Tagged ACG

Randy Bachman

LIVE IN CONCERT

EVERY SONG TELLS A STORY
SONGS OF THE GUESS WHO & BACHMAN-TURNER OVERDRIVE

BY GEORGE
SONGS OF GEORGE HARRISON

Randy Bachman stands in rarified air as a member of a very exclusive club of recording artists who topped the charts with two different bands: “American Woman” with The Guess Who and “You Ain’t Seen Nothing Yet” as leader and singer with Bachman‐Turner Overdrive. It’s a club with precious few members. In a career spanning five decades and earning a staggering 120 platinum, gold and silver record awards, Randy’s record sales figures exceed 40 million. His distinctive brand of no‐holds‐barred, guitar‐driven rock is instantly recognizable worldwide. As host of the top‐rated CBC and Sirius XM radio program Randy Bachman’s Vinyl Tap, his listeners worldwide number in the millions each week, earning him the title as Canada’s favourite storyteller.

Now, in addition to his ever‐popular songs and the stories behind them, Randy brings to the stage an exciting production honouring the remarkable musical legacy of early mentor, hero and inspiration, Beatles guitarist/songwriter George Harrison. Randy will be joined by his band on stage. From one master musician to another, Randy offers his own uniquely personal interpretations of Harrison’s best‐known songs in an extraordinary concert experience that you won’t want to miss.

Premium are $75 (plus $5 fee) and mid-level/side $55 (plus $4 fee). Run time is 2 hrs 15 min (includes intermission)

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Jesse Cook presented by ACG

JESSE COOK IN CONCERT – BEYOND BORDERS
“I want to take people to places they haven’t 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,” Cook explains. “A place where modern sounds can mix with ancient timbres.”

“There are many borders in our lives. Some others have built, some we create for ourselves. Whenever I ventured beyond the borders of my life, I have been the better for it. I grew up in the cold war, in a world of walls and borders. But then people began to change the way they thought. The walls came down. Europe united, and people began thinking of themselves as global citizens. The rising nationalism of today is exploiting our differences, not celebrating them. We are back to building walls, and I don’t want any part of it. Humanity, artistry, joy, and of course, love…these things don’t stop at some line on the map. If music is the universal language, maybe there is something it can teach us?”

Cook also helps foster this spirit of cultural exploration visually through his photography on Instagram as well his popular weekly video releases on his YouTube channel and through Facebook. He was born in Paris, to Canadian parents. The family moved to southern France, where they bought a small home built in the 16th Century, for 100 dollars. “It was like stepping into the Middle Ages,” Cook recalls. “Manitas de Plata was popular then, and it was his albums got me interested in the sound of flamenco guitar.”

After moving back to Canada, Cook started guitar lessons. “My teacher played flamenco. Then, when I’d 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.”

Cook studied classical guitar at the Royal Conservatory of Music, moving on to York University, and jazz at Berklee College in Boston. On his albums, and in concert, Cook explores the roots of flamenco, and it’s many offshoots, from India to Spain, and on to Cuba and Latin America. Along the way, he developed his signature synthesis of world music. He has released ten genre-defying albums, garnering eleven Juno (Canada’s Grammy) nominations – and one win, in 2001 for Free Fall – in the World Music and Instrumental categories.

As Cook reflects back on his journey so far, “Music has a way of touching your soul, and every tradition on earth has its own way of doing that. When we venture beyond our cultural and geographic borders, we can gain the whole world.”

Run time is 2 hours plus 15 min intermission

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Bruce Cockburn “Bone on Bone” presented by ACG

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Few recording artists are as creative and prolific as Bruce Cockburn. Since his self-titled debut in 1970, the Canadian singer-songwriter has issued a steady stream of acclaimed albums every couple of years. But that output suddenly ran dry in 2011 following the release of Small Source of Comfort . There were good reasons for the drought. For one thing, Cockburn became a father again with the birth of his daughter Iona. Then there was the publication of his 2014 memoir Rumours of Glory .

“I didn’t write any songs until after the book was published because all my creative energy had gone into three years of writing it,” Cockburn explains, from his home in San Francisco. “There was simply nothing left to write songs with. As soon as the book was put to bed, I started asking myself whether I was ever going to be a songwriter again.” Such doubt was new to the man who’s rarely been at a loss for words as he’s distilled political views, spiritual revelations and personal experiences into some of popular music’s most compelling songs. What spurred Cockburn back into songwriting was an invitation to contribute a song to a documentary film about the late, seminal Canadian poet Al Purdy and he was off to the races.

