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Events happening near by Bridge Road Massachusetts USA



moe., Blues Traveler


with G. Love

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

When:
Wed, 17 Jul 2019 5.00pm -
Thu, 1 Jan 1970 1.00am


Lord Huron



Venue:
Mountain Park
125 Reservation Road Holyoke

When:
Sat, 20 Jul 2019 7.30pm -
Thu, 1 Jan 1970 1.00am


Dinosaur Jr., Kurt Vile and the Violators




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

When:
Sun, 28 Jul 2019 6.30pm -
Thu, 1 Jan 1970 1.00am


Lyle Lovett And His Large Band



A singer, composer and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers.Whether touring as a Duo or with his Acoustic Group or his Large Band, Lovetts live performances show not only the breadth of this Texas legends deep talents, but also the diversity of his influences, making him one of the most compelling and captivating musicians in popular music.Since his self-titled debut in 1986, Lyle Lovett has evolved into one of musics most vibrant and iconic performers. Among his many accolades, besides the four Grammy Awards, he was given the Americana Music Associations inaugural Trailblazer Award, and was named Texas State Musician.His works, rich and eclectic, are some of the most beloved of any artist working today.

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

When:
Fri, 2 Aug 2019 7.00pm -
Thu, 1 Jan 1970 1.00am


Real Estate


with Ezra Feinberg
The critically-acclaimed New Jersey indie rock band Real Estate released their fourth albumIn Mindin early 2017. The record was met with glowing reviews and a much-expanded fanbase, many of whom fell in love with the brilliantly melodic songwriting andrich lyricism of the bands previous breakthrough record,Atlas(2014). The band have played festival stages worldwide, including Coachella and Glastonbury, and performed on CONAN and The Late Show with David Letterman. TheirIn Mindtour in 2017 saw themplay the largest rooms of their decade-long career, to fans eager to experience album highlights like singles Darling and Stained Glass. Real Estate are at work on a new record.

Venue:
Gateway City Arts
92-114 Race Street Holyoke

When:
Tue, 6 Aug 2019 8.00pm -
Thu, 1 Jan 1970 1.00am


Beach House


with hellp
Baltimore duo who play a brand of low-key, psychedelic dream pop featuring swirling organs, fuzz guitar, and ghostly vocals.

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

When:
Sun, 4 Aug 2019 7.00pm -
Thu, 1 Jan 1970 1.00am


Jesse Cook



I want to take people to places they havent been. Jesse Cook, Juno winning master guitarist, known for his intoxicating fusion of world music, has travelled the globe looking for sounds that resonate with him. I like finding common ground for different music traditions, a space where music from around the world can come together. Born in Paris to Canadian parents he started guitar lessons after moving back to Canada. My teacher played flamenco. Then, when Id visit my dad in France, he was living next door to Nicolas Reyes, the singer of the Gipsy Kings. I saw gipsy kids on the corner playing that way too. It was as if the world conspired to get me interested in this style and I was hooked. It was when he heard the Paco de Lucia, Al Di Meola, John McLaughlin album, Friday Night in San Francisco that the die was cast. I was captivated by the sheer virtuosity and freedom, that people could play whatever they wanted, creating in that space between jazz and flamenco

