player Stuart Duncan also accompanies Thompson. Please see complete track listing below.

Following a U.K. tour in support of the release, Thompson returns to the U.S. for SXSW 2013 where he will take part in a Songwriting Session on March 15 (with other performances and showcases to be announced). Information on the Session may be found at:

Thompson then hits the road on March 17 for a co-headlining tour with Emmylou Harris and Rodney Crowell. VIP tour packages are available through and include a show ticket, a Meet & Greet with Thompson and a lyric print. Tickets are on sale now—see below for complete details.

Thompson has been named one of the “20 Greatest Guitarists of All Time” by Rolling Stone and declared “one of this world’s most gifted songwriters” by American Songwriter. A recipient of the BBC’s Lifetime Achievement Award and UK’s Mojo Les Paul Award, Thompson was awarded an OBE (Officer of the Order of the British Empire) in 2011, bestowed upon him by the Queen of England. Most recently he received the Americana Music Association’s 2012 Lifetime Achievement Award for Songwriting, presented to him in Nashville by Bonnie Raitt. Thompson’s songs have been recorded by Robert Plant, Elvis Costello, REM, Los Lobos, Del McCoury, David Byrne, Bonnie Raitt and many others.
Amy Helm
Amy Helm
Amy Helm's deep musical roots were enriched by a lifetime of exposure to the finest expressions of American musical tradition. Combined with her stunning vocal and other creative gifts, those roots have grown up to reveal a spellbinding artist who moves easily through a broad range of musical styles.

The daughter of music legend Levon Helm and singer/songwriter Libby Titus Fagen, Helm wields a powerful voice that can both stir and soothe, whether she is singing traditional gospel, blues standards or her own heartfelt compositions. She is a gifted musician on both mandolin and drums, and has clearly absorbed the lessons of the many other accomplished artists with whom she has shared stages, including Mavis Staples, Emmylou Harris, and Joan Osborne as well as other uniquely American performers like Dr. John and Hubert Sumlin.

A founding member of the roots band Ollabelle with whom she has recorded three CDs, Helm has also performed live with scores of notable musicians like Warren Haynes, The Wood Brothers, and Donald Fagen, and her distinctive voice can be heard on recordings by artists ranging from Mercury Rev to Marc Cohn.

Her lengthy resume is highlighted by many years of singing and playing alongside her father, with whom she conceived, launched and perfected the Midnight Rambles, intimate performances held since 2004 at his home and studio in Woodstock, N.Y. The musical chemistry, affectionate humor and family pride that Amy shared on stage with her father helped shape the Midnight Ramble as it evolved into a musical event that still attracts fans and musicians from around the world. She co-produced Levon Helm's 2007 CD Dirt Farmer, which won the Grammy for Best Traditional Folk Album, and she is prominently featured on the Levon Helm Band's Electric Dirt and Ramble at the Ryman Grammy-winning albums.

Helm continues to perform with the Ollabelle, the Midnight Ramble Band and the Dirt Farmer Band. She is poised to release her first solo album later this year.
Teddy Thompson
Teddy Thompson
Teddy Thompson Biography