Bone On Bone, Cockburn’s 33rd album, arrives with 11 new songs, including “3 Al Purdys,” a brilliant, six-minute epic that pays tribute to Purdy’s poetry. Cockburn explains its genesis: “I went out and got Purdy’s collected works, which is an incredible book. Then I had this vision of a homeless guy who is obsessed with Purdy’s poetry, and he’s ranting it on the street. The song is written in the voice of that character. The chorus goes, ‘I’ll give you three Al Purdys for a twenty dollar bill.’ Here’s this grey-haired dude, coat tails flapping in the wind, being mistaken for the sort of addled ranters you run into on the street—except he’s not really ranting, he’s reciting Al Purdy.

The spoken word parts of the track are excerpts from Purdy’s poems. After that, once the ice was broken, the songs just started coming.” Cockburn’s rugged fingerpicking style on the Dobro perfectly matches Purdy’s plainspoken words and the grizzled voice of his street character. A similar guitar style can be heard on two of the next songs Cockburn wrote, the gospel-like “Jesus Train,” and “Café Society,” a bluesy number about people who gather at his local coffee shop to sip their java and talk about the state of the world. There’s a prevalent urgency and anxious tone to much of the album, which Cockburn attributes to living in America during the Trump era.

But, more than anything, Bone on Bone amounts to the deepest expression of Cockburn’s spiritual concerns to date. The 12-time Juno winner and Canadian Music Hall of Fame inductee turned away from traditional Christianity in the mid-1970s toward a quest for the more all-inclusive mysticism he documents in his memoir. And it’s that kind of spirituality that figures prominently in “Jesus Train” and “Twelve Gates to the City.” In “Looking and Waiting,” Cockburn sings of “scanning the skies for a beacon” from the divine. “It’s a song of faith and frustration,” says Cockburn of the latter. “…Tired of looking in from the outside. My MO has always been to be aware of the divine…that dimension…always dealing with being stuck in a kind of observer’s position with respect to all that. I know it’s there. I don’t really see as faith so much as knowledge. Others may have different ideas about those things, but for me, I don’t have to struggle to believe in God, or the notion that God cares what happens to me. But I do have to struggle with being in a conscious, intentional relationship. That underlies a lot of these songs.” “Forty Years in the Wilderness” ranks alongside “Pacing the Cage” or “All the Diamonds” as one of Cockburn’s most starkly beautiful folk songs. “There have been so many times in my life when an invitation has come from somewhere…the cosmos…the divine…to step out of the familiar into something new. I’ve found it’s best to listen for, and follow these promptings.

The song is really about that. You can stay with what you know or you can pack your bag and go where you’re called, even if it seems weird…even if you can’t see why or where you’ll end up.” “Forty Years in the Wilderness” is one of several songs that feature a number of singers from the church Cockburn frequents, for the sake of convenience referred to in the album credits as the San Francisco Lighthouse “Chorus.” “The music was one of the enticements that drew me to SF Lighthouse. As I found myself becoming one of the regulars there, and got to know the people, I felt that I really wanted all these great singers, who were now becoming friends, to be on the album. They were kind enough to say yes!” Among other songs, they contribute call-and-response vocals to the stirring “Stab at Matter.”

Other guests on the album include singer-songwriters Ruby Amanfu, Mary Gauthier, and Brandon Robert Young, along with bassist Roberto Occhipinti, and Julie Wolf, who plays accordion on “3 Al Purdys” and sings with the folks from Lighthouse, together with LA songwriter Tamara Silvera. Produced by Colin Linden, Cockburn’s longtime collaborator, the album is built around the musicianship of Cockburn on guitar and the core accompaniment of bassist John Dymond and drummer Gary Craig. Also very much part of the sound is the accordion playing of Cockburn’s nephew John Aaron Cockburn and the solos of noted fluegelhorn player Ron Miles (check out his stunning work on the cascading “Mon Chemin,” for example). Two other songs should be noted. The environmental warning “False River” came about at the invitation of Yvonne Bloomer, the poet laureate of Victoria, British Columbia.

Bloomer was seeking a poem about the controversial Kinder Morgan Trans Mountain Pipeline. “Pipelines have their own perils that we’re all aware of,” says Cockburn, “so I started writing what was meant to be a spoken-word piece with a rhythm to it. But it evolved very quickly into a song.” “States I’m In,” which opens the album, conjures up feelings of mystery and dread. “It’s literally a ‘dark night of the soul’ kind of song,” Cockburn explains, “as it starts with sunset and ends with dawn. It passes through the night. The song is about illusion and self-delusion, looking at the tricks you play on yourself.” He adds: “Maybe it’s also a play on words about me living in the States.” Cockburn, who won the inaugural People’s Voice Award at the Folk Alliance International conference in February and will be inducted into the Canadian Songwriters Hall of Fame in September, continues to find inspiration in the world around him and channel those ideas into songs. “My job is to try and trap the spirits of things in the scratches of pen on paper and the pulling of notes out of metal,” he once noted. More than forty years after embarking on his singer-songwriting career, Cockburn keeps kicking at the darkness so that it might bleed daylight.

