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Events happening near by Marmon Street Massachusetts USA

Red Molly

Americana powerhouse trio Red Molly is known for their gorgeous harmonies, infectious songwriting, and captivating stage presence. Laurie MacAllister (bass), Abbie Gardner (Dobro), and Molly Venter (guitar) weave together the threads of American musicfrom folk roots to bluegrass, from heartbreaking ballads to barn-burning honky tonkas effortlessly as they blend their caramel voices into their signature crystalline, three-part harmonies.Gracing stages from Denver to Denmark, from Australia to Austin, Red Molly is renowned for their live shows. Four-time featured artist at MerleFest, breakout stars at RockyGrass, and the darlings of the Bristol Rhythm and Roots Reunion, the Mollies bring audiences to their feet, whether its on a grand festival stage or in an intimate concert hall.If one word describes Red Mollys music, that word is joyous. Their brilliantly wrought a capella tunes are love letters to the art of the vocal blend, and their innovative instrumentation is perfectly suited for foot stomping bluegrass-tinged barnburners and heart-full ballads alike. Red Molly is simply a joy to listen to. One of the most moving things about Red Mollys music is the honest sense that youre watching three dear friends sharing songs in their living room, and this feeling goes all the way back to their origins. Red Molly got its start with the simple joy of singing at a campsite, when they first felt the electricity that comes when voices blend together like honey and whiskey. That synergy and harmony carries through to today, on their newest studio effort, aptly titled The Red Album.Released on May 27, 2014, The Red Album was featured in USA Today, noting their spooky, supple harmonies and CMT Edge. It debuted at #1 on the Folk DJ radio chart, and climbed to #10 on the Americana Top 40 Radio chart, spending 25 weeks in the Top 40.The Red Album is surely their freshest and edgiest release to date. After immersing themselves in songwriting, the Mollies made a conscious decision to record more original songs than on any previous album, making their choice of specific covers all the more significant. With their arsenal of new songs and select favorites at hand (including a very long-awaited cover of the song that is their namesake, Richard Thompsons 1952 Vincent Black Lightning), the band traveled to Nashville to work with producer Ken Coomer (drummer for Uncle Tupelo and Wilco). The result marks a distinctive shift towards a darker, less traditional vibe, though its reverb-heavy noir-storytelling is still underpinned by the exquisite vocal clarity for which Red Molly is loved. With delicious torch songs streaming effortlessly into gorgeous, impeccably harmonized ballads, The Red Album is like an Opry love note by way of East Nashville.

Parlour Room @ Signature Sounds
32 Masonic Street Northampton

Thu, 29 Mar 2018 8.00pm -
Thu, 1 Jan 1970 1.00am

Gabriel Iglesias

Comedy Connection at the Hukelau
705 Memorial Drive Chicopee

Wed, 4 Apr 2018 10.30pm -
Thu, 1 Jan 1970 1.00am

Gabriel Iglesias

Comedy Connection at the Hukelau
705 Memorial Drive Chicopee

Wed, 4 Apr 2018 7.00pm -
Thu, 1 Jan 1970 1.00am

An Evening with Jonathan Edwards

Iron Horse Music Hall
20 Center Street Northampton

Sat, 14 Apr 2018 7.00pm -
Thu, 1 Jan 1970 1.00am

An Evening with Cry Cry Cry (Dar Williams, Richard Shindell, Lucy Kaplansky)

Lucy Kaplansky, Richard Shindell and Dar Williams revive their celebrated folk-pop collaboration for their first performances in nineteen years. 

