Bruce in the USA - Bruce Springsteen Tribute

Pink Talking Fish

Pink Talking Fish is a Hybrid Tribute Fusion Act that takes the music from three of the world's most beloved bands and creates a special treat for fans of the music.Pink Floyd, The Talking Heads and Phish are all more than just bands... they are Phenomenons. Their creations have artistically inspired people and their mindblowing live performances have brought people together to form a special sense of community around the love for their favorite band.Although the music from each act is different, Pink Talking Fish has discovered that fusing the material together creates an amazing story. The epic emotion of Pink Floyd.... The funky, danceable layerings of The Talking Heads.... The multitude of styles, unique compositional structures and pure fun of Phish.... to merge these three into one gives music lovers a special experience. Pink Talking Fish features Eric Gould on bass, Richard James on keyboards, Zack Burwick on drums and Cal Kehoe on guitar. This is a band created by musicians who love the music of these acts.  It's purpose is to heighten people's passion for this music by creating something fresh and exciting for fans.  Discovering connections is part of the fun: Pink Floyd's "On The Run" seamlessly fitting in the middle of the composition of Phish's "You Enjoy Myself". Perfectly placing Phish's "Sand" into the groove of The Talking Head's "Slippery People". Segued collections from all three acts such as Run Like Hell > Psycho Killer > Run Like An Antelope > Run Like Hell or Mike's Song > Have A Cigar > Once In A Lifetime > Weekapaug Groove. These ideas are the spirit behind Pink Talking Fish.The story is ever evolving. The experience is always exciting. Come join Pink Talking Fish for the ultimate fusion tribute and celebrate the love of this music in unique fashion.

Hugo - The Ultimate Journey Tribute

Black Violin

To most people, jazz, hip-hop, funk, and classical are musical genres. But to revolutionary music group Black Violin, they're nothing but ingredients.Combining a daunting array of musical styles and influences to produce a signature sound that is not quite maestro, not quite emcee, this group of two classically trained violinists and their DJ is redefining the music world-one string at a time. With influences ranging from Shostakovich and Bach to Nas and Jay-Z, Black Violin breaks all the rules, blending the classical with the modern to create something rare-a sound that nobody has ever heard, but that everybody wants to feel.When the members of Black Violin first learned to play their signature instruments-Wil B at the viola 14 years old and Kev Marcus the violin at the tender age of 9-neither could have foreseen that it would become their livelihood, though it was already becoming their passion. The two Florida natives first met while attending the Dillard High School of Performing Arts in Fort Lauderdale, a school whose exceptional music programs served to nurture their already budding talents.But it was not until the two were exposed to the work of legendary violinist Stuff Smith that the seeds that would one day become Black Violin were truly planted. Smith, born in Portsmouth, Ohio in 1909, was one of preeminent jazz violinists of the swing era, who went onto perform with names like Alphonse Trent, Coleman Hawkins, Charlie Parker, Dizzy Gillespie and Sun Ra throughout a long and storied career. His final album and most soulful, entitled "Black Violin," so inspired and influenced the young Kev Marcus and Wil B that they would eventually name their band in honor of the man who had shown them that there were no limits to what the violin could do.After graduating from high school, both Wil and Kev were granted full music scholarships to college, Florida State and Florida International University respectively. It was at FIU that Kev first encountered the group's future manager, Sam G, with whom he and Wil soon formed a production company: DKNEX. Now they had a platform for their dream, and the talent and inspiration to back it up. Black Violin was born.Once formed, the group wasted no time in making a name for itself, starting with the rigorous touring that would become a trademark of the group. Black Violin was making ripples in the music industry, but it wasn't long before these ripples became waves. In 2004, the group joined superstar Alicia Keys on stage at the Billboard Music awards, delivering a performance that made the tastemakers and music enthusiasts of America sit up and take notice. Not long after, in 2005, the group was awarded the coveted title of Apollo Legend by the esteemed Apollo theatre in Harlem, effectively confirming what many were beginning to suspect-Black Violin was on its way to the top.The next step in BV's journey came in the form of Mike Shinoda, lead singer of legendary rock act Linkin Park, who had had his eye on the two virtuosos for a while. Impressed by their imaginative composition and finely tuned musicianship, he invited them along on a world tour with his hip-hop side project, Fort Minor. Finally granted the worldwide platform their talents deserved, the members of Black Violin now introduced their own brand of genius to audiences across the globe. In addition to Shinoda, BV has worked with musicians as diverse as P.Diddy, Kanye West, Fifty Cent, Aerosmith, Tom Petty, Aretha Franklin and the Eagles-among many others.  But Black Violin is only getting started. The group recently released its eponymous debut album-a record whose top notch production and musical cohesion make it feel like the work of seasoned veterans rather than industry upstarts, as many patrons of the iTunes store and Amazon.com are discovering for themselves. The group continues to tour far and wide, opening for hip hop mainstays like Fat Joe, Akon, and the Wu-Tang Clan in locations as diverse, as Prague, Dubai, and South Africa. The group's rising fame has also made it a highly desired act for celebrity events-Black Violin just recently provided the music at both Minister Lois Farrakhan's 75th birthday and at NFL star Santana Moss's wedding.  But beyond all the glitz and glamour, the members of Black Violin just want to give children the same opportunities that they had. With school music programs being culled all across the country, Kev and Wil are concerned that urban youth will not have the benefit of music as a positive alternative to other, more destructive pursuits. With this in mind, they have embarked upon a campaign of social change-using youth orchestras and reinvigorated music programs to show children and teens that they are capable of expressing themselves in ways they have never dreamed.In an age where music is coming to be more and more defined by the labels given to it, Black Violin shows that music does not exist within a box, but rather exists in another space-one as open and unrestrained as the minds that produce it.

