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House Tours Toledo, Ohio

Indie/Math Rock from Toledo Ohio. Just kinda Rockin, and a little Mathy while kinda Sexy, and a little Jazzy.

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ConcertsInYourHome began in 2006 as the first global house concert website. Out of thousands of scattered events, artists, and house concerts, we created a community. Since then we’ve provided advice, resources, and connections to thousands of of artists, hosts, and music fans. As a result, performers have more places to play and thrive.

House concerts are private events that often take place in cozy living rooms. They can be amazing and enriching experiences, and we want you to discover them. However, we also believe that public listening rooms are vital to our communities. Listening rooms can be music clubs, galleries, and other unique spaces.

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By the time 2019 came to its fitful end, Andrew Marlin knew he was tired of touring. He was grateful, of course, for the ascendancy of Mandolin Orange, the duo he’d cofounded in North Carolina with fiddler Emily Frantz exactly a decade earlier. With time, they had become new flagbearers of the contemporary folk world, sweetly singing soft songs about the hardest parts of our lives, both as people and as a people. Their rise—particularly crowds that grew first to fill small dives, then the Ryman, then amphitheaters the size of Red Rocks—humbled Emily and Andrew, who became parents to Ruby late in 2018. They’d made a life of this.

Still, every night, Andrew especially was paid to relive a lifetime of grievances and griefs onstage. After 2019’s Tides of a Teardrop, a tender accounting of his mother’s early death, the process became evermore arduous, even exhausting. What’s more, those tunes—and the band’s entire catalogue, really—conflicted with the name Mandolin Orange, an early-20s holdover that never quite comported with the music they made. Nightly soundchecks, at least, provided temporary relief, as the band worked through a batch of guarded but hopeful songs written just after Ruby’s birth. They offered a new way to think about an established act.

Those tunes are now Watchhouse, which would have been Mandolin Orange’s sixth album but is instead their first also under the name Watchhouse, a moniker inspired by Marlin’s place of childhood solace. The name, like the new record itself, represents their reinvention as a band at the regenerative edges of subtly experimental folk-rock. Challenging as they are charming, and an inspired search for personal and political goodness, these nine songs offer welcome lessons about what any of us might become when the night begins to break.

“We’re different people than when we started this band,” Marlin says, reflecting on all these shifts. “We’re setting new intentions, taking control of this thing again.”

For full bio and promotional material please click here .

MANAGEMENT Jimmy Rhine [email protected]

BOOKING / EU & UK Stuart Kennedy [email protected] Colin Keenan [email protected]

BOOKING / NORTH AMERICA Josh Brinkman [email protected]

PRESS James Rainis [email protected] Jerome Ware [email protected] Matt Hanks [email protected]

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Goo Goo Dolls Tour Update

We regret to announce we will not be joining the Goo Goo Dolls on their 2021/22 summer tour. For more details on their rescheduled dates, please visit www.googoodolls.com.  All tickets will be honored for their new dates. If you are a ticket holder and cannot make the new show, you will receive an email directly allowing you to request a refund. For more details, please visit livenation.com/refund or contact your original point of purchase.  Thank you for understanding.

• Hope to you see you at one of our upcoming shows! Stay tuned to the tour page for more info! - Lifehouse

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How To Set Up a Successful House Concert Tour

This is an excerpt from the best-seller How To Make It in the New Music Business - Third Edition by Ari Herstand .

House concerts are not a new thing. There is a long tradition in the folk world that dates back to the ’60s. However, they seem to have had a massive resurgence over the past decade of singer-songwriters trading in club touring for house shows. Personally, I’ve played about 30 house concerts and these shows have been some of my favorite (and most profitable) shows of my career. Nothing beats the connection of a room full of supporters sitting merely feet from you, soaking up every note, every word, and every beat. A living room concert is one of the most memorable concert experiences a fan (and artist) will ever have. 

And house concerts aren’t just for tiny singer-songwriters. Artists like Vance Joy, David Bazan (of Pedro the Lion), Jeremy Messersmith, Julia Nunes, Califone, Mirah, Laura Gibson, Tim Kasher of Cursive, S. Carey, Richard Buckner, Alec Ounsworth of Clap Your Hands Say Yeah, and John Vanderslice have set up house concert tours over the past few years.  

