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DTSTART;TZID=America/Detroit:20250511T200000
DTEND;TZID=America/Detroit:20250511T230000
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CREATED:20250205T200040Z
LAST-MODIFIED:20250509T152409Z
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SUMMARY:Lucius
DESCRIPTION:Acclaimed indie band Lucius has been turning heads since the start thanks to their irrepressibly catchy songs\, explosive harmonies\, and bold aesthetic. Formed by Jess Wolfe and Holly Laessig\, the Los Angeles group got rolling with their 2013 debut album Wildewoman — featuring long-standing hits like “Two of Us on the Run”. Rolling Stone hailed the record for “an updated ’60s girl-group sound at once fresh and thrilling”. Lucius shifted towards a folk rock sound with 2016’s Good Grief before taking a break from the studio to join Roger Waters on his Us + Them Tour in 2017-18. Lucius returned to the studio in 2022 with the dance-ready collection Second Nature\, which features singles “Next to Normal”\, one of NPR Music’s top songs of the year and “Dance Around It” the pulsing song with Sheryl Crow and Brandi Carlile. In addition to their own work\, the GRAMMY-nominated Wolfe and Laessig are singers in demand: their voices have graced songs by a host of other artists\, including Carlile\, The War on Drugs\, John Legend\, Harry Styles\, Jeff Tweedy and Ozzy Osbourne. Lucius releases their new self titled album on May 2.
URL:https://theark.org/event/lucius-250511/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2025/02/Lucius-scaled-e1738780632392.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20250426T200000
DTEND;TZID=America/Detroit:20250426T230000
DTSTAMP:20260417T214331
CREATED:20250116T150054Z
LAST-MODIFIED:20250221T141017Z
UID:10000801-1745697600-1745708400@theark.org
SUMMARY:OK Go
DESCRIPTION:With a career that includes award-winning videos\, New York Times op-eds\, collaborations with pioneering dance companies and tech giants\, animators and Muppets\, and an experiment that encoded their music on actual strands of DNA\, OK Go continues to fearlessly dream and build new worlds in a time when creative boundaries have all but dissolved. The band has been recognized for their achievements with 21 Cannes Lions\, 12 CLIOs\, 3 VMAs\, 2 Webbys\, The Smithsonian Ingenuity Award\, and a Grammy.
URL:https://theark.org/event/ok-go-250426/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Sold Out,Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2025/01/0426-Detroit-OKGo-1200x1200-v2-e1737037563166.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20250129T200000
DTEND;TZID=America/Detroit:20250129T230000
DTSTAMP:20260417T214331
CREATED:20240814T161633Z
LAST-MODIFIED:20240814T161633Z
UID:10000674-1738180800-1738191600@theark.org
SUMMARY:Guster
DESCRIPTION:Not long before the making of their new album Ooh La La\, Guster celebrated three decades together as a band—a journey that’s included landing a series of hits on the Billboard charts\, working with luminaries like Steve Lillywhite and Richard Swift\, launching their own music festival\, and amassing an ardent fanbase partly on the strength of their relentless touring and deeply communal live show. But despite reaching a milestone few musical acts ever come close to attaining\, Guster’s ninth studio LP reveals a band fully in touch with the voracious creative energy that first inspired their formation. A major leap forward for lead vocalist Ryan Miller\, guitarist Adam Gardner\, drummer Brian Rosenworcel\, and multi-instrumentalist Luke Reynolds\, Ooh La La ultimately matches that wide-eyed spirit with a newly heightened sense of confidence\, conviction\, and commitment to the raw sincerity that’s made them so beloved.