Tickets: $42-$58

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Peter Yarrow and Noel Paul Stookey of Peter, Paul and Mary presented by ACG

The iconic folk trio Peter, Paul and Mary made music together for nearly 50 years. In this intimate evening of song and reflection, Peter and Paul remember their enduring anthems of social change including “If I had a Hammer” and “Puff the Magic Dragon,”the historic impact they had upon the world of civil liberties by marching on Washington and Selma with Dr. Martin Luther King, Jr, and the woman who completed their tri-force of positivity, Mary Travers.

Premium are $75 (plus $4 fee) and mid-level/side $55 (plus $3 fee).

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Peter, Paul and Mary Website

Violent Femmes “Viva Wisconsin 2017” presented by ACG

TWO DATES Oct. 20 and Oct. 21

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Violent Femmes drummer returns to his old high school of South Milwaukee.

Violent Femmes formed in 1981 as an acoustic punk band playing on the streets of Milwaukee. Their main influences at that time were Gene Vincent and the Blue Caps, and The Velvet Underground. Their goal was to rock harder than any other acoustic act on the planet.

They were rejected for an audition by a local nightclub and set up outside a Pretenders gig. Chrissie Hynde asked them to open that night’s show. This gave the early Femmes a publicity boost which led to them being invited to play in NYC supporting Richard Hell. A rave review in the New York Times led eventually to a record deal, which in turn spawned worldwide touring.

Their eponymous first album became the first and only album in Billboard history to enter the charts as a platinum album, eight years after its release. The Femmes became a mainstay of festivals, clubs and theatres in over 30 countries worldwide in the ensuing three decades.

MTV’s “Unplugged” show was inspired by the Femmes, although they never actually appeared on it. Their raw sound and honest lyrical perspective has been cited as an influence by artists as diverse as Pink, Keith Urban, The Smiths, Nirvana, Lou Reed, John Cusack, Mark Morris, and Wim Wenders.

Violent Femmes are currently touring in commemoration of the thirtieth anniversary of the release of their first album.

Brett Newski will open at 8 pm proceeded by intermission and main act at 8:50-10:30 pm approximately.

Cost is $48 for mid-level and $59 for premium (includes fees). All ticket sales are final. No refunds or exchanges.

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Violent Femmes “Viva Wisconsin 2017” presented by ACG

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Violent Femmes formed in 1981 as an acoustic punk band playing on the streets of Milwaukee. Their main influences at that time were Gene Vincent and the Blue Caps, and The Velvet Underground. Their goal was to rock harder than any other acoustic act on the planet.

They were rejected for an audition by a local nightclub and set up outside a Pretenders gig. Chrissie Hynde asked them to open that night’s show. This gave the early Femmes a publicity boost which led to them being invited to play in NYC supporting Richard Hell. A rave review in the New York Times led eventually to a record deal, which in turn spawned worldwide touring.

Their eponymous first album became the first and only album in Billboard history to enter the charts as a platinum album, eight years after its release. The Femmes became a mainstay of festivals, clubs and theatres in over 30 countries worldwide in the ensuing three decades.

MTV’s “Unplugged” show was inspired by the Femmes, although they never actually appeared on it. Their raw sound and honest lyrical perspective has been cited as an influence by artists as diverse as Pink, Keith Urban, The Smiths, Nirvana, Lou Reed, John Cusack, Mark Morris, and Wim Wenders.

Violent Femmes are currently touring in commemoration of the thirtieth anniversary of the release of their first album.

Brett Newski will open at 8 pm proceeded by intermission and main act at 8:50-10:30 pm approximately.

Cost is $48 for mid-level and $59 for premium (includes fees). All ticket sales are final. No refunds or exchanges.

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Tommy Emmanuel, presented by ACG

It’s Never Too Late Tour

Give a listen to “Old Photographs,” the closing track on Tommy Emmanuel’s It’s Never Too Late, and you’ll hear the distinctive squeak of finger noise as he runs his hands across the frets of his Maton Signature TE guitar. Many musicians would edit those imperfections out, but to Emmanuel, those imperfections are perfect.

A master technician, Emmanuel started professionally at age 6, rising through the ranks as a studio player and member of several Australian rock bands before he set off on a solo career. One of only five musicians handpicked by his mentor, Chet Atkins, as a Certified Guitar Player (CGP), he’s piled up numerous accolades, including two Grammy nominations, two ARIA Awards from the Australian Recording Industry Association (the Aussie equivalent of the Recording Academy) and repeated honors in the Guitar Player magazine reader’s poll.