With house shows you don’t have to deal with bad sound guys, drunk a**holes, empty clubs, or the headache of promotion. Shannon Curtis has a great book on how to book a house concert tour, called No Booker, No Bouncer, No Bartender: How I Made $25K on a 2-Month House Concert Tour (And How You Can Too) , which I highly recommend if you’re thinking of getting into the house concert game. You can also check out ConcertsInYourHome, which is a community of house concert hosts around the world. If you are accepted as an artist into the network, you can set up full tours to cities you’ve never visited in great homes of acoustic fans. Or, Side Door, a newer startup that similarly connects hosts and touring artists. More on Side Door in a moment. 

And when Covid shut down the entire live music industry, many DIYers got creative, putting on drive-in, driveway and backyard concerts. We at Ari’s Take put on a drive-in concert in the summer of 2020. This was one of the first concerts to take place since lockdown in Los Angeles County. The artist Annabel Lee headlined the event and celebrated the release of her song “Los Angeles.” We promoted it on Instagram and required fans to text her (SMS service) for more info (which auto- returned a link to buy tickets). We sold tickets (price per car—people packed their household into their cars) through Splash and hosted the concert at a friend of a friend of a friend’s big open lot (because the owner of the parking lot we had originally booked got Covid five days before the show!). Fortunately, we didn’t release the location, via text, until the day before the show. 

We handed out an instruction sheet to every car (via a grabber stick), which had instructions on how to tune in (via the car radio), how to buy merch, social, stream and download links (via QR code, of course). We had a dedicated merch person managing the Venmo account, running around to cars with their merch items.

The show went off without a hitch. Live music had been officially shut down for four months at this point, and this concert was desperately needed by Annabel, her band, her fans and everyone else involved.

After having his summer 2020 tour canceled, Toronto-based singer-songwriter John Muirhead reached out to his local community offering driveway concerts and booked 10 driveway concerts in the Toronto area. And then in early 2021, once he had started to build up his TikTok presence, he compiled some footage from the previous summer into a little advertisement-style video. It spread on TikTok extremely quickly (racking up nearly 30,000 views) and returned more requests for driveway concerts in Ontario than he could handle (hashtags worked wonders). John filled up his entire calendar with these throughout 2021. He charged hosts a guaranteed minimum around $200–300 CAD, and averaged around $7 CAD per head in merch sales. Win!

The Nova Scotia–based company Side Door, co-founded by singer-songwriter Dan Mangan and music industry professional Laura Simpson, connects artists with hosts and helps them facilitate private concerts—both in person and online. All payments are taken digitally, and the money is kept in escrow until the show happens. The host and artist negotiate a payment split on the platform. They have name-your-price ticketing, global transactions, and geotargeting. Artists can even facilitate tours by automatically selecting the locations they are looking to tour to, and the registered hosts in those areas get notifications and can decide whether to host the artist.

Side Door currently has 3,000 venues and hosts registered in North America (mostly in Canada), and more popping up in Europe and around the world. They’ve facilitated shows with Vance Joy, Broken Social Scene, Feist, Barenaked Ladies, Tom Odell, Said the Whale and thousands of others.

The quirk-rock band More Fatter set out on a 43-date backyard concert tour in the summer of 2021. Half the shows were ticketed ($30 through Eventbrite), and the other half were $30 suggested donation. Some shows had 50+ people packed into the backyard. And other shows where they didn’t have much of a base and the host didn’t promote it super well had 5–10. They sold T- shirts for $40 and burned CDs of new demos for $20. They completely sold out of all their merch after multiple reorders. They toured in a 2005 Toyota Sienna and crashed on couches to keep expenses down. In two months, they made $25,000. That’s the thing with house concerts. It’s such a magical experience that you can get away with selling your merch much higher than you would at a club. It’s much more personal. People aren’t simply buying your merch for the item, they’re buying it as a souvenir from the night. And to have a special connection with you when they make the transaction.

THE BOOKING

The beauty of house concerts is that you only need one superpassionate fan per city to set up a house concert. Put out feelers to your email list and on social sites. Set a guarantee plus a percentage of tickets, or you can play for tips. 

You’ll have to designate Fridays and Saturdays (or Sunday afternoons) for house concerts, since most hosts have 9-to-5 jobs and won’t want to organize it for a weekday. But some may. 

Plan your house concerts about two to three months in advance. Give your hosts plenty of time to invite guests and get excited. 