Keb Mo

Keb’ Mo’s self-titled release under his coined Keb’ Mo’ moniker, reached it’s quarter century milestone in 2019, and over the years, Keb’ has proven that he is a musical force that defies typical genre labels. Album after album, 14 in total, he has garnered 5 GRAMMY awards, including his most recent 2019 release, Oklahoma, which won in the Best Americana Album category. Keb’s list of GRAMMY recognitions continues with 12 GRAMMY nominations, in total, including his 2014 self-produced release, BLUESAmericana, earning three nominations on its own as well as a producer/engineer/artist GRAMMY Certificate for his track on the 2001 Country Album of the Year, Hank Williams Tribute – Timeless. The talented artist has also been awarded 14 Blues Foundation Awards and 6 BMI Awards for his work in TV & Film.           Over the past two decades, Keb’ has cultivated a reputation as a modern master of American roots music through the understated excellence of his live and studio performances. Artists who have recorded his songs include B.B. King, Buddy Guy, the Dixie Chicks, Joe Cocker, Robert Palmer, Tom Jones, Melissa Manchester, Solomon Burke and the Zac Brown Band to name a few. The list of artist collaborations comprises a who’s who in the music industry and includes Bonnie Raitt, Taj Mahal, Vince Gill, Amy Grant, Jackson Browne, Natalie Cole, Lyle Lovett, India Arie, James Cotton, Bobby Rush, Timothy B. Schmit, Marcus Miller and many more. His guitar playing has garnered him two invites to Eric Clapton’s acclaimed Crossroads Festival and has inspired leading instrument makers, Gibson Brands, to issue the Keb’ Mo’ Signature Bluesmaster and Bluesmaster Royale acoustic guitars and Martin Guitars to issue the HD-28KM Keb’ Mo’ Limited Edition Signature model.           He has been featured in TV and film, playing Robert Johnson in the 1998 documentary “Can’t You Hear The Wind Howl,” appeared three times on the television series, “Touched By An Angel,” and was the ghostly bluesman Possum in John Sayles’ 2007 movie, “Honeydripper.” Keb’ created “Martha’s Theme” for the TV show Martha Stewart Living. Keb’ also wrote and performed the theme song for the hit sitcom, Mike & Molly, created by Chuck Lorre and was music composer for TNT’s Memphis Beat starring Jason Lee. In early 2017, nine songs from Keb’s extensive catalog were featured in the film Signed, Sealed, Delivered: Higher Ground on the Hallmark Movies and Mysteries channel. This film was also Keb’s first feature film lead acting role. He also appears in an episode on the CMT series “Sun Records” as Howlin’ Wolf and can be heard playing his original song “Operator.” Keb’ has played his iconic version of “America The Beautiful” in the series finale of Aaron Sorkin’s “The West Wing,” as well as at the actual White House for President Obama.           Keb’ Mo’ has been a long-time supporter of the Playing For Change Foundation (PFCF), a nonprofit organization that creates positive change through music education. PFCF provides free music education to children in nine countries, including Brazil, Bangladesh, Ghana, Mali, Nepal, Rwanda, South Africa and the United States, and has established 12 music schools around the world. They also work with partners to address basic needs in the communities where they teach, including providing education, clean water, food, medicines, clothing, books, and school supplies.           Additionally, Keb’ is a celebrity mentor with the Kennedy Center’s Turnaround Arts program, which focuses on elementary and middle schools throughout the US. This highly successful program began under the guidance of Michelle Obama and the President’s Committee for the Arts and Humanities. Each artist adopts a school and becomes a mentor, working with teachers, students, parents, and the community to help build a successful arts education program. Keb’ enjoys his mentorship at The Johnson School of Excellence in Chicago, Illinois.           In 2017, Keb’ Mo’ released TajMo, a collaborative album with the legendary Taj Mahal. The project, which won the 2018 GRAMMY for Best Contemporary Blues Album, features guest appearances by Sheila E., Joe Walsh, Lizz Wright and Bonnie Raitt. At the 39th Annual Blues Music Awards, Keb’ Mo’, alongside Blues Hall of Famer Taj Mahal, was awarded Album of the Year and Contemporary Blues Album of the Year for their first-ever collaboration project, TajMo. Keb’ also took home the title of Contemporary Blues Male Artist of The Year. The multi-generational duo went on to tour the US and Europe in support of their album.           Twenty-five years after the release of his debut album under the moniker Keb’ Mo’, the widely admired artist released his most recent album, Oklahoma (Concord Records), winning him a 2020 GRAMMY Award for Best Americana Album. Featuring cameos from Taj Mahal, Rosanne Cash, Robert Randolph, Jaci Velasquez and Keb’ Mo’s wife, Robbie Brooks Moore, Keb’ delivers an album that pushes his boundaries even further with brand new songs addressing topics such as immigration, depression, pollution, love, female empowerment and more. Following the deeply thought-provoking release, Keb’ lightened the mood with the release of his first-ever holiday album, Moonlight, Mistletoe & You. A decade in the making, Moonlight, Mistletoe & You includes six original songs and four cover tunes including “Please Come Home for Christmas.”           For more information on Keb’ Mo’, visit his official website at kebmo.com. Follow him on Facebook, Twitter, and Instagram.