A noted fingerstyle guitarist,  Emmanuel frequently threads three different parts simultaneously into his material, operating as a one-man band who handles the melody, the supporting chords and the bass all at once. His talents, which translate in any language, carry him to the far corners of the globe, but Emmanuel never plays the same show twice, and he improvises big chunks of every date. That leaves him open to those technical imperfections, though they also provide some of the humanity to an other-worldly talent.

“It’s all about the feeling of the music,” Emmanuel says. “And it has to make me feel something. I’m still playing for myself, you know, because I figure if I please me, then I’m pretty sure I’m gonna please you. And that’s not an arrogant statement, it’s just quality control.”

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Photo by Simone Cecchetti

Opening for Tommy Emmanuel is Wisherkeepers.

Dec. 9 at SMPAC

Steve Hackett, presented by ACG

STEVE HACKETT

North American Tour 2015
From ACOLYTE to WOLFLIGHT plus Genesis Classics (1970-1977)
Including The Lamb Lies Down on Broadway, Cinema Show & more…

After a highly successful 2 years of touring worldwide with the Genesis Revisited and Extended shows, former Genesis guitarist Steve Hackett is returning to North America to perform with his Band in November 2015. In celebration of his new album ‘WOLFLIGHT’ released in April 2015, and the 40th anniversary of the release of his first solo album ‘VOYAGE OF THE ACOLYTE’, Steve brings to us a unique show of both Hackett solo and Genesis classics. Along with the superb pieces such as ‘Ace of Wands’ and ‘Spectral Mornings’ and a selection from ‘WOLFLIGHT’ , Steve will conclude his two and a half hour show with yet more Genesis material that was not part of his previous Genesis Classics shows of 2013 and 2014. Epic songs like “Lamb Lies Down on Broadway”, “The Cinema Show” , “Can-Utility”, “Hairless Heart” and “The Musical Box” will be part of this spectacular tour. It will be for many, the Total Experience, spanning Steve’s prolific output from early Genesis days to today.

Steve Hackett has released more than 30 solo albums in addition to the 7 he did with Genesis, as well as his work with the super group GTR together with Steve Howe of YES. A productive but always quality oriented musician and producer, Steve Hackett is not one to miss under any circumstances. Musicians playing with Steve for the Autumn tour will be Roger King, keyboards; Gary O’Toole, drums & percussion; Rob Townsend, saxes and flutes, Roine Stolt, bass & guitars and Nad Sylvan on vocals.

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Official Site

The Zombies

The Zombies, presented by ACG

ODESSEY & ORACLE

The Odyssey Continues . . . 

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For the first time ever, British psychedelic pop legends, The Zombies, will bring their seminal 1968 album “Odessey & Oracle” to American stages – an event fans have awaited for almost 50 years!

This unique presentation will unite past and present….featuring both the current incarnation of The Zombies performing material from their highly-anticipated new studio album…

…and a reunion of all 4 surviving original members, who will lovingly recreate “Odessey & Oracle” in its entirety with full instrumentation.

Founding and current members Colin Blunstone and Rod Argent will be joined original bassist/co-songwriter Chris White and drummer Hugh Grundy for their first American tour together in 5 decades…bringing to our shores the long-overdue live debut of the album that marked the end of their career… and the beginning of their legacy.

#100 of the “500 Greatest Albums of All Time” (Rolling Stone)

“a beautifully arranged, harmony-drenched pristine pop paean to memory, the changing of seasons, the passage of time and lost love – [it] slowly began to be recognized as one of the greatest albums of the 1960’s.”  (New York Times)

“[Odessey & Oracle] bore not only the timeless hit “Time Of The Season” but an accompanying suite of songs that are among the very best ever in the pop era.” (Rolling Stone)

“Odessey and Oracle was their shining moment – a cornucopia of pop-art songs and elegant arrangements worthy of McCartney at his Revolver-era best.” (Record Collector)

“Anyone with an interest in 60s artistic pop will adore the underrated Odessey and Oracle” (Q,)

“Their masterpiece… without doubt one of the best albums of its era.” (Mojo)

“The beat boom’s most refined and elegant group, they specialised in unashamedly romantic pop – whether heartfelt and personal, wistful and nostalgic, or inspired by literature… Released at the height of hippie hedonism and narcissism, [Odessey & Oracle] was a last gasp from the age of innocence…” (The Times)

“The Zombies were psychedelic gods…[Odessey] moved them from of-their-time to timeless” (The Guardian)