You’ll want to tour with an amp or PA (and all mics/stands/cords) to plug in your guitar, keyboard and vocal mic. The host will most likely know nothing about sound and have zero sound equipment. You should be able to set up anywhere and play. Don’t forget your extension cords and power strips. 

The email I send out to potential hosts usually looks something like this: (Feel free to copy whatever you want)

Ari Herstand Living Room Concert! 

What the . . .? 

I’d like to set up shows in people’s living rooms/backyards/dorm lounges/etc. and have a very intimate experience—something that isn’t necessarily possible in many clubs I play. I’m going to play many new, unreleased songs for these performances—many songs that translate very well to the living room, but maybe not so well to the club. 

Interested? 

If you’d like to host a living room concert, all you need to do is reply and fill in the information below and I’ll get back to you with possible dates for your area. I need you to bring at least 20 people to the concert—hey you have home turf advantage! 

What I charge. 

The concert costs $450 + 80% of admission after $450 is met. This means, if you charge $25 a head (what I recommend) and 30 people show up, that equals a total of $750. I end up with $690 (you end up with $60) at the end of the night. If 12 people show up, that equals a total of $300. I end up with $450 at the end of the night (you have to cover the remaining $150). If you’re confident you can bring 18 people at $25 a head, everyone who lives in the house basically gets a free concert because I don’t charge the hosts and hostesses. Just so you know, this is much lower than my normal “private concert” rate, but because I want people who really dig my music—dare I call them fans—to be able to afford this and not have to pay an exorbitant amount out of pocket, I’ve reduced my rate for these house concerts. I used to take 100% after $450, but I’ve added the 20% to the host idea to give you an incentive to provide simple snacks/drinks for your guests and so you don’t lose money. 

What to provide. 

All you need to provide is a big enough space to hold everyone. Also, make sure my performance space (corner) is well lit with upright bright lamps or something and then the rest of the room can be dim with candles or other lamps. People are most comfortable sitting on chairs, couches, benches, husbands, boyfriends, girlfriends, etc., so it would be great if you had enough seating for everyone. Maybe encourage people to bring a pillow, blanket, or lawn chair to sit on if you don’t have enough chairs. Make sure you have a key person who will collect money from everyone at some point. 

The concert will last about 2 hours. The first 45 minutes I’ll play an acoustic, mostly unplugged (chill) set. Then take a 15-minute intermission and the next hour will be a full looping show—plugged in. Make sure your neighbors are OK with this. Won’t get too loud, though. I’m looking to start at 7:30 for most places.

Notes for this experience: 

Please let your guests know that this is an intimate, private concert by a touring musician. 

This is not a party. Promote my music to all guests and get them excited about the music if they don’t already know my stuff. This is not a drinking party with your best bud providing the entertainment. While alcohol is absolutely okay (and encouraged if somehow a Guinness ends up in my hand), this is not a time to get wasted. 

Also, please inform your guests, maybe at the start (because I don’t want to look like the bad guy), that talking is very uncool during the performance. 

Anything else? 

I’ll most likely need a place to crash that night, so if you have a couch, that would be fantastic. If you provide dinner for me, as well, I’ll love you forever. 

Please fill in this info and I’ll get back to you with open dates: 

City, State: 

Are you in high school or college (please list where): 

If in high school list parent’s name:

and email: 

How many live with you (are they okay with this): 

Do you live in a house, dorm, apartment, etc. (elaborate): 

Expected number of attendees: 

Where will this be held (living room, backyard, dorm lounge, etc. please elaborate): 

Exact Address: 

Contact Phone Number: 

Hopefully I’ll see you soon!  ~Ari 

And once you confirm a date, make sure you send them a confirmation email. Here’s what I use :

Details: 

Saturday, March 17 

Contact: Mickey Mouse 

Phone Number: 612-555-5555 

1234 Beautiful Lane 

St. Paul, MN 55104 

7:30–9:30 (you can change this if need be) 

$25 a person (hosts excluded) 

$450 guarantee + 80% of cover after $450 

Make public (upon request) or keep private? 

Load in: 6:00 

Sound check: 6:30 

Provided equipment: lamps to light my performance area (corner), mood lighting for the rest of the room 

Sleeping accommodations? yes 

**CANCELLATION POLICY 

Because I am routing a tour around this show, once this is confirmed, we cannot cancel it. Please do not confirm this unless you are certain you can afford the concert and/or can get enough people to attend. If you have to cancel the show less than 3 weeks before the date, I will still need to receive 70% of payment. 

