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Plaza Theatre

Events

February 2026
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02/22/2026, 08:00 PM PST
Esperanza Spalding

“Ms. Spalding is still enamored of Wayne Shorter’ s harmonic depth and Stevie Wonder’ s melodic lift, but her frame of reference has broadened in salutary ways: ‘ Funk Your Fear’ ha(s) the serpentine gnarl of a Funkadelic anthem, and ‘ Noble Nobles’ brazenly evoke(s) Hejira-era Joni Mitchell.”--NY Times “...a fresh artistic vision for the four-time Grammy winner, a daring tapestry of music, vibrant imagery, performance art and stage design.”--Ebony “Emily’s D+Evolution is more than a recording project, it’ s an awakening of her inner child. It’ s an audio portrait stretching Spalding beyond music and into storytelling through acting, staging, and movement.”--Amy Poehler’ s Smart Girls Seven collaborative and five solo albums into her career at 31, Esperanza Spalding has always resolutely, intuitively, deftly expanded upon both her art and herself as a world-renowned genre-bending composer, bassist and vocalist. Spalding’ s work, grounded in jazz traditions but never bound by them, has won her four Grammy awards and brought her onstage at the Oscars, the Nobel Prize Ceremony, the White House, and with Prince and Herbie Hancock. Not only does she know who she is, we know who she is. Or, rather, we think we do. The elastic self and work of a true artist is always changing; ideas are channeled, shape-shifting becomes necessary. Emily’s D+Evolution (pronounced “d plus evolution”) is where we meet Emily--both Esperanza’ s middle name and the label for the spirit-muse that flows through this multi-dimensional, theatrical performance artwork wrapped in a brilliantly urgent, vivacious record. With 6 tracks co-produced by Tony Visconti (David Bowie) and drawing, at times, from wellsprings as disparate as Cream to Shostakovich to St. Vincent, Emily’s D+Evolution is a kaleidoscopic project; raw, honest, luminous. "Whether you want to see it as devolution and evolution, and the place where they co-exist without one diminishing the other, or...barely having the tools that you need, but having to move forward, and having to keep moving," Spalding explained to NPR in a recent interview, the album conceptually addresses the always exciting, sometimes messy process of reconciling the aspects of our selves that are in conflict. Exploding with literal and proverbial electricity, this album’ s complex but immediate compositions were committed to tape partially live, and partially in front of a control room packed full of 20 or more onlookers. The trio of Spalding (fretless electric bass and vocals), Matthew Stevens (electric guitar) and Justin Tyson and Karriem Riggins (splitting drum duties) often decided to use the first take--a testament to the project’ s particular energy and Spalding’ s virtuosity. Many of the compositions on Emily’s D+Evolutionwere, after all, incubated onstage during the rigorous live performance schedule that preceded it. Armed with the entity of Emily flowing through her, Spalding’ s visionary performance of the album is an experience to behold and an integral part of the project itself. Here, Spalding is, for the first time, incorporating stage design, movement and acting into her already vivid musical storytelling practice. She’ s working with stage director and playwright Will Wiegler to manifest her concepts physically now that they’ ve come to life aurally. Each track on the album, from the soaring ode to uninhibited self-expression “Good Lava” to the affecting, shimmery funk ballad “Unconditional Love”, Emily’s D+Evolution is rich, surprising and labyrinthian, yet classic and timeless, as if these songs have always existed out there in the ether. Turns out that Spalding just had to tune in to Emily to bring them here to Earth

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02/26/2026, 07:30 PM PST
Marshall Tucker Band