Venue:
Academy Of Music Theatre
274 Main Street Northampton

When:
Thu, 17 Oct 2019 8.00pm -
Thu, 1 Jan 1970 1.00am


John Butler Trio+


with Trevor Hall
The Man in the Mirror The contradictions in John Butler are evident, and, despite his magnificently successful career (with number one albums in Australia and sell-out tours) his is a troubled soul. One of the most successful recording artists Australia has ever produced and a musician whose reputation has begun to rock the waters of both Europe and America, Butler is nevertheless a man on the edge, poised like a beautiful suicide. Where will he go next? Up or down? Despite the tensions within the man and his music the new album makes his future trajectory abundantly clear. An independent role model, founder of Australias Jarrah Records, family man and proud skateboard aficionado, JB, in spite of his matey public persona, remains an enigma. He is from everywhere and nowhere, an Australian/American, Everyman/Nowhere Man, and his music mixes rootedness and rootlessness, pain and celebration in a way that is utterly beguiling. He is the consummate rebel-refugee whose songs chart disenchantment with the corporate world and show a yearning for truth along with an ongoing struggle for a sense of locus. The songs off-centre grooves have always been their charm, and yet now there is a sense, in the new album at least, of resolution and peace after years of being against the world and what it offered. Maybe the man on the brink will not jump after all? The Past Born in California and of mixed Australian, Greek and Bulgarian ancestry, Butler began his musical career in classic if tentative style. The narrative arc is well-known Down Under. An art-school dropout, he was discovered busking in 1996, bystanders marvelling at the sweat flying off his brow and the holy madness in his eyes. The tape of these early compositional soundscapes Searching for Heritage gave an inkling of where Butler was going, reaching as it did both forwards and backwards in time, conversant with all genres and yet somehow defining its own. The sound had, and still has, elements of folk, funk, reggae and rock all drizzled through the 90s Seattle sensibility. Behind all that there was a wistful Celtic ambience surreally counterpointed by a Jamaican roots/rudeboy vibe. What could have been a mess somehow made perfect sense, with the bluegrass fingerpicking, hip hop beats and psychedelic wig-outs proving not uneasy bedfellows but perfect complements. Now On Flesh & Blood it goes even further, yet with a restraint that bespeaks a deepening maturity. There are dirty Stevie Wonder-style boogies, ghostly refrains that could come from Simon and Garfunkel, sonic poltergeists which seem, at times, to resemble lost rock classics. In the hands of a lesser man this would be mere thievery dressed up as eclecticism. But Butler is a maestro - he takes his influences and transcends them. He creates a sound that is as ancient as aboriginal bone-art and yet as modern as your Twitter feed. He has been hailed as one of the worlds greatest guitarists, a musicians musician, one whose sound offers not three chords and the truth but a thousand. His prestidigitation is astounding. An old song like Ocean, for example, has chalked up 30 million Youtube hits, and not just with guitar freaks studying his technique. The new album has songs that are less expansive and more reined in, but the playing is all the more impressive for being more tightly corralled. Less sometimes really is more. Flesh & Blood may be his best yet. In parts it is simply overwhelming. The album has captured that elusive thing: soul. Butler has spoken in interviews of his songs being like wild horses, wild beasts and you can see what he means. Songs, he says, come from the ether, from a savage hinterland: they must be caught without breaking their spirit. A song-capturer, Butlers job has been not to tame those horses but to present their wildness. His myth of composition evokes the timeless expanse of both the Aussie Outback and the American West, and he and his fellow band members have been at pains to honour the songs as independent things that belong to no one, least of all themselves. Arising from a series of agenda-free jams in Butlers studio The Compound in Fremantle, (Australia) the album took a mere 20 days to record and, though beautifully structured in sonic terms, there is a rawness and honesty to the album that reflects the brevity of its laying down. The songs have a wide-open, semi-improvised feel. The crisp and beautifully spare production of Jan Skubiszewski accentuates the sense of limitless space: the drums (courtesy of the aptly named Nicky Bomba) kick with dub explosions, while the bass (Lord Byron Luiters) goes on inspired transient walkabouts. Butlers voice, free of the anger that has dogged him for so long, now soars with both melancholy and plangent