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Events happening near by Main Street Massachusetts USA



Gary Clark Jr.



Its been a banner year for Grammy Award-winning, genre-spanning guitar virtuoso Gary Clark Jr. He released his second critically-revered live album Live North America 2016, toured with Eric Clapton and My Morning Jacket, played numerous festivals around the world, and once again was invited to participate in this years GRAMMY Awards as both a presenter and performer. Clark also impacted radio with his first hit single, his updated version of The Beatles classic Come Together from Justice League Soundtrack. Most recently Clark has been busy writing and preparing new material for his next studio album. Clarks incendiary performances showcase an artist who is ever-morphing and one of the truly great improvisers of his generation and our time. A guitar hero of potent magnetism. The New York Times

Venue:
Pines Theater at Look Park
300 North Main Street Florence

When:
Mon, 30 Jul 2018 7.00pm -
Thu, 1 Jan 1970 1.00am


Wolf Parade



The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are on proud display over the course of Cry Cry Cry, the band's thunderous first album in seven years.That unique combination of sounds and influences, spearheaded by electric co-frontmen Spencer Krug and Dan Boeckner-a complex yet relatable, energetic brew of glam, prog, synth-rock, and satisfying discomfort-helped define 2000s indie rock with three critically celebrated albums, and propelled a growing Wolf Parade fandom even after the band went on a then-indefinite hiatus in 2010.The upcoming return marks their first to be produced by Pacific Northwest legend John Goodmanson (Bikini Kill, Sleater-Kinney, Unwound) at Robert Lang Studios outside of Seattle, and is accompanied by a renewed focus and the creativity of a band that took their time getting exactly where they needed to be. It's also a homecoming to Sub Pop, which released all three of the band's previous albums."The band itself is almost a fifth member of the band, something more or at least different than the sum of its parts," says Krug. "We don't know who or what is responsible for our sound, it's just something that naturally and consistently comes from this particular combo of musicians.""Once we got back together, I was playing guitar, writing and singing in a way that I only do while I'm in Wolf Parade," says Dan Boeckner, who shares primary lyrical and singing duties with Spencer. "It's just something that I can't access without the other three people in the room."In the time apart, the band scattered geographically and focused on family and other work--Spencer on his solo project Moonface, Dan on his bands Handsome Furs, Operators, and Divine Fits (with Spoon's Britt Daniel), and Dante De Caro on records with Carey Mercer's Frog Eyes and Blackout Beach. And that time allowed for an even stronger, tighter band to emerge.Eventually, Spencer, Dante, and Arlen found themselves all back living on remote Vancouver Island, accompanied by a population density less than that of Alaska, and the tranquility that leads to creative emanations like a government-sponsored bathtub race. With Dan on the same coast in Northern California, discussions began about picking things up where they left off."All of our albums are always a reaction to our last one," says Arlen. "Expo 86 (2010) was about as sparse as we get, which is usually still pretty dense, and this time we wanted to make the palette a little larger." Adds Dante, "Expo was a real rock record. We just sort of banged it out, which was kind of the point." Cry Cry Cry, on the other hand, is more deliberate in its arrangements and embrace of the studio process. "If a part was going on for too long it would get lopped, you know?" says Dan. "That being said, there are two very long songs on the record and I don't think it would be a Wolf Parade record if it didn't have some kind of prog epic.""I think we're actually a better band than we were when we stopped playing music together," says Arlen. "A little bit more life experience for everybody, and people having made a bunch of records on their own."The result of this new consciousness is songs like "Valley Boy," a Bowie-inflected anthem for which Spencer wrote lyrics after Leonard Cohen died the day before the 2016 election ("The radio's been playing all your songs, talking about the way you slipped away up the stairs, did you know that it was all gonna go wrong?"). "You're Dreaming," also influenced by the election and the spinning shock that followed, is driving, urgent power pop that draws from artists like Tom Petty and what Dan calls one of his "default languages" for writing music. The swirly, synth-heavy crescendo of "Artificial Life" takes on the struggle of artists and at-risk communities ("If the flood should ever come, we'll be last in the lifeboat").The album carries a sense of uprising that is not unrelated to Wolf Parade's renewed determination to drive the band forward in uncertain times. Welcome to Cry Cry Cry.