Teddy Thompson is an acclaimed singer-songwriter with a career that has consistently garnered critical praise. NPR proclaims that he’s “the musical equivalent of an arrow to the heart,” while The New York Times calls his work “beautifully finessed.” The only son of British folk-rock legends Richard and Linda Thompson, Teddy formed his first band in his teens. His original songs and live performances generated such acclaim that he was soon signed to Virgin Records. By the time Thompson released his self-titled solo debut in 2000, he’d already played in his father’s touring band and contributed guitar and backing vocals to his father’s albums, You? Me? Us? and Mock Tudor. In 2002, Thompson played a key role in drawing his mother out of a 17-year musical retirement to record her landmark disc Fashionably Late, which he played on and co-produced. Thompson also toured as part of Rosanne Cash’s band before signing with Verve. Soon after, Thompson released his much lauded 2006 sophomore album Separate Ways, which demonstrated how much his songwriting, performing and record-making skills had evolved since his debut. It was followed in 2007 by Up Front & Down Low, a collection of personally charged readings of classic American country songs that demonstrated Thompson's increased assurance as a performer and interpreter. In 2008, Thompson released the upbeat and highly acclaimed, A Piece of What You Need, which was declared “one of this year’s best” by The Guardian and debuted at #9 in the UK’s pop charts. The album is widely referred to as Thompson’s best work to date. A fifth studio effort, Bella, was released February 2011.
Lucy Wainwright Roche
Lucy Wainwright Roche
Lucy Wainwright Roche is a member of a musical family, but somehow she still decided to become a working musician. Her new album, Lucy, just came out.
Joan As Police Woman
Joan As Police Woman
“I’m in the best place I’ve ever been in my life,” declares Joan Wasser, and she’s just recorded the album that proves it. The Classic, the fourth album of originals by the uniquely charismatic artist known as Joan As Police Woman, builds on the creative impetus and success of its 2011 predecessor The Deep Field, on which Joan strove to create music rooted in an intimate, elemental and uplifting brand of soul combined with her own unique serene, torch-singing temperament, with a more liberated feel than ever before. The result is a perfect reflection of her efforts to address - and solve - personal issues and so reject the singer-songwriter’s traditional melancholic disposition for an unashamed lust for life. As graffiti in the artwork of her 2006 debut album Real Life read: “Evolve” and “Be Brave”.

The Classic is named after one of its ten tracks. “Part is to do with the way we recorded mostly live; the way records used to get made,” she explains. “But I wrote ‘The Classic’ itself as a classic girl-group doo wop song, and the lyric refers to classic old songs like Marvin Gaye and Tammy Terrell ‘You’re All I Need To Get By’, Stevie Wonder’s ‘ Joy Inside My Tears’ and Danny & The Juniors’ ‘Rock’n’Roll Is Here To Stay’. And at the end, I spell out the name of the song, like Aretha Franklin did with ‘R-E-S-P-E-C-T’! The song begins ‘I am home in your arms’ and it’s solely joyful, expressing jubilation. Melancholy is still part of my life, but it’s no longer leeching energy from my life.”

Melancholy was a principal feature of Joan’s earlier work. Born in Maine, adopted by a couple in Connecticut, she learnt violin, studied in Boston and played with the university’s symphony orchestra before joining more raucous local bands, such as The Dambuilders. She graduated to playing in Antony Hegarty’s Johnsons and Rufus Wainwright’s band, whose combined piano balladry inspired her own music, while infusing it with her individual stripped-down-soul and torch-song approach. Her 2006 album debut Real Life was followed by To Survive (2008), written in the aftermath of her mother’s death; in 2009, she released an interim covers album simply called Cover, before The Deep Field confirmed Joan had started a full recovery and was determined to beat the blues. Which takes us to The Classic, where Joan reaches even further toward the light.

The title track, for example, includes a street-corner doo-wop bass vocal from fellow singer-songwriter Joseph Arthur and a human beat-box backing from none other than US comedian extraordinaire Reggie Watts, which gives the track’s classic Fifties/Sixties vibe a more contemporary slant. It’s the album’s shortest, snappiest track, with the core ensemble of Joan plus her JAPW cohorts Tyler Wood (keyboards) and Parker Kindred (drums), plus Oren Bloedow (bass and sharing guitar parts with Joan), tending toward longer, simmering and smouldering grooves: four songs last six or seven minutes. “I’ve previously cut off the outro’s rather than fade them out, as I was looking to be concise, but I personally love an extended play” she confesses. “I was feeling the inclusion of all the musical information. I hope folks will go with me on that.”

The two longest tracks, the increasingly dramatic ‘Good Together’ (which berates her ex-lover for being "nostalgic for something that never was” and then clandestinely begs for one more meeting at the bathhouse) and the more restrained slow-burn of ‘Get Direct’ are consecutive epics in the centre of The Classic. As Joan rightly says, “’Good Together’ is the hugest song on the album, and it didn’t feel right with anything else sequenced after except ‘Get Direct’, which is the hugest song in another way, it’s emotional and romantic in a ‘let’s quit the talking and get to getting down right now', way. It’s my take on Barry White.”