Mnozil Brass

Boat House Row

In the musical sense, yacht rock refers to the highly polished brand of soft rock that emanated from Southern California between 1976 and 1984. The term is meant to suggest the kind of smooth, mellow music that early yuppies likely enjoyed while sipping champagne on their yachts. Significant "yacht rockers" include Hall & Oates, Michael McDonald, Kenny Loggins, Christopher Cross, Steely Dan, Toto and many more. Home of your ultimate guilty pleasures. Presenting Boat House Row; a Yacht Rock experience like no other. Bringing you the silky sounds of soft rock from the late 70s and early 80s.

Rocky Mountain High Experience

Everclear

Art Alexakis – Vocals, GuitarDave French – GuitarFreddy Herrera – BassBrian Nolan – Drums Considering Everclear has written and recorded some truly iconic ’90s alt-rock hits, it would be all too easy these days for the band to be a victim of its past successes, relegated to performing as a glorified jukebox, existing to satisfy the nostalgic cravings of Gen Xers everywhere. But singer-guitarist Art Alexakis isn’t about to start phoning it in now. Although the band hasn’t released a new studio album since 2015’s triumphant Black Is The New Black, Everclear continues to tour actively, in conjunction with a series of past-release anniversary dates and the annual Summerland Tour, which Alexakis created and has been running since 2012, featuring a rotating cast of ’90s alt rock favorites. And while it’s a virtual surety that no Everclear gig is complete without a rendition of “Santa Monica” and “Father of Mine,” lately the band has found that exploring the full range of past material—especially the “deep cuts”—not only gives fans a rare treat, it also injects new life into the band’s live dynamic. “By mixing it up and digging into the catalogue, it still makes it fun and relevant for us, and I think for the fans as well,” says Alexakis. “It’s still important to play the hits, but by playing those other songs as well, it makes it all seem more vibrant and real. Even though I recorded some of those songs 20 years ago, I haven’t played them in a long time, so it’s like reinventing the wheel. I’m having more fun now than I have in years. I think all of us are.” Formed by Alexakis in 1991 in Portland, Oregon, Everclear has enjoyed a lengthy career spanning 11 studio releases, numerous videos, thousands of shows and accolades that include a 1998 Grammy nomination. Like a true survivor, Alexakis has soldiered on through multiple lineup changes over the years: During the “classic” era, the band also included Craig Montoya on Bass and Greg Eklund on drums; the current touring lineup features longtime members Dave French (guitar) and Freddy Herrera (bass), as well as drummer Brian Nolan (also with American Hi-Fi), who has performed with Everclear on multiple past tours. This incarnation of the band will hit the road for the 2018 Summerland Tour. As in prior years, Everclear will headline the latest installment of the festival, this time supported by Marcy Playground and Local H, and also featuring a special DJ set Alexakis will contribute, which honors the ’90s in a refreshingly old-school way. “The Summerland Tours are all unique; they all have a different kind of feel to them,” says Alexakis. “I think this year will be really cool, because it’s usually guitar-based, but Marcy Playground is more acoustic-based, yet they still rock in their own way. Local H is just two guys, meanwhile, and they’re great, too. So, it’s just a different look at ’90s alternative this year…different facets of what it’s about. With Everclear, we’re going to play the hits we always play, but we’re also going to mix it up. Every night will be a little different; there’ll be a few surprises every show.” For Alexakis and Co., it’s a continuation of a hectic couple of years. Everclear spent May and June of 2017 touring in honor of the 20th anniversary of So Much For The Afterglow, the band’s massively successful sophomore major-label release. The 40-date run was an incredibly emotional and personally satisfying experience for Alexakis, who