Venue:
Gateway City Arts
92-114 Race Street Holyoke

When:
Fri, 31 Aug 2018 8.00pm -
Thu, 1 Jan 1970 1.00am


Mike Birbiglia



Venue:
Calvin Theatre
19 King Street Northampton

When:
Fri, 4 May 2018 8.00pm -
Thu, 1 Jan 1970 1.00am


moe.



Venue:
Calvin Theatre
19 King Street Northampton

When:
Sat, 28 Apr 2018 8.00pm -
Thu, 1 Jan 1970 1.00am


Hop Along


with Saintseneca
Frances Quinlan has been meditating a lot on power. When I was younger, I kept thinking that one day I would have a partner and that person would give me power, she says. That never came to be. Instead, what Quinlan, the songwriter, lead vocalist, and rhythm guitarist of Hop Along, has found is that power has an inherent awfulness to it and people who have it tend to be disappointing in how they wield it. In this particular moment in history, this thought begs a greater question: what do we do with power and the men who so freely brandish it? Im angry that I believed in this false idea for so long, that a man would come along and show me what I was worth. This theme propels the Philadelphia-based bands third studio record, Bark Your Head Off, Dog. Written over the course of 2016 and 2017 and recorded in the summer of the latter year by Quinlan, Tyler Long (bass), Joe Reinhart (guitar), and Mark Quinlan (drums), the album imagines what its like to cast off longheld perceptions, often without being certain about the new ones that will replace them. Much like on Hop Alongs first and second records, Get Disowned and Painted Shut, Quinlan seeks in real time to work through these emotions. On Bark Your Head Off, Dog, she also grasps at something more complicated. Growing up I was constantly in my head and not a part of the world, she says. Now Im trying to force myself into the world. Throughout Bark Your Head Off, Dog, one gets the sense that Quinlan is wandering in the thicket of a foresta state of being that will feel familiar to longtime listenersand on this outing, she hasnt left a trail of breadcrumbs behind her. The albums artwork, which Quinlan painted herself, invites the listener into that forest, as well. There is a terror in getting lost, she says, the woods are at the same time beautiful and horrifying. This curious wandering gives the album, both lyrically and musically, a heightened dimensionality. On Somewhere a Judge, Hop Along explores a dancier side to their sound, while What the Writer Meant showcases a string section and enormous, full harmonies. One That Suits Me welcomes and embraces the sound of a Rhodes and tambourine, but with a syncopated vocal rhythm on top, almost building to a call-and-response. Throughout, the music is full of gratifying, new deviations. Bark Your Head Off, Dog is, without question, Hop Alongs most dynamic and textured record yet. Self-produced and recorded at The Headroom in Philadelphia by Reinhart and Kyle Pulley, Bark Your Head Off, Dog features the familiar sounds that have always made the band allergic to genre: grunge, folk, punk, and power pop all appear, with inspiration from ELO to Elvis Costello to 70s girl group vocal arrangements. This time around, theyve added strings, more intricate rhythms, lush harmonies (featuring Thin Lips Chrissy Tashjian), along with a momentary visit with a vocoder. In more than one place, Mark Quinlan drums like hes at a disco with Built to Spill. We wanted to get back to using the studio as a writing tool and bring elements of that in, Reinhart says of the production process. When youre sitting there and you force yourself to figure something out, in the studio, there are unlimited possibilities. This visit to the studio often required a lot of throwing things at Quinlans new demos, then scaling them back after the fact. Why are we doing mandolin? Its 5am. We have to get on a plane tomorrow, Reinhart says of the thirty-five day recording process. But then we ended up keeping it. On the albums opening track, How Simple, Quinlan wrangles with what its like to learn about yourselfwhich can get ugly. People romanticize the idea of finding themselves, but when they do, at least in my experience, it can be really difficult. You see how you fail others and how others fail you. The theme carries through to How You Got Your Limp and Not Abel, where Quinlan sings about the ways other people can be disappointing, relative strangers and biblical figures. The record also calls upon references that Quinlan has woven throughout all of the bands albums: the wild presence of animals (rabbits, foxes, dogs, and blue jays all appear on this record) and historical touchstones (from a podcast on World War I to books by Karl Ove Knausgaard). Hop Alongs songs continue to reveal the curiosities nesting in Quinlans mind. Most significantly, Bark Your Head Off, Dog shows the band at its strongest and most cohesive. Hop Along (which originally began as Quinlans solo project under the moniker Hop Along, Queen Ansleis) has never sounded so deliberate, so balanced. Really, there are four producers in the band, Reinhart says. Everybody has ideas. Maybe somebody riffs on this thing, while somebody else says, Lets do it like that, but backwards. The last record was a snapshot of a band becoming a band. On this record, they are truly that: a band. Our confidence grew in our ability to express what we mean, Quinlan says. So strange to be shaped by such strange men is a line that repeats on more than one song on the album. Ive been thinking about that a lot. That I just deferred to men throughout my life, Quinlan says. But by thinking youre powerless, youre really robbing yourself. Im at a point in my life where Im saying instead, Well, what can I do?