URL:https://theark.org/event/guster-250129/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2024/08/0129-Detroit-Guster-1920x1080-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20241010T193000
DTEND;TZID=America/Detroit:20241010T230000
DTSTAMP:20260417T214331
CREATED:20240604T150036Z
LAST-MODIFIED:20240607T141211Z
UID:10000623-1728588600-1728601200@theark.org
SUMMARY:Billy Bragg
DESCRIPTION:The Roaring Forty USA Tour 2024 \nIn 2023 Billy Bragg kicked off a celebration of a remarkable 40 years as Britain’s favourite folk singer\, songwriter and campaigner. To mark this significant landmark\, he has released an acclaimed career-spanning box set ‘The Roaring Forty’ and has played to sell-out crowds across the world. In November he performed his most famous song ‘A New England’ on Later With Jools Holland almost exactly 40 years to the day that he debuted the song on The Tube (also presented by one Jools Holland!). \nGalvanised in the late 70s by The Clash and an aversion to the austere policies of Margaret Thatcher\, Billy set out to inspire political engagement and empathy. He has performed numerous benefit shows for the miners\, the Labour party\, CND\, the jobless and many more\, and has run the Left Field political stage at Glastonbury for the last 20 years. \nBilly has released 11 solo studio albums\, three albums of Woody Guthrie lyrics set to contemporary music by Billy and Wilco (the Mermaid Avenue albums) and one album with Joe Henry. He released a mini album Bridges Not Walls in 2017. His latest studio album\, the acclaimed ‘The Million Things That Never Happened’ came out in 2021. \nBilly Bragg added best-selling author to his CV with the success of his acclaimed 2017 book Roots\, Radicals & Rockers – How Skiffle Changed The World. He has written two books of political analysis –  The Progressive Patriot: A Search For Belonging (2006) and The Three Dimensions of Freedom (2019). \nBilly won the Outstanding Contribution To British Music Award at the prestigious Ivors Awards in 2018. Born and raised in Barking\, East London\, Billy has a street named after him in his home town – Bragg Close. This year Billy has been honoured with a pavement plaque on the Camden Music Walk Of Fame (previous recipients include Madness\, Amy Winehouse\, The Who\, David Bowie\, and The Kinks)
URL:https://theark.org/event/billy-bragg-241010/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2024/05/BB_guitar-sleeve-shot-hi-res-web.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20240511T190000
DTEND;TZID=America/Detroit:20240511T230000
DTSTAMP:20260417T214331
CREATED:20240213T160048Z
LAST-MODIFIED:20240220T191702Z
UID:10000495-1715454000-1715468400@theark.org
SUMMARY:Molly Tuttle & Golden Highway
DESCRIPTION:Grammy winner Molly Tuttle brings her band to The Majestic Theatre with their new album\, City of Gold. One of the most compelling new voices in the roots music world\, Molly Tuttle is a virtuosic multi-instrumentalist and singer/songwriter with a lifelong love of bluegrass\, a genre the Northern California-bred artist first discovered thanks to her father (a music teacher and multi-instrumentalist) and grandfather (a banjo player whose Illinois farm she visited often throughout her childhood). \nCity of Gold\,  the follow-up to 2022’s Crooked Tree—a widely lauded LP that won the Grammy Award for Best Bluegrass Album\, with Tuttle earning a Best New Artist nomination—the Northern California-raised musician’s fourth full-length album brings those narratives to a resplendent form of bluegrass rooted in her virtuosic guitar playing. Like Crooked Tree\, whose accolades also include an International Folk Music Award for Album of the Year\, City of Gold\, is co-produced with bluegrass legend Jerry Douglas\, showcasing the extraordinary musicianship that made Tuttle the first woman ever named Guitar Player of the Year by the International Bluegrass Music Association. But this time around\, the Nashville-based singer/songwriter/multi-instrumentalist chose to record with her live band for the first time—a move that lends a potent new energy to her exquisitely crafted sound. “When I was a kid we took a field trip to Coloma\, California\, to learn about the gold rush\,” says Tuttle in revealing the inspiration behind City of Gold. “Just like gold fever\, music has always captivated me and driven me to great lengths to explore its depths.” Noting that City of Gold “celebrates the music of my heart\, the land where I grew up\, and the stories I heard along the way\,” Tuttle found her band essential to every aspect of the LP.