Please confirm these details and we’re set! 

Thanks!  ~Ari

Customize this for you

People have organized pot lucks, birthday, graduation and anniversary parties around these. You will have a lot of fun with house concerts, and even if you’re a full band, as long as you tour with a full PA system, you can set up backyard and basement concerts. 

You will build lifelong fans this way. Attendees get a very personal experience, get to hang out with you before and after the show, and typically buy tons of merch. 

Make sure you pass around the mailing list clipboard or iPad and get every single person’s email who comes. If 30 people show up, the next time through you can book a club and you can estimate that each of them will bring at least 1 more person and now you have a solid 60 for your club show. 

Shannon Curtis typically works solely on tips and merch sales for her living room concerts, and it has worked out very well for her. If you’re just starting out, you can go this route, as well. But make sure the host discusses the importance of the tip jar (she advises not to include a suggested donation because if you say the show is worth $10, no one will drop a twenty in). The tip jar (and merch) should be placed right near the front door so it absolutely cannot be missed. 

Companies like Sofar Sounds, Side Door and ConcertsInYourHome organize (or help artists and fans organize) house concerts. Sofar Sounds has set up intimate, living shows with oftentimes famous artists like Hozier and Karen O of Yeah Yeah Yeahs. 

House concerts are a beautiful, unforgettable experience for everyone involved. •

Ari Herstand is the CEO and founder of the music business education company Ari’s Take and its online school Ari’s Take Academy as well as the host of the Webby Award winning New Music Business podcast. He is the author of the book How To Make It in the New Music Business which is a No. 1 best seller in 3 categories on Amazon and is being taught in over 300 universities in the U.S. and has been translated into multiple languages. As a musician he has played over 1,000 shows all over the world and has released 4 albums. As a speaker he has spoken at SXSW, Music Biz, BBC One Introducing, NAMM, SF MusicTech, Berklee College of Music and UCLA. He fronts the 1970s original funk/soul immersive concert theatrical experience, Brassroots District.

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Join us for an unforgettable night of music as our House Band kicks off their tour in Main Line, PA on June 24th. The energy will be electric as the band takes the stage and performs a mix of classic hits and modern songs. Get ready to rock the night away and sing along to your favorite tunes. Don't miss out on this incredible show that is sure to leave you wanting more. Grab your friends and get ready for a night you won't soon forget.

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Watchhouse tour dates 2024

Watchhouse is currently touring across 1 country and has 12 upcoming concerts.

Their next tour date is at Maurer Hall, Old Town School of Folk Music in Chicago, after that they'll be at Old Town School of Folk Music in Chicago.

Currently touring across

Upcoming concerts (12) See nearest concert

Maurer Hall, Old Town School of Folk Music

Old Town School of Folk Music

Door Community Auditorium

Blue Ox Music Festival

Big Top Chautauqua

The Gallivan Center - Vip Entrance

Denver Botanic Gardens

Chautauqua Auditorium

Strings Music Pavilion

Lena Horne Bandshell at Prospect Park

North Carolina Museum of Art

Payomet Performing Arts Center

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Neighborhood Theatre

Spoleto Festival USA

Shakori Hills Grassroots Festival

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Recent tour reviews

I wish I had the lyrical and harmonic skills of Mandolin Orange, as I would be able to write a review that does them justice. Stunning would be a word I could use, Spiritual is another. Their complex slow controlled harmonies are out of this world. Maybe they are aliens?

I had first heard them on CBS Saturday morning, and bought tickets as soon as I knew they were coming. However you get their music, the live experience is a destination resort! Whoever designed and controlled the lighting is a genius, and the lighting changes were so amazingly synced to the songs. It was subtle but powerful. I noticed people taking photos to just capture the lighting. So different from the usual ACL lighting.

I have to say that the guitar player made the hair stand up on my arms, and goosebumps (I'm a sucker for a great guitar) but when Andrew and (Joe?, arg, I cannot find the band members names!!) played together it was magical. I couldn't figure out how he could make the guitar play those thick rich notes, and stay synced with the mandolin. All the players, and Emily, were also amazing, and she is so multi-talented. I don't think I've seen musicians sharing the same guitar that much before. Their singing and playing are such a Shared Experience... between themselves, as well as With the audience.