Venue:
Gateway City Arts
92-114 Race Street Holyoke

When:
Wed, 2 May 2018 8.00pm -
Thu, 1 Jan 1970 1.00am


WEIB 106.3 SMOOTH FM JAZZ SERIES Feat. MARION MEADOWS and MARC ANTOINE



Venue:
Citystage
1 East Columbus Avenue Springfield

When:
Sun, 6 May 2018 5.00pm -
Thu, 1 Jan 1970 1.00am


Bud Light Presents Stand Up Comedy Series: Comedian Tom Papa



Venue:
Citystage
1 East Columbus Avenue Springfield

When:
Fri, 27 Apr 2018 7.30pm -
Thu, 1 Jan 1970 1.00am


Northampton Saints v Worcester Warriors



Venue:
Franklins Gardens
Franklins Gardens Northampton

When:
Sat, 5 May 2018 4.00pm -
Thu, 1 Jan 1970 1.00am


US Open Cup Northeast Region First Round Tickets (Western Mass Pioneers vs Elm City Express)



Venue:
Lusitano Stadium
400 Winsor Street Ludlow

When:
Wed, 9 May 2018 7.00pm -
Thu, 1 Jan 1970 1.00am


Caitlin Canty


with Noam Pikelny
Caitlin Canty is an American singer/songwriter whose music carves a line through folk, blues, and country ballads. Her voice was called casually devastating by the San Francisco Chronicle and NPR Music describes her songs as having a haunting urgency. Motel Bouquet, Cantys third record, features ten original songs that hold her darkly radiant voice firmly in the spotlight. Produced by Grammy-nominated Noam Pikelny (Punch Brothers) and recorded live over three days in Nashville, the album boasts a band of some of finest musicians in roots music, including fiddler Stuart Duncan and vocalist Aoife ODonovan. Rolling Stone hails Motel Bouquet as dreamy and daring with poetic lyrics and haunting melodies. Since the release of her critically-acclaimed Reckless Skyline in 2015, Canty has put thousands of miles on her songs, circling through the U.S. and Europe. She warmed up stages for The Milk Carton Kids and Gregory Alan Isakov and recorded with longtime collaborators Darlingside and with Down Like Silver, her duo with Peter Bradley Adams. She won the Troubadour songwriting competition at the Telluride Bluegrass Festival, and her song, Get Up, was nominated for Song of the Year in the Folk Alliance International Music Awards. Cantys original recordings have recently appeared on CBSs Code Black and on the Netflix original series House of Cards. Raised in small-town Vermont, the daughter of a school teacher and a house painter, Canty earned her degree in biology in the Berkshires and subsequently moved to New York City. She spent her days in the city working as an environmental sustainability consultant and her nights making music at Lower East Side music halls and bars. In 2009, she quit her job and set out to make music full time. In 2015, she packed up her house plants and her 1939 Recording King guitar and drove to Nashville, TN, which she now calls home.

Venue:
Parlour Room @ Signature Sounds
32 Masonic Street Northampton

When:
Fri, 27 Apr 2018 7.00pm -
Thu, 1 Jan 1970 1.00am

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