URL:https://theark.org/event/molly-tuttle-240511/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2024/02/ZLP03697-2-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20231002T190000
DTEND;TZID=America/Detroit:20231002T230000
DTSTAMP:20260417T214331
CREATED:20230613T183453Z
LAST-MODIFIED:20231014T200252Z
UID:10000352-1696273200-1696287600@theark.org
SUMMARY:Broken Social Scene
DESCRIPTION:In celebration of the 20th anniversary of their album\, You Forgot It In People\, Broken Social Scene are playing songs from their seminal sophomore album\, among many more hits. \nAt the dawn of the 21st-century\, just as the internet began infecting every aspect of our daily lives\, Toronto musicians Kevin Drew and Brendan Canning began building a social network of their own. Like other such networks you’re familiar with\, it quickly expanded to include friends\, and friends of friends. It became a place where they could live out their best lives or fret about the fragile state of the world. And yes\, occasionally\, it became a forum for arguments and oversharing. But this social network didn’t require you to stay glued to your smartphone to take part in it. Quite the opposite: Since debuting in 2001\, Broken Social Scene have personified the unyielding\, incomparable power of IRL human connection. \nIt’s hard to know what to make of an ongoing experiment like Broken Social Scene. Is it a band? Not quite. Bands tend to have defined memberships and aesthetics and goals; Broken Social Scene have never been bothered with such limitations. Is it a cult? Nah— some of them have the beards\, but they could never agree on the right robes. Is it a collective? Certainly\, it can seem that way when you see some 15 people crowding the stage\, but BSS aren’t so much a united front as a perpetually mutating aggregate of competing creative energies. \nOnce a two-person basement recording project\, Broken Social Scene came to life onstage as a shadowy improvisational entity with a revolving-door roster\, each concert a wholly unique experience dependent on the room\, the weather\, what they ate for dinner that night\, and who was dropping in to play. Where the band’s 2001 debut album\, Feel Good Lost\, presented BSS as an anonymous ambient project that reflected its humble\, homespun origins\, their electrifying live performances from that era rallied an extended family of performers with roots in post-rock (Justin Peroff\, Do Make Say Think’s Charles Spearin)\, Latin jazz (Andrew Whiteman)\, art-folk (Feist)\, synth-pop (Amy Millan and Evan Cranley\, also of Stars)\, dance-punk (Metric’s Emily Haines and Jimmy Shaw)\, and country rock (Jason Collett). \nBut by pursuing improvisational freedom over commercial considerations\, Broken Social Scene set a new gold standard for indie rock in the 21st century with 2002’s You Forgot It In People\, an album that pushed the genre far beyond its noisy ’90s slacker roots toward a more sonically expansive\, emotionally expressive vision. And with follow-up releases like the blissfully chaotic Broken Social Scene (2005)\, the rapturous Forgiveness Rock Record (2010)\, and the intricate\, insidiously melodic Hug of Thunder (2017)\, Broken Social Scene have amassed a thrillingly amorphous\, unpredictable body of work. \nThroughout their two-decade run\, Broken Social Scene have achieved all the markers of modern indie success—rave reviews from Pitchfork\, invites to play Coachella and Lollapalooza\, multiple Juno Awards and Letterman appearances\, and name-drops in Lorde songs. And their victories have ultimately been Toronto’s\, through the establishment of a record label (Arts & Crafts) and music festival (Field Trip) that became rallying points for the local scene and nurtured the next generation of indie upstarts. But arguably Broken Social Scene’s greatest accomplishment is their mere existence\, as a conglomerate that continues to defy all logistical convention and musical expectations. They’re living proof that underdogs are most effective when travelling in a pack\, that mass audiences can be led into uncharted waters through collective enthusiasm\, and that the better world we all dream of begins with community. \nIn both sound and personnel\, Broken Social Scene has changed a lot since their 2001 inception. But one thing has remained constant—at the end of every show\, Kevin Drew bids the crowd adieu by telling everyone to “enjoy your lives.” More than just a simple farewell\, those words are a call to action—to put down your goddamn phone\, get outside\, and be part of a social scene of your own.