Having seen many shows at ACL I could tell the standing fans were Really Music Lovers, as the level of noice during the songs was amazingly low. Clearly the respect the band was given was well earned.

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I've seen them three times during their European Tour. Nijmegen was OK, Amsterdam very good and London excellent.

Overall they are confident with what they are doing and they are really growing as an act. In Nijmegen the flow of the show was somewhat broken, which wasn't the case in Amsterdam and London. I guess the start with Mother Deer works better for them.

There set list changes for every show, and very often they decide on the next song, based on the quality of the room, or the feedback from the audience. Although still quite young as an act, they have already a couple fo classics, like Wildfire, Gospel Shoes, Old Tides & Companions and Time After Time.

The full a-capella encore (Whistleblow) in both Amsterdam and London was breathtaking.

Andrew is a still an introvert poet, quite stoic, despite the memories to his mother. Emmy is just great, in everything. She has all the talent to become the strong frontwoman of Mandolin Orange.

Wednesday 15th May, Islington Assembly Hall, London, Mandolin Orange. It’s a big step up for this North Carolinian duo as last time I saw them a couple of years back they were here for a fabulous show in the 200 capacity Lexington. Tonight it’s the Assembly Hall with 900 people.

It’s my first show here since the venue had a new sound system installed. It’s a tough act to follow as the sound was always perfect already in what is my favourite mid-sized venue in London. Never over sold, great sound, good sightlines, best concert hall toilets in London but because of its listed status there is no air con which does make for uncomfortable viewing sometimes and the price of a beer is naughty at £6.45 for a pint of IPA.

Anyway back to the show. We made a special effort to get in early to see the super talented Michaela Anne. Just an artist and an acoustic guitar and a pure perfect voice. With the atmospheric lighting it created a perfect backdrop to her opening set.

Mandolin Orange join a long list of exceptional talent coming out of North Carolina at the moment including Caleb Caudle, Hiss Golden Messenger, Phil Cook and HC McEntire to name a few. Tonight Andrew Marlin, chief songwriter and Mr Mandolin and Emily Frantz are joined by a three piece backing band but they start the set in their usual two piece format.

As mentioned before the sound is immaculate, pin sharp and the unique sound of the mandolin fills the whole room and opener ‘Mother Deer’ from the new album ‘Tides of a Teardrop’ sets the scene for the next ninety minutes. It’s a sad song of course as the album is Martin’s reflection on the loss of his mother and there are many moving moments in what is a mandolin masterclass.

The set is drawn from across their albums and obvious highlights for me include one of my personal favourites ‘Wildfire’ and ‘Hey Stranger’ from the ‘Blindfaller’ album. There are a couple of really nice moments where a song or two is played ‘bluegrass’ style with the band crowded around one microphone and then for set closer totally unplugged with no amplification at all for a hair tingling finale. This is a band at the top of their game and it’s great to see them upgrading the venue to reach a richly deserved wider audience.

Till the next time keep on country rockin y’all

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Crowded House’s Neil Finn on How a Stint With Fleetwood Mac Led to Revitalizing His Own Band: ‘I Realized That We Had a Flag That You Can Follow’

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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(Friday night, the band performs one U.S. show before heading overseas, at New York’s Bowery Ballroom and can also be seen on “Jimmy Kimmel Live!” performing the new single “Teenage Summer.”)

You said something recently that was intriguing, about how being in Fleetwood Mac for a couple of years gave you a different perspective on Crowded House — something to the effect of, “Hey, I’ve got my own classic band, actually.” It sounds like maybe you had some kind of epiphany about embracing the band’s legacy and what it represents in the world.

I realized that I had my own band that has kind of a mana , as they say in New Zealand [a Maori word that is understood to mean “prestige”]… some kind of gravitas or something that carries it along … a flag that you follow somehow. And I was also really hungry to be fully engaged. I wouldn’t want to be churlish at all about my time in Fleetwood Mac. It was magnificent. But I wasn’t fully engaged the whole night, which was really unusual for me. And so I was really looking forward to the feeling of being right there at the front and center of something. So all of those factors were part of the decision to get the band back together, for sure.

You did something a bit humbling in being part of that group, but the driver’s seat is where you feel, “This is where I’m meant to be”?

Or just being able to be a part of every note… You know, you’re hearing the spaces between the notes, and you’re not just waiting till your parts come up. I guess I’m used to that in my musical life, so really, I relish that. It’s being in some kind of altered state of consciousness, and if you’re right in the midst of it, you can keep that feeling going and it can become transcendent.