Ensuring that JAPW could make the album ‘happen’ in a natural fashion was a bit tougher. For starters, Joan was scheduled to record an album of duets with eminent UK singer-songwriter David Sylvian, who, years earlier, had contacted her about singing a duet for his brother Steve Jansen’s album (Slope). Sylvian subsequently co-sung two tracks on Joan’s second album, 2008’s To Survive, but soon after the pair begun a whole album together in 2011, Sylvian fell ill, and the project put on ice. Joan decided to embark on the follow-up to The Deep Field: “I didn’t have anything written as I’d put all my focus into the project with David, so I began seriously writing at the end of 2012, which scared the shit out of me. You can’t force creativity or inspiration, but thankfully, I found the music, it was there waiting for me, I was even a little peeved I had taken so long to tend to it.”

Further pressure was self-inflicted by deciding to break from the past, namely recording in the same Brooklyn studio with the same producer, Bryce Goggin. “I wanted to challenge myself,” Joan recalls. “On record, the band has sounded more contained and refined than when we play live, so we wanted to capture that energy, and we decided we’d try recording it ourselves. Tyler has amazing focus, incredible ears, is a great engineer and amazing producer; he and I ended up co-producing the album.

“We started in our practice space, the basement of our friend’s house in Williamsburg [Brooklyn], which is my favourite place to play, it’s more like a living room. We later recorded the horns and backing vocals in different studios over Brooklyn and Manhattan. It’s a testament to Tyler's vision that he was able to deal with the different spaces but still keeping an over-arching idea of how to capture our sound.”

Of the crew that contributed to The Deep Field, Doug Wielselman returned to play horns while the backing vocalists were Michele Zayla, Toshi Reagon, Stephanie Mckay and Nathan Larson (the former Shudder To Think guitarist). The guests enrich an already kaleidoscopic palate of sound that contrasts with the much sparser, melancholic piano ballads of her earlier records. Leading off The Classic is ‘Witness’ with Joan’s own pizzicato string part on violin plus swaying horns and a chorus that just flies. Her no-nonsense lyric underlines the album’s level of emotional insight: “it’s about the stories I tell myself, that I get used to hearing to the point where I accept them as fact, even though they have no basis in reality. If I constantly tell myself how something won't work out because of some underlying fear, I've cut all opportunities to find what it is I might learn from the situation. It got to the point where I was driving myself mad. It was suggested to me by a friend that I could change my perspective, step outside the emotional roller coaster and begin to be the witness to the stories, to the emotions, rather than accepting them as fact.”

The reference to a pile driver and a shoe (“I will crack the motor / Jam my stiletto into that machine / Yeah I took the power / Got to kick myself out of the dream”) came from reality, “every morning at 7am, the pile driving would begin it's incessant pounding, due to the endless Brooklyn construction. It felt like a symbolic representation of what I’d been doing, pile driving this cruelty into myself. I dreamt that I went on to my roof, threw my red stiletto into the cog and stopped it!”

The following song ‘Holy City’ is the album’s prime Motown/Hi label-influenced pop fusion, a brilliantly instinctive lead single inspired by a visit to Jerusalem’s Wailing Wall and understanding people find ecstasy in different ways, from praying to making music. The track’s atmospheric closing scat-rap is from Reggie Watts: “he’s an incredibly inspired musician as well as being a comedic genius,” ventures Joan, “he challenges you to think much deeper, but in a way that’s subtle plus he’s so comfortable, natural and sensual in his body. I hadn’t known him personally, but I contacted him through mutual friends, and a week later, he was recording on my record with the freedom to do what he wanted. It felt very magical.”

After the following triple whammy of ‘The Classic’, ‘Good Together’ and ‘Get Direct’ comes the warm, brooding ‘What Would You Do’ (about “trusting your instinct, to step in when a friend is being self-destructive and no one else seems to have noticed”) that fades to a gorgeous, meditative coda of just Joan and baritone sax. ’New Years Day’ maintains the stark and poised mood with its exquisite pale strings and the acknowledgement that, “I've got to always challenge myself to admit my weaknesses. I can often behave like I'd be able to conquer anything and I've got to constantly remind myself and my pride to ask for help when I need it.”