URL:https://theark.org/event/broken-social-scene-231002/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
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BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20230916T190000
DTEND;TZID=America/Detroit:20230916T230000
DTSTAMP:20260417T214331
CREATED:20230306T140016Z
LAST-MODIFIED:20241016T122937Z
UID:10000721-1694890800-1694905200@theark.org
SUMMARY:The Tallest Man on Earth
DESCRIPTION:Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth\, Matsson has captivated audiences using\, as The New York Times describes\, “every inch of his long guitar cord to roam the stage: darting around\, crouching\, stretching\, hip-twitching\, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk\, and his songs are troubadour ballads at heart.” \n  \nThen came 2020\, when Matsson left New York City and returned to his farm in Sweden. There\, during that quiet\, dreary time of isolation\, he drowned out his thoughts by manically growing vegetables in his garden. When he tried writing again\, during those many months of collective forced solitude\, “I just found myself commenting on the darkness\,” Matsson says. “I lost my imagination.” Playing live\, music and inspiration returned near the end of 2021\, and his produce became less of a priority. “When I’m in motion\, I can focus on my instinct\, have my daydreams again. When I was finally able to tour again\, I started writing like a madman.” He eventually had twenty songs he wanted to record in ten days. \n  \nNow\, Matsson returns as The Tallest Man on Earth with Henry St.\, his sixth studio album following 2012’s There’s No Leaving Now\, full of “vivid imagery\, clever turns-of-phrase\, and devastating\, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A Home\, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing\, so I’d just do everything myself.” But now\, longing for the energy that’s only released when creating together with others\, Matsson invited his friends to come and play. \n  \nNick Sanborn (of Sylvan Esso) produced Henry St.\, which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar\, lap steel and ukulele\, TJ Maiani on drums\, CJ Camerieri (of Bon Iver) on trumpet and French horn\, Phil Cook on piano and organ\, Rob Moose (of Bon Iver\, yMusic) on strings and Adam Schatz on saxophone. “They opened everything up\, and understood what the songs that I’d written needed: sounds that I couldn’t ever have thought of or created myself. We recorded so many of the songs live in the studio\, playing\, having fun and being really open with each other.” \n  \nAn overarching theme of Henry St.\, he says\, is “how to be a person in this world.” The title track is about the deception that\, “as individuals\, we’re told that we should strive for success. But when we have it\, it doesn’t solve anything. The song is about stepping away and thinking: why am I actually doing this?” While writing the song back in Sweden\, he knew it would be the centerpiece of the album. “It’s the low point and the turnaround: the other songs are a reminder that I will always be a stubborn optimist\, even at the darkest of times.” He was about to record the track as a solo piece\, until Phil Cook came in on his first day in the studio. “I had Phil basically hanging over my shoulders at the piano while we were playing\, and then he recorded it. He improvised that beautiful outro. When he did\, our jaws dropped––I was in tears.” \n  \n“Looking for Love” is one of those songs about Matsson’s stubborn optimism\, and a shining example of Sanborn’s influence on the album. “The first day in the studio\, Nick created this hissing noise while I was feedbacking electric guitar. We had so much fun jamming like that. Then Nick put down some piano to overdub my guitar\, and we knew we had the song.” The tone for their collaboration was set. “Nick is so emotionally intelligent\, and we share an almost childlike joy in things that can happen with music. He makes the songs come truly alive by keeping the performances and the humanity in––the kind of stuff that just happens during the session.” \n  \nThe song “Every Little Heart\,” he says\, came from a feeling of fearlessness\, a confidence in making music after two years of relative silence. “But of course I still have little demons inside of me. I wrote some key changes in the song that came natural to me\, but I worried they might sound unnatural to others. When TJ Maiani heard it\, he straightaway went into this drumbeat that shocked me a little at first\, but came completely natural to him. It fit the song perfectly.” \n  \nMatsson’s longing for social interchange\, after months spent with only his crops\, led to the collaboration that delivered the warm\, unique and sprawling sound of Henry St. “It’s the most playful\, most me album yet\, because it covers so many of the different noises in my head. When you overthink things\, you get further away from your original ideas. And God knows I overthink things when I’m by myself.” The time in isolation also brought him some newfound peace of mind. “Having been away from it taught me that making music and performing is what I’m doing for the rest of my life\, and I’m so grateful for it. It has given me new confidence and playfulness. This is what I do. It’s unconditional.”
URL:https://theark.org/event/the-tallest-man-on-earth-230916/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2023/03/MAIN-TTMOE-by-Stephan-Vanfleteren-scaled-for-web-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20230302T190000