Calvin Theatre
19 King Street Northampton

Sat, 31 Mar 2018 8.00pm -
Thu, 1 Jan 1970 1.00am

on various days

Disney On Ice: Dream Big

MassMutual Center
1277 Main St Springfield

Sat, 24 Mar 2018 11.00am -
Thu, 1 Jan 1970 1.00am

One Night Of Queen

Springfield Symphony Hall
34 Court Street Springfield

Tue, 3 Apr 2018 7.30pm -
Thu, 1 Jan 1970 1.00am

Wild Child - Expectations Tour

with The Wild Reeds
Wild Child won't settle. For seven years now the Austin-based ensemble has carried its infectious blend of indie-pop and infectious melodies across the international music scene, charting viral hits and wrapping their arms around a diverse and dedicated fan base. But earlier this year when the band set out to make their fourth studio album, they found they had their hands full: After half a decade of maturation, the group had grown beyond its traditional writing and recording process.We had too many ideas for how we wanted to make this record says Kelsey Wilson, the groups lead vocalist and violinist. She shrugs. So we said, Why not just do all of them?The group realized this offered an exciting opportunity to make a kind of record bands rarely get right: To take a new, multispectral approach to writing and recording that went beyond simply trying to engineer success. The band made a list of their favorite musicians who were also great producers in their own right choosing ones they thought would shine a new and unique light on specific compositions and then Wild Child set about chasing their album from studio to studio all over the world, never saying no to an idea.The result the bands fourth album,Expectations is Wild Childs most creative, colorful and intellectually engaging album to date.Now a seven-piece pop mini-orchestra (Wilson on violin and vocals; Alexander Beggins on ukulele and vocals; Sadie Wolfe on cello; Matt Bradshaw on keyboards, trumpet, and harmonica; Tom Myers on drums; Cody Ackors on guitar and trombone; and Tyler Osmond on bass), Wild Child formed in 2010 when the group's core duo of Wilson and Beggins wrote and released their first album,Pillow Talk. Wild Child shaped their last record, Fools, in the shadows of more than one failed love, andExpectations, as the title suggests, is a continuation of that personal experience into an awakening.Wilson and Beggins, whose voices fit each other as naturally as any family act, pushed their boundaries as writers, drawing freely from the stories they've lived as well as the artists around the world that have inspired their growth. Their rate of output over that last year got them thinking differently about producing, focusing on one track at a time. Weve always focused on the record as a whole. We wanted to think about each track as its own piece- but somehow it all fits together Wilson says of the approach.That route took them around the world fromChris Walla's (Death Cab For Cutie) studio inTroms, Norway, where the Northern Lights are the brightest in the world, to a home-built warehouse studio on the outskirts of Philadelphia, where Dr. Dog's Scott McMicken picked up the bass and joined the band for a week, arranging harmonies and sharing living and recording space. Back in Wimberley, Texas, Matthew Logan Vasquez (Delta Spirit) set up a makeshift studio in Kelsey Wilsons beloved childhood home abandoned since the floods of 2015 where they found the muses were eager to resurface. The group also tapped the talents of frequent tour mate Chris Boosahda (Shakey Graves), Atlantic Records recording artist Max Frost, and Grammy-winning producer Adrian Quesada (Groupo Fantasma, Brown Sabbath, Spanish Gold).The result is a theater of possibilities, with arrangements that reflect the range of tastes of the producers, from scruffy lo-fi tape hiss, to smoothed out precision-cut electronic pop sounds. Smartly, the album avoids defining itself and kicks off with a childs voice telling Alexander Beggins, "Don't think that way." The track that follows (called "Alex") is a hook-spangled opener which in its three breezy minutes builds from a single ukulele to a lush and playful arrangement reminiscent of Beirut.The record almost immediately settles in to find theband at its most expansive. Songs like "My Town" and the deep-breathing "Eggshells" stretch the spaces between beats like a Chinese finger/time trap. They stop for more than one layover in Detroit, with "Back and Forth" evoking the horn charts of Arthur Conley and Jackie Wilson (or even Jens Lekman), and "Think It Over" throws an unexpected nod to Sly and the Family Stone.The closing track, Goodbye, Goodnight, is also the first the group recorded, and the one they believe best epitomizes the journey of making this album. At first, Scott McMickens production caught the band off-guard: He slowed the waltz down to the tempo of a dirge or a dirge with the levity of a waltz and built the track up at an almost excruciatingly slow pace that in the end gives you what you want from it, but only gives it to you once. At first we were all just trying to understand where he was coming from, Wilson says with a laugh. And it took us a while to get there, but the arrangement works out so well with what the song is about and how we felt when we wrote it that it ended up being one of my favorite songs on the record.And the more you listen toExpectations, the more the many worlds of this project begin to cohere around you. After all, one of the great joys of traveling the world is discovering surprising connections: A skyscraper in Barcelona reminds you of a spire in the Utah desert; the Northern Lights in the Norwegian sky look like an oil slick on the Philadelphia pavement.Expectations, an album which can by turns be bitter,wistful,angry, and flirtatious, is rich with these surprising rhymes across the record.Were all growing and changing and learning new tricks, Beggins says. Wilson responds, Yeah, theres no right or wrong way to do anything. Her own record, though, is proof shes wrong.

Gateway City Arts
92-114 Race Street Holyoke

Tue, 3 Apr 2018 8.00pm -
Thu, 1 Jan 1970 1.00am

Robin Trower

with Jeffrey Gaines
British guitar player born in 1945. He played with Procol Harum before he started a solo career under his own name.

Academy Of Music Theatre
274 Main Street Northampton

Fri, 30 Mar 2018 8.00pm -
Thu, 1 Jan 1970 1.00am

Gabriel Iglesias

Comedy Connection at the Hukelau
705 Memorial Drive Chicopee

Thu, 5 Apr 2018 11.00pm -
Thu, 1 Jan 1970 1.00am

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