Almost strangely, when we look at the lineup of Crowded House on stage now, it feels like everyone in in it is either formally or informally family at this point. You have your two sons; you have Nick Seymour, an original member going back to the mid-‘80s; and Mitchell Froom, your original producer, on keyboards. It was not unfamiliar to see Mitchell sitting in on keys when you would do L.A. shows over the decades, but he is on board for tours and all.

Yeah, Mitchell is a fully functioning band member now. You know, he keeps trying to organize things like a producer all the time, and I say, “No, just jam!” And he’s enjoying that. I mean, he’s still very meticulous about getting his parts working for the songs, but I think he’s really enjoying being part of an ensemble. It’s a really lovely change of dynamic for him, and of course, his deep attachment and knowledge of the band makes him a very soulful addition. And as you know, my two boys who grew up with the band, it’s in their DNA, and they’ve become two of my favorite musicians on the planet. And with Nick obviously there from the start, I feel like everyone’s deeply connected, which is a really nice feeling. I think bands can redefine themselves, but to do so with such an intimate group of people makes it feel all more special. So it feels like it’s a very cohesive and soulful lineup.

Yeah. It feels like it’s got a lot of future built into it. We’re expanding our shades and the areas we can go to with the addition of two really good writers. Liam and Elroy are both very, very good writers, and with Mitchell’s arrangement skills, it feels like we’re expanding our universe, if that’s possible — expanding our dimensions, anyway — and that’s exciting.

In the past, it has gotten to a point a couple of times, for version one and version two, where I couldn’t see the way ahead. I couldn’t imagine it, and it wasn’t manifesting in rehearsals, so I sort of stepped away from it. The first time [in the mid-1990s], we thought it was necessary to make a grand statement and say, “No, that’s it: we’re breaking up.” The second time [in the mid-2010s], it was like, “Well, let’s just not do it for a while, and not make such a big deal out of it.” This time I see it as an ongoing thing. I think I’ll be doing the odd project off to the side, maybe something with my brother (Tim Finn), or other projects, possibly. But Crowded House feels like it will continue now for a long time, and we can continue to expand it and get better.

Was there ever a time at which you thought that that being under the banner Crowded House was like a limitation, where it felt like it glued you to a signature sound? It feels like you have found this kind of happy balance where everyone can say, “Yes, of course that feels like Crowded House,” but nobody’s gonna mistake it for an attempt to precisely recreate “Woodface” or something.

Yeah, I mean, all the records have their own distinct qualities. Even in our first incarnation, we changed over the different records. You know, the first record was kind of rollicking, and the second record [“Temple of Low Men”] was more reflective. The third, “Woodface,” is a little combination there. And, you know, “Together Alone,” was quite different again. I hope we’ll keep changing from album to album, song to song. Certain things become more sophisticated because you’ve been doing it for longer, and so your observational skills come to the fore. And you can pick subtlety as an asset, once you become better at observing how music works — and hopefully won’t lose the essence of a pop sensibility, which I always have and feels good to me.

When a song you’re expected to play comes up, whether it’s one of the ones you were doing in the Fleetwood Mac shows or the ones that obviously everybody wants to hear on tour now, does your relationship to those change over time, or cyclically? Do you ever think you’l go mad if you have to play a hit one more time, and then you come back around to embracing it, or does that stay the same over the years?

I mean, there’s a couple of ’em that probably are less interesting to play, possibly sometimes because I’m playing acoustic guitar, and that’s the bit that’s not as fun. But the ones that I play electric guitar on, you can find new notes every night and you can influence the sound more. So that’s probably more what it comes down to, rather than the song itself. Actually, having said that, I play acoustic guitar half the night, and I’m quite happy to. But I do love it when I can get the old electric out and me and Liam can go wailing together.

The single, as we understand it, went through a title change. It was originally called “Life’s Imitation” and it took a young family member to change it to “Teenage Summer”?