was able to perform obscure cuts from that time period for the first time in many years. Connecting with fans in that setting also reinforced the lasting impression the album has made. “The tour was phenomenal. It left me and the band stunned at how important that record was to so many people, and to be a part of that, both then and now,” says Alexakis. “The legacy of it is still vibrant for so many people. It was great just watching people react when we were playing not just the hits, but deeper songs on that record. I always liked the deeper songs—they were usually my favorite songs—and when the band would play those, it would be really exciting and important for me. That was fun, seeing that reaction, and just talking to people after the show.” Prior to that, Everclear experienced a career resurgence thanks to 2015’s Black Is The New Black, which not only proved the band could still rock, but also that Everclear remains creatively relevant, decades after their platinum years. As is common for many artists these days, Black didn’t set records for traditional album sales, but the release did see significant streaming activity and sparked a heightened social media presence, putting the group firmly back in the listening public’s mind. The band continues to ride this latest wave of interest. “I personally think [Black] is one of the best records Everclear has ever made,” Alexakis says. “It sounds like both old Everclear and new Everclear: It has a contemporary production sound, but it’s just old-school, angry rock songs. It’s kind of dark, very reminiscent of the early stuff. The sales weren’t great on it, but a lot of people streamed it. It got millions and millions of streams, so people were listening to it, and it resonated.” But when you’ve been a prolific band for more than a quarter-century, it’s all part of the journey. Right now, Alexakis is feeling a reflective pull for the 25th anniversary of World Of Noise, the band’s indie debut, which was recorded for $400 in a friend’s basement in Portland. Although no official commemorative tour dates are confirmed as of this writing, Alexakis says he’s considering playing some smaller, select shows this year as a tribute to the release. Much of the material rarely sees the light of day, but the 1993 album continues to enjoy a special place in Everclear history. “We’d just had a baby, I was on public assistance and was working part-time jobs, I was very frustrated and very angry and there were a lot of emotions going on,” Alexakis reflects. “I made that record for $400, because that’s all I had. I got this guy who had a basement studio to give me 40 hours’ worth of recording at $10 an hour. We had 10 or 11 songs, so we went in and recorded them in a week and mixed them, and that’s the album.…From there we just hit the ground running. I still haven’t stopped.” That rough and raw first attempt was just the nexus of the massive body of work Everclear and Alexakis have contributed since that humble beginning. When it comes to recording new material, at the moment Alexakis is focused primarily on writing and recording his first solo album, due out later this year. That precludes a new Everclear release…for now. “We might make another record in a couple years,” he says. “Maybe later on this year I’ll feel like it. I don’t know yet.” That said, the band’s live itinerary certainly makes up for its recent studio absence. As the group prepares for another Summerland run, as well as numerous other future dates, Alexakis is excited to revisit songs from fan favorite records like Afterglow, Sparkle and Fade and the double album Songs From The American Movie, but also compositions from more underrated collections, like 2012’s Invisible Stars. “There are people asking for songs, so we’ll just try and learn songs as we go,” Alexakis says. “If we get a lot of response from people to play a certain song, we’re going to learn it and go on the road and play it. You don’t think, ‘Wow, I can’t sing that high anymore.’ We’re not going to worry about it. We’re going to play some rock n’ roll, and just do it.”

Red Hot Chili Pipers