DTEND;TZID=America/Detroit:20230302T230000
DTSTAMP:20260417T214331
CREATED:20221116T222113Z
LAST-MODIFIED:20221116T222113Z
UID:10000218-1677783600-1677798000@theark.org
SUMMARY:The Wood Brothers
DESCRIPTION:The Wood Brothers didn’t know they were making a record. Looking back\, they’re grateful for that. \n“If we had known\, we probably would have been too self-conscious to play what we played\,” reflects bassist/vocalist Chris Wood. “At the time\, we just thought we were jamming to break in our new studio\, so we felt free to explore all these different ways of performing together without worrying about form or structure. It was liberating.” \nRecorded live to tape\, those freewheeling\, improvised sessions became a vast pool of source material from which The Wood Brothers would go on to draw ‘Kingdom In My Mind\,’ their seventh studio release and most spontaneous and experimental collection yet. While on past records\, the band—Chris\, guitarist/vocalist Oliver Wood\, and drummer/keyboardist Jano Rix—would write a large batch of songs and then record them all at once\, ‘Kingdom’ found them retroactively carving tunes out of sprawling instrumental jam sessions like sculptors chipping away at blocks of marble. A testament to the limitless creativity of the unharnessed mind\, the record explores the power of our external surroundings to shape our internal worlds (and vice versa)\, reckoning with time\, mortality\, and human nature. The songs here find strength in accepting what lies beyond our control\, thoughtfully honing in on the bittersweet beauty that underlies doubt and pain and sadness with vivid character studies and unflinching self-examination. Deep as the lyrics dig\, the arrangements always manage to remain buoyant and light\, though\, drawing from across a broad sonic spectrum to create a transportive\, effervescent blend that reflects the trio’s unique place in the modern musical landscape. \n“My brother came to this band from the blues and gospel world\, and my history was allover the map with jazz and R&B\,” says Chris\, who first rose to fame with the pioneering trio Medeski Martin & Wood. “The idea for this group has always been to marry our backgrounds\, to imagine what might happen if Robert Johnson and Charles Mingus had started a band together.” \n‘Kingdom In My Mind’ follows The Wood Brothers’ most recent studio release\, 2018’s ‘One Drop Of Truth\,’ which hit #1 on the Billboard Heatseekers Chart and garnered the band their first GRAMMY nomination for Best Americana Album. NPR praised the record’s “unexpected changes and kaleidoscopic array of influences\,” while Uncut hailed its “virtuosic performances and subtly evocative lyrics\,” and Blurt proclaimed it “a career-defining album.” Tracks from the record racked up roughly 8 million streams on Spotify alone\, and the band took the album on the road for extensive tour dates in the US and Europe\, including their first-ever headline performance at Red Rocks\, two nights at San Francisco’s legendary Fillmore (captured on their 2019 release\, ‘Live At The Fillmore’)\,and festival appearances everywhere from Bonnaroo to XPoNentia
URL:https://theark.org/event/the-wood-brothers-230302/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2022/11/0302-Detroit-TheWoodBrothers-1920x1080-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20230225T200000
DTEND;TZID=America/Detroit:20230225T230000
DTSTAMP:20260417T214331
CREATED:20221019T164044Z
LAST-MODIFIED:20221019T164044Z
UID:10000198-1677355200-1677366000@theark.org
SUMMARY:Margo Price
DESCRIPTION:Margo Price has something to say but nothing to prove. In just three remarkable solo albums\, the singer and songwriter has cemented herself as a force in American music and a generational talent. A deserving critical darling\, she has never shied away from the sounds that move her\, the pain that’s shaped her\, or the topics that tick her off\, like music industry double standards\, the gender wage gap\, or the plight of the American farmer. (In 2021\, she even joined the board of Farm Aid.) \nNow\, on her fourth full-length Strays\, a clear-eyed mission statement delivered in blistering rock and roll\, she’s taking on substance abuse\, self-image\, abortion rights\, and orgasms. Musically extravagant but lyrically laser focused\, the 10-song record tears into a broken world desperate for remedy. And who better to tell it? Price has done plenty of her own rebuilding—or as she shout sings in explanation on “Been to the Mountain\,” the set’s throat-ripping opener\, “I have been to the mountain and back alright”—and finds herself\, at long last\, free. Feral. Stray. \nSo\, while the last few years have seen remarkable moments of acclaim—a Best New Artist Grammy nomination\, Americana Music Honors\, a Saturday Night Live performance\, and just about every outlet and critics’ year-end Best Of list—Price is still hungry. “I still have a lot of drive inside of me\,” she says. “I have a chip on my shoulder. It feels like I still haven’t been able to fully realize all my dreams yet\, and that eats me up.” Just wait. \nWhen Tré Burt was signed to John Prine’s Oh Boy Records in 2019\, he was one of only two artists -including label mate Kelsey Waldon\, to join the label in the past 15 years. Caught It From The Rye\, Tré Burt’s debut album was re-released on Oh Boy in Jan 2020. The album showcases Burt’s literary