Doug Gray – lead vocals   B.B. Borden – drums   Tony Black – bass / vocals   Marcus James Henderson – keyboards / saxophone / flute / vocals   Chris Hicks – guitar / vocals   Rick Willis – guitar / vocals   Whenever you drop that proverbial quarter into the virtual jukebox of songs that always manage to reach down and touch your soul the exact moment you cue them up, you inevitably find certain artists have a deeper resonance than others when it comes to providing the soundtrack that mirrors the highs and lows of your own life. The Marshall Tucker Band is one such group that continues to have a profound level of impact on successive generations of listeners who’ve been searchin’ for a rainbow and found it perfectly represented by this tried-and-true Southern institution for over five decades. “I’ve been in tune with how music can make you feel, right from when I was first in the crib,” observes lead vocalist and bandleader Doug Gray, who’s been fronting the MTB since the very beginning. “I was born with that. And I realized it early on, back when I was a little kid and my mom and dad encouraged me to get up there and sing whatever song came on the jukebox. It got to the point where people were listening to me more than what was on the jukebox! There’s a certain frequency I found I could share, whether I was in front of five people or 20,000 people. And once that frequency is there, everybody will listen.”   The Marshall Tucker Band came together as a young, hungry, and quite driven six-piece outfit in Spartanburg, South Carolina in 1972, having duly baptized themselves with the name of a blind piano tuner after they found it inscribed on a key to their original rehearsal space — and they’ve been in tune with tearing it up on live stages both big and small all across the globe ever since. Plus, the band’s mighty music catalog, consisting of more than 20 studio albums and a score of live releases, has racked up multi-platinum album sales many times over in its wake. A typically rich MTB setlist is bubbling over with a healthy dose of indelible hits like the heartfelt singalong “Heard It in a Love Song,” the insistent pleading of “Can’t You See” (the signature tune of MTB’s late co-founding lead guitarist and then-principal songwriter Toy Caldwell), the testifying travelogue warning of “Fire on the Mountain,” the wanderlust gallop of “Long Hard Ride,” and the unquenchable yearning pitch of “Ramblin’,” to name but a few. (See, we can hear you singing along to all of them in your head right now as you read this.)   Indeed, the secret ingredient to the ongoing success of The Marshall Tucker Band can be found within a cauldron of musical styles that mixes together equal parts rock, blues, jazz, country, soul, and bluegrass. In essence, it’s this inimitable down-home sonic bouillabaisse that helped make the MTB the first truly progressive Southern band to grace this nation’s airwaves — the proof of which can be found within the gritty grooves and ever-shifting gears of “Take the Highway,” the first song on their self-titled April 1973 debut album on Capricorn Records, The Marshall Tucker Band. “We had the commonality of having all grown up together in Spartanburg,” explains Gray about his original MTB bandmates, the aforementioned guitar wizard Toy Caldwell and his brother, bassist Tommy Caldwell, alongside rhythm guitarist George McCorkle, drummer Paul T. Riddle, and flautist/saxophonist Jerry Eubanks. “The framework for Marshall Tucker’s music is more like a spaceship than a house,” Gray continues, “because you can look out of a lot of windows and see a variety of things that show where we’ve been and what we’ve done, and how we’ve travelled through time to bring those experiences out in all of our songs.”   The Marshall Tucker Band’s influence can be felt far and wide through many respected contemporaries and the artists who’ve followed the path forged by their collective footsteps and footstomps. “MTB helped originate and personify what was to become known as Southern rock, and I was privileged to watch it all come together in the ’70s, night after night,” confirms the legendary Charlie Daniels. “In fact, The Charlie Daniels Band has played more dates with The Marshall Tucker Band over the past 45 years than any other band we’ve ever worked with. Even after all these years — after the tragedies, the miles, the personnel changes, and the many developments in the music business — MTB and CDB are still a viable package that offers an entertaining and crowd-satisfying show.” Daniels adds that he never gets tired of seeing his MTB brothers on the road: “Whenever Doug Gray walks into my dressing room with that big ol’ smile of his and then we hug each other and sit and talk for a while, the evening is complete.”   “I remember seeing Marshall Tucker and The Outlaws play together in Jacksonville many years ago, when I was just a kid,” recalls Lynyrd Skynyrd lead singer Johnny Van Zant, who faithfully watched the MTB open for his band on a few lengthy, fruitful runs during the 2018 portion of Skynyrd’s still-in-progress The Last of the Street Survivors Farewell Tour. “And I heard them all over the radio back then too. They were just so cool and so unique that I fell in love with the band, and I also fell in love with the music. Having them open for us on all those dates was like a dream come true, and they’re still as good as I’ve ever seen them. It brought back a lot of memories for me, because I really looked up to those guys when I was first starting out.”   Adds Ed Roland, the lead vocalist and chief songwriter for Collective Soul, “The Marshall Tucker Band had a big influence on me growing up — and they still do.” Roland, who’s lived the majority of his life in and around Atlanta, also proudly points out that his band’s biggest hit, “Shine,” owes a clear debt to the musical structure of “Can’t You See,” and he’ll often start off by singing the opening line to that song — “I’m gonna take a freight train” — whenever Collective Soul performs “Shine” live. “We don’t want to stray from what we grew up listening to,” Roland continues. “I think that’s something important for people to hear. It’s just who we are, and I don’t think we should run from it. Hopefully, people see that connection to the bands we love like Marshall Tucker in our music.”   Though Doug Gray recently turned 70 years young, he sees no end to the road that lies ahead for The Marshall Tucker Band, whose legacy is being carried forward quite reverentially by the man himself and his current bandmates, drummer B.B. Borden (Mother’s Finest, The Outlaws), bassist/vocalist Tony Black, keyboardist/saxophonist/flautist/vocalist Marcus James Henderson, guitarist/vocalist Chris Hicks, and guitarist/vocalist Rick Willis. “You know, I think it was Toy Caldwell’s dad who said, ‘There’s more to gray hair than old bones,’ and we still have a lot of stories yet to tell,” Gray concludes. “People ask me all the time what I’m gonna do when I turn 80, and I always say, ‘The same thing that we’re continuing to do now.’ We’re road warriors, there’s no doubt about that — and I don’t intend to stop.” May the MTB wagon train continue running like the wind on a long hard ride for many more years to come. One thing we absolutely know for sure: If you heard it in a Marshall Tucker Band song, it can’t be wrong.           —Mike Mettler, this ol’ MTB chronologist