Like ‘Holy City’, ‘Shame’ is funky, faster and festooned with horns, underlining the message from ‘Witness’ that, “we learn to trust ourselves. I wanted to write a song that mocked shame by making it a quick R-n-B gotsta-move-your-body tune.” The Classic draws to a close with the sultry, serene ballad ‘Stay’ and the finale ‘Ask Me’ that unexpectedly rocks a gentle reggae beat: “it was the treatment for the song that felt the most natural, the most buoyant. For me, it's the chocolate mousse at the end of the meal; the last words being 'Let's keep it going'.

As if Joan sub-consciously knew that things would work out, her decision to remain single for as long as she did – “to calm the fuck down; chill the fuck out, and reconnect to myself” - were rewarded by recently meeting, “a magical man. Being on my own for a long time - the longest since I was 12, I do believe! - was really challenging and ultimately the best thing I could ever have done.”

She also has a magical album that’s come out of the process. It even has a cover photo that her pal Antony Hegarty thinks finally reflects her true “essence”, as she looks directly into the camera for a change, the way she has confronted her feelings all the way through this album. Antony will doubtless also think Joan As Police Woman has achieved their best album yet: musically, spiritually and emotionally, The Classic is a tour de force, and like the best soul music, has an uplifting emotional and satisfying pay-off – to know we’re alive, facing the future, and working it out.
Holly Miranda
Holly Miranda
Holly Miranda grew up singing in church. She began piano lessons at the age of 6 and taught herself guitar at 14. She wrote her first song shortly after.

When she was 16, she moved by herself from suburban Detroit to New York City. Her first gig was at the infamous Sidewalk Cafe on 6th street and Ave A in the East Village. There she cut her teeth along side Sidewalk alumni such as The Moldy Peaches, Nicole Atkins and Beck. She recorded two solo albums during this time and self-released one "High Above the City," which she sold online and at shows. She began touring the east coast performing solo at cafes and coffeehouses.

In the early 2000′s, while recording her next record at Headgear studios in Brooklyn, she and the producer Alex Lipsen decided to release the record as a band effort. This was the beginning of the shoegazey indie-rock band The Jealous Girlfriends. The band released two albums and performed with such acts as Shudder to Think, Nada Surf, Metric, and Sea Wolf. Holly continued to perform and tour solo between TJG tours. During this time she began writing songs for her first worldwide released solo album "The Magicians Private Library" produced by TV on The Radio's Dave Sitek. TMPL came out on XL recordings in 2010.

Holly has toured extensively and played with such acts as Tegan and Sara, The XX, My Morning Jacket, Florence and The Machine, TV on The Radio, Vampire Weekend, The Antlers, Oh Land and Lou Reed. She has performed at the Sydney Opera house as part of the Vivid Festival, Hyde Park with Sydney festival, Lattitude festival, Celebrate Brooklyn at Brooklyn Bandshell. She has had music placed on multiple TV shows such as Gossip Girl, Grey's Anatomy, CSI:Miami, and The L-word, and has contributed vocals and songwriting on records with Theophilus London, Nada Surf, Mmoths, Cicada, Steel Train and more.

Holly is producing a new solo album in Joshua Tree and Brooklyn.
Elvis Perkins
Elvis Perkins
Elvis Perkins is a critically acclaimed singer-songwriter who released his much lauded debut album, Ash Wednesday, in 2007. The highly anticipated follow up, Elvis Perkins in Dearland, came out in 2009. Perkins’ third studio album and first full-length release in six years, I AUBADE was recorded largely on his own between 2012 and 2013 in a variety of locations, including his home in Hudson, NY, hotel rooms across America, friends’ places in Dallas and Los Angeles, even a stationary mobile home called the “Wilderness” of California.” Though clearly crafted as a defiantly autonomous work, I AUBADE does see Perkins joined in part by a number of friends, including drummer Otto Hauser (Vashti Bunyan, Sharon Van Etten), multi-instrumentalists Nick Kinsey and Wyndham Boylan-Garnett (both members of Perkins’ celebrated combo, Elvis Perkins In Dearland), folk multi-instrumentalist Frank Fairfield, singer Cornelia Livingston, and long time collaborator Becky Stark (Lavender Diamond).