songwriting and lo-fi\, rootsy aesthetic\, which he honed busking on the streets of San Francisco and traveling the world in search of inspiration. Like labelmate and songwriting hero John Prine\, Burt has a poet’s eye for detail\, a surgeon’s sense of narrative precision and a folk singer’s natural knack for a timeless melody. Caught It From The Ryeis an urgent missive from an important new voice in songwriting. \nFor a songwriter who thoughtfully documents what he sees in the world\, 2020\, while challenging\, was rich with inspiration. The year birthed the single\, Under The Devil’s Knee\, a song that continues the tradition of outspoken political folk songwritersof yore. It is an incredibly moving protest song tracing the lives of George Floyd\, Eric Garner\, and Breonna Taylor. Recorded remotely featuring Allison Russell\, Sunny War and Leyla McCalla. “Humanity feels like it’s slipping away from us\, as a country. Iwanted to reinstate the humanity of George Floyd\, Breonna Taylor\, Eric Garner and so many other brothers and sisters slain by police in the way I know how. I wanted to immortalize their dignity and make the work easy for future historians and remind the present that no matter what side of the aisle you’re on\, this is about actual pain and real human suffering caused by a system of governance that is morally bankrupt. This\, I felt was my duty as an American songwriter to do. Music is a powerful force\, especially when you put it through a protest song. It makes the fight more tangible. Reframes perspective. None of which entered my mind when writing this\, at all. That was out of anger. I wrote this song out of anger. They should all be alive.” -Tré Burt
URL:https://theark.org/event/margo-price-230225/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
ATTACH;FMTTYPE=image/jpeg:https://theark.org/wp-content/uploads/2022/10/Photo-Sep-13-5-46-25-PM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20221204T190000
DTEND;TZID=America/Detroit:20221204T230000
DTSTAMP:20260417T214331
CREATED:20220823T153212Z
LAST-MODIFIED:20220823T153212Z
UID:10000172-1670180400-1670194800@theark.org
SUMMARY:Trampled By Turtles
DESCRIPTION:Trampled by Turtles are from Duluth\, Minnesota\, where frontman Dave Simonett initially formed the group as a side project in 2003. At the time\, Simonett had lost most of his music gear\, thanks to a group of enterprising car thieves who’d ransacked his vehicle while he played a show with his previous band. Left with nothing more than an acoustic guitar\, he began piecing together a new band\, this time taking inspiration from bluegrass\, folk\, and other genres that didn’t rely on amplification. Simonett hadn’t played any bluegrass music before\, and he filled his lineup with other newcomers to the genre\, including fiddler Ryan Young (who’d previously played drums in a speed metal act) and bassist Tim Saxhaug. Along with mandolinist Erik Berry and banjo player Dave Carroll\, the group began carving out a fast\, frenetic sound that owed as much to rock & roll as bluegrass. \nTrampled by Turtles released their first record\, Songs from a Ghost Town\, in 2004. In a genre steeped in tradition\, the album stood out for its contemporary sound\, essentially bridging the gap between the bandmates’ background in rock music and their new acoustic leanings. Blue Sky and the Devil (2005) and Trouble (2007) explored a similar sound\, but it wasn’t until 2008 and the band’s fourth release\, Duluth\, that Trampled by Turtles received recognition by the bluegrass community. Duluth peaked at number eight on the Billboard bluegrass chart and paved the way for a number of festival appearances. When Palomino arrived in 2010\, it was met with an even greater response\, debuting at the top of the bluegrass chart and remaining in the Top Ten for more than a year. Two years later\, their crossover appeal landed them at number 32 on the Billboard 200 pop charts upon the release of their sixth album\, Stars and Satellites. In addition to major bluegrass and folk festivals\, they began showing up at Coachella\, ACL Fest\, and Lollapalooza. The official concert album\, Live at First Avenue\, followed in 2013\, recorded at Minnesota’s most famous venue. A year later\, the band returned with the darker-toned Wild Animals\, which bettered its studio predecessor on the album charts\, reaching number 29 on Billboard. Countless tours with bands like Lord Huron\, Wilco\, Caamp\, Mt Joy and Deer Tick to name a few have followed. 2022 will see the release of the band’s latest body of work called Alpenglow which was produced by Jeff Tweedy of Wilco. \n  \nFull Cord out of Grand Haven\, Michigan has been stealing the scene with an extraordinary song base that spans through originals\, newgrass\, traditional\, covers\, country\, Texas swing\, jazz and more. \nTheir infectious stage show and breadth of material pushed Full Cord through to a win of the 2022 Telluride Bluegrass Festival Band Competition in June and a nomination as the Momentum Band of the year at the upcoming International Bluegrass Music Awards.  With two shows never the same\, their followers in Michigan and beyond try to catch every show\, never knowing what teaser or new song will be in the set list.
URL:https://theark.org/event/trampled-by-turtles-221204/
LOCATION:The Majestic Theatre\, 4140 Woodward Ave.\, Detroit\, Michigan\, 48201\, United States
CATEGORIES:Special Event
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