March 2026
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03/01/2026, 07:00 PM PST
Judy Collins

50 years ago, singer-songwriter Stephen Still met singer-songwriter JudyCollins, known for her piercing ocean blue eyes. Their tumultuous loveaffair would later be immortalized by Stills with his composition “Suite:Judy Blue Eyes,” performed by Crosby, Stills & Nash on their landmarkdebut. Both artists would go gone to shape modern music with visionaryapproaches, but Stills and Collins’ short fiery union remains atransformative era for the two artists.This summer, the two icons of folk will celebrate the golden anniversary oftheir formative time together. Their joint summer tour marks the first time everStills and Collins have been onstage together. For this once in a lifetimeexperience, the two music legends will pull from their rich catalogs, debutsongs from their upcoming album, due out Summer of 2017, and share warmand intimate stories from their journeys and the1960s folk and Laurel Canyonscenes they helped build.Stills and Collins met in 1967 and dated for two years. Stills wrote and demoedhis legendary love song to Collins right after he left Buffalo Springfield, beforehe joined CSN. “Suite: Judy Blue Eyes” is a five-section romantic epicbrimming with heartfelt sincerity. The song has been ranked #418 in RollingStone’s 500 Greatest Songs Of All Time Poll.Stills is known for his work with Buffalo Springfield, Crosby, Stills & Nash,and his solo work. In addition to “Suite: Judy Blue Eyes,” Still is best knownfor the hits “ For What It’s Worth” by Buffalo Springfield and “Love The OneYou’re With” from his solo debut, Stephen Stills. He’s a multi-instrumentalist,composer, and ranked #28 in Rolling Stone Magazine’s “The 100 GreatestGuitarists Of All Time.” He also has the added distinction of being the firstartist to be inducted into the Rock N’ Roll Hall of Fame twice in one night (forhis work with CSN and Buffalo Springfield).Collins is known for her eclectic palette as a solo artist, melding folk, rock,classical, and jazz into a singular aesthetic. She’s earned five Grammynominations including one in 2017 and one Grammy win. Outside of music,Collins has published two memoirs, one novel, and, in 1975, was nominated foran Academy Award for the documentary Antonia: A Portrait of the Woman.Collins is also a lifelong activist.

Contacts

128 S Palm Canyon Dr, Palm Springs, CA 92262, USA