purity. Wings are Wide evokes rainforests: it is drenched in dizzying guitar loops in which the listener is enmeshed and lifted timelessly elsewhere. Spring to Come could be a classic, Butlers acrylic fingernails plucking more of their extraordinary patterns. Blame it on Me is a cocky peacock-strut juxtaposed with dark references to apocalyptic heavy times. Young and Wild has the simple beauty of a song - a down home-country feel offset by the gorgeous shadowing of female vocalist Ainslie Wills. How You Sleep at Night is a hypnotically anthemic piece featuring the ferocious drumming of new man Grant Gerathy; Bomba having jumped ship (albeit amicably) to front his own Melbourne Ska Orchestra. The synth-anchored Youre Free sounds like its title: it is as if the composer, haunted by righteous ire, has taken flight, escaping earthly confines but not flying too close to the sun. New single Only One shows a new maturity in pop craftsmanship. The quiet/loud dynamic is beautifully exploited yet again. A simple three note refrain and rolling storm-cloud drums establishes a minor key mood: a place of castles built out of sand and something haunting the protagonist. But then the chorus erupts with steel drum euphoria transporting the listener to what sounds like Africa a third world of ecstatic being. That is the JB trick par excellence: the shift from fireside ballad to communal dance, from private to public, from doubt to assertion. Home Again With Flesh & Blood, Butler has come full circle. Searching for Heritage led ultimately to April Uprising, an album that delved into Butlers family history, one in which ethnic Bulgarians (Butlers kin) rose up in 1876 against the tyrannical Ottoman Empire that had suppressed them. Johns own name derives from his paternal grandfather, a forestry worker who died fighting a bushfire in Nannup, Oz. From these historical titbits we glean some inkling of the artist. He is a man fighting for justice, a man fighting fires those of love gone bad, of corporate greed, or simply of his own angry soul. As Butler has confessed in a recent interview, I thought my anger was my strongest asset and thats what made me powerful, but it was actually my weakest link. My vulnerability, my honesty and patience and trust are my strongest attributes. The album bears this out. As Butler has matured the anger has been sublimated in poetry, and his voice, on the tender love songs especially, has become his outstanding instrument. Flesh & Blood is a testament to his talent, and to a man who has finally found himself. On some songs he sounds simply reborn. I wanted the songs to be a lot more guttural and fleshier, says a newly humble JB. I wanted to smell it and feel it a bit more. And I wanted my voice, now and always, to be more convincing. If its authenticity he was seeking he has surely found it. If he has been a man on the edge he is certainly not going to jump and end it all. He now has the wisdom and the courage to take a step back - and enjoy the view. John Butler is no pie-in-the-sky hippy. He has dirt beneath his feet: red dirt. He is well-known Down Under for his environmental and political commitment. His white Rasta look once suggested a teleported Bob Marley - but that has gone. The more recent barbered image makes him look like a handsome American from the Civil War era. His stare is hypnotic. Who will draw first, you or him? He is not, however, all gun and no trousers. He has put his money where his mouth is, fronting a campaign that helped stop a vast gas plant from despoiling the natural beauty of the Kimberley area in NW Australia. He has also set up a charitable trust that has enabled many aspiring artists to find an outlet. He is a man who cares about the world he is in and one who has tried, in his own way, to set in right.

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

When:
Sat, 3 Aug 2019 6.30pm -
Thu, 1 Jan 1970 1.00am


Grant-Lee Phillips w/ Philip B. Price at The Parlor Room


Grant-Lee Phillips w/ Philip B. Price at The Parlor Room

Venue:
Parlour Room @ Signature Sounds
32 Masonic Street Northampton

When:
Sat, 10 Aug 2019 7.30pm -
Thu, 1 Jan 1970 1.00am


Adrian Belew


with Saul Zonana
Adrian Belew is a multi-instrumentalist, singer, and producer who has released 20 solo albums, while working alongside some of the most groundbreaking artists of the past 30 years, including Paul Simon, David Bowie, Talking Heads, Frank Zappa, and Nine Inch Nails, among others. For 33 years he was the frontman, singer, and guitarist in art-rock giant King Crimson. Known for pushing the sonic boundaries of guitar, much of Belew's music mixes pop songwriting with complex time signatures, witty lyrics, wild sounds, and a technical mastery of his instrument.

Venue:
Gateway City Arts
92-114 Race Street Holyoke

When:
Sat, 10 Aug 2019 8.00pm -
Thu, 1 Jan 1970 1.00am

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