Released earlier this year via his own MIR Records – manufactured and distributed by INgrooves Music Group – I AUBADE was preceded by the first single, “Hogus Pogus,” which immediately earned a full on rave review from Entertainment Weekly. The track “recalls the whimsically psychedelic sensation of oddball folk-pop auteurs like Kevin Ayers,” declared, “with a giddily off-kilter singsong melody and lyrics about a man who has a very literal change of heart and becomes what Perkins describes as a ‘better man’ after receiving a transplanted ticker from a pig.” In addition, “Hogus Pogus” came accompanied by a strikingly surrealistic companion video, shot in 16mm black & white and color by director Ashley Connor (Angel Olsen, Jenny Lewis, Jenny Hval) and starring the aforementioned Arnaud Cornillon, himself the recipient of a successful bovine heart transplant. “Hogus Pogus” is streaming now at ElvisPerkinsVEVO.

I AUBADE has since accrued critical approbation from around the world, with the UK’s The Observer awarding the album four-out-of-five stars, praising it as “spare and intimate, its imperfections and unusual instruments (sitar, xylophone) ensuring that Perkins sounds like no one else alive.” ABC News also awarded four stars, exalting Perkins as “a master of these affecting ballads that recall the lullabies of yesteryear,” further lauding I AUBADE as “a really strange, oddly beautiful, sonically imaginative collection…a calmingly psychedelic set of tracks which feels gently handcrafted with care.” Paste declared I AUBADE to be “an album of relaxed arrangements for serenades best performed in the dawn… a welcome entry to (Perkins’) untraditional career.” “Woozy and unhurried,” wrote Drowned In Sound, “(I AUBADE) is packed with detail and unexpected moments…Perkins seems entirely at ease in these interstitial, twilit soundscapes – perhaps more-so than ever before.” MOJO declared it “astonishing how, despite (Perkins’) 32 instrumental credits and 20 guests, (I AUBADE) still sounds dustbowl-empty, as if these were missives from The Great Depression, time-wise and spiritually,” further extolling the album’s ‘magnificently worn folk-country hues” and “(Perkins’) gaunt Hank Williams-like voice.”
Ian O'Neil (of Deer Tick)
Ian O'Neil, a Massachusetts native, has been Deer Tick's guitarist and a contributing songwriter to the band since 2009. He previously played in the band Titus Andronicus.
Dave Harrington
While producer/DJs are not uncommon in the slash-filled electronic music world, it's rare that an artist will venture beyond one slash. Two, maybe. Three, forget about it. And yet, here we have Dave Harrington, that rare musician whose adventurous ears and multi-instrumental chops have taken him well beyond the restrictions of genre and performance into a sort of holistic musical being, a slash-eschewing polyglot. These days, Harrington is known as one-half of duo DARKSIDE with Nicolas Jaar, as the guitar-and-effects wizard in Jaar's live band, and as an internationally booked DJ.

The NYC-bred Harrington's story is marked by obsessive genre-hopping, moving from jazz jam sessions to post-theatrical art productions, from conducting John Zorn's game piece COBRA to playing in Brooklyn indie-rock bands. After meeting electronic producer Nicolas Jaar, Harrington began playing in Jaar's touring band, and the two eventually collaborated on 2011's DARKSIDE EP, a 3-track slice of slow-moving minimalist funk that garnered rave reviews from Pitchfork, Resident Advisor, XLR8R and others. Alongside Jaar and as DARKSIDE, Harrington has toured the world, playing sold-out shows everywhere from Brooklyn's Music Hall of Williamsburg to London's Fabric and The Roundhouse, to clubs and venues across the US and Europe, and at festivals including Roskilde, Glastonbury, FYF, Lowlands, Oya, Flow, and Pukkelpop. In between tours, Harrington commands his own outfit, a noisy five-headed beast called EL TOPO, which synthesizes krautrock, drone, exotica, and Italian film scores into something altogether sinister and strange.

As a DJ, Harrington conjures a microcosm of a life spent in sonic experimentation, mixing far-flung sounds with those near and dear. Techno bangers mingle with out-jazz and international psych; indie rock rubs elbows with deep '70s fusion and house rave-ups. Harrington's live sets are journeys through progressively more alien soundscapes that swirl, shriek, and explode while remaining tethered to a floor-filling 4/4 beat. Whatever he lays his hands on, though, be it a bass guitar or an MPC, there's no mistaking Harrington's singular approach, born of a deep-rooted dedication to atmosphere, groove, and immersive listening experiences.
Cassandra Jenkins
Cassandra Jenkins
A songwriter who “knows how to leave an impression” with “elegantly celestial climaxes, emerald green-glowing guitar work”(Pitchfork) and “smoky” vocals (NPR: All Songs), Cassandra released self-titled EP in 2013.

Now with several tours behind her (as bassist for Eleanor Friedberger of the Fiery Furnaces, and Wins with Jason Bartell of Fang Island), and a new record on the way (Summer 2016), she stokes the fire with New York based guitarist Sam Owens (Celestial Shore) and drummer Austin Vaughn (Here We Go Magic). It’s the kind of pop that steals your breath and replaces it with a limb-surrendering rhythm.
Arc Iris
Arc Iris
Arc Iris broke musical ground with the release of their acclaimed self-titled debut in 2014. The Providence, Rhode Island-based band quickly won over audiences in the US and Europe, supporting artists such as St. Vincent, Jeff Tweedy, and Clap Your Hands Say Yeah. The group performed at the London Palladium and festivals including Bonnaroo, End of the Road and the Rolling Stone Weekender.

Released on Bella Union in Europe and ANTI Records in the US and, Arc Iris drew admiration for its innovative style and distinctive sound. “It’s hypnotic,” said the Boston Globe. The New York Times wrote of “songs that seesawed between the elfin delicacy of Joanna Newsom and some brassy raucousness.” The Guardian talked of “a shape-shifting treat” while new music site The Line of Best Fit proclaimed, “Arc Iris is traditional music thrillingly positioned at the nexus of the old and new."

“Moon Saloon,” due to be released on Bella Union in August 2016, constitutes a natural progression from the first album’s whimsical explorations and energetic diversity. Produced by the group and mixed by electronica producer David Wrench of FKA Twigs and Jamie xx fame, the album showcases beat-heavy melodies and textural, groove-riding rhythms. It developed from the band’s distillations of musical influences, combining traditional elements with percussive structures and dense, beguiling harmonies.

In many ways this second album captures Arc Iris’ musical odyssey as a band. “It has a heavier sound, more intense,” says Arc Iris keyboardist Zach Tenorio-Miller, who makes liberal use of sampling in many of the songs. The group matches an unusual array of organic acoustic instruments with layered electronic sounds.

Lead singer and lyricist Jocie Adams, Tenorio-Miller, and drummer Ray Belli form the core of Arc Iris, all virtuosic musicians in their own right. Adams spent eight years as a key member of indie darlings The Low Anthem, effortlessly zipping from hammer dulcimer to clarinet to bass to vocals, sometimes barely pausing to take a breath. Her 2011 solodebut, Bed of Notions, sparked a musical beginning that became Arc Iris. Joining Adams on Bed of Notions was cellist Robin Ryczek, a conservatory-trained musician who toured with Jethro Tull and founded a rock school in Afghanistan.

To help launch Arc Iris in 2012, Adams teamed with Ryczek and the musically agile Tenorio-Miller, an established indie-rock keyboardist for well-known talents from Gene Ween to the New Pornographers’ A.C Newman. Later that year Tenorio-Miller brought in his longtime friend Belli. The two toured with Jon Anderson of Yes when they were just 16.

Arc Iris has attracted numerous fans around the world as the group’s stage performances become storied events themselves. Space domes reveal giant golden wings in flight while montages light up the backdrop with evocative images. Above all, the group’s love of music is a shared passion that comes alive with each song. As diverse as their musical interests and influences have been, the band members find avenues for producing a blend of soul-satisfying sounds that are truly their own.

"Though they are only a three-piece they have a large arsenal of sounds and sensibilities to work with, and they use every bit of it to make beautifully textured soundscapes difficult to box into any genre. They're set to drop their new album Moon Saloon later this summer and it's a wonderfully far-flung melange of sonics." -Stereogum

"Magicians in dynamics and sonic textures...Arc Iris fuse the sounds of classical strings, psychedelic percussive rolls, electronics, timeless guitar tones, and enchanting harmonics to create a sound far larger and more encompassing than its singular elements." - Consequence of Sound
Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11249