It took my grandson to point it out, actually. Because he was singing it one day when I was on FaceTime with him, and he said, “I really liked that song, papa… ‘Teenage Summer.’” And I went, dang … this seemed entirely obvious, that suddenly that he’d picked out the key moment of the song, and the children might have to be heard. So I made a late call to change the title. I might’ve been subtly afraid in the early stages that it was a bit too Katy Perry or something to call a song “Teenage Summer.” But, you know, why should young people have all the fun? … I think there’s other hooks in the song, so I didn’t really figure out that that was the one, but that’s the moment that he really related to. And he is only 5 years old, so I figured, does he know what a teenage summer is? But there’s something about that that resonates for people, and certainly a lot of people have said to me since that it sparks some kind of nostalgic yearning, which is cool. You know, I’ll take anything if it makes you feel it.

There are a few songs on the album, like “All That I Can Ever Own,” that seem to refer to a child or a grandchild maybe just the sense of childhood. And there seems to be a real sense of kind of generationality in some of these songs. When you sing, “Every child is a mystic having visions of a new dawn”…

Well, I am particularly interested in the way that children think, and trying to keep up within myself a childlike view. Certainly with making music, being childlike in the way you approach it, to start with, is always a good idea. And then to be able to apply the reason of an adult to the editing of those ideas, that’s where the sweet spot is, if you get it right.

So, yeah, there is a focus on children. And certainly “All I Can Ever Own” is set, in my mind, in the car on the way home from the hospital with this new human being that you are about to really draw into yourself and get to know. And then, the inevitable process of letting it go, as well — that’s a fascinating theme, to my mind.

The new record starts with “Magic Piano,” and the album title, “Gravity Stairs,” takes its name from one of the lyrics. It feels like a slightly tricky song, in a way — tricky, but catchy, which is sort of your way.

Yeah — through life. I think it’s representative of a certain mentality that we have always had, and just with this record, of having some twists and turns and freedom in the way that the instruments are expressing themselves. I think the way Nick and Liam were playing together was like a really melodic little dance. The bass is particularly melodic in that song. They’re unusual chords, and the shifts from minor to major allow some really unusual atmospheres to emerge. It had an unusual structure that took us a while to figure out… I don’t know if I’ve told you too much or not enough!

It’s in the tradition of your unusual chord changes that feel sort of inevitable and sort of surprising at the same time. That feels like a particular gift you have.

I’m with you. I like that too. … The title “Magic Piano” comes from a children’s radio show — I don’t know if you knew that — but it’s just a title. There’s a really great little kids’ story about a kid who hates practicing piano, and his piano starts to talk to him, and then he becomes able to play incredible things on his piano because the piano is sort of doing it all. And so some of the theme was sparked by that. But then, it is a genuinely a genuine love song to my piano. It’s also got other things to it, about music in general — just the effort to achieve lightness and elevation, and how magical that the whole thing is. I suppose I’m also stating my absolute devotion to melody as the lead — how it takes the lead part in my own relationship with music.

A common characteristic of many of your songs is the dance between the light and the dark. They can be bright and cheerful and then there is this undercurrent of doubt that might just become prevalent in the bridge or something, like in “Something So Strong.” So in a new song like “All That I Can Ever Own,” it’s upbeat and positive in a way, but suddenly we get “I might push her away if I’m not careful.” That feels so Neil Finn, in a way, to have that little turn where it doesn’t totally subvert the song, but there’s this sense of how things could go wrong.

To go from the sublime to the business-like… you were in headlines recently with making a deal with Primary Wave for your publishing, which is the kind of deal so many songwriters of a certain stature and catalog are making. Is there like a level of security in that it sort of allows you to really follow your arrow wherever it leads, without having to worry about being as commercial at every moment?

Security’s not quite the right word for me. Simplicity is definitely part of it, and the idea that people really do care about my songs. I wouldn’t have ventured forth if I didn’t sense a genuine desire for them to really make the songs work on a broad basis. The idea they’re out there working for them is gonna be a benefit to me, to the band, and hopefully the songs themselves. And I have no obligations to manage the business of them, which in a way is the burdensome part. You know, as much as people say, “Ah, you’ve got to own your songs” and all that sort of stuff, it actually just means you’re hiring accountants and getting daily correspondence about how songs should be used, how splits should be administered, commissions paid, all that sort of stuff. I’m giving you a fairly comprehensive description of my thinking. But there’s something really lovely and simple about having somebody else taking care of it, and I’m confident they’re taking care of it in a really good way. So I’ll just get on and sing them and, you know, they’re out there in the world anyway. They belong to everybody, in a way. But somebody’s taking care of it.

I’ve got big aspirations for what I might do with the money that they’ve given me as well. I want to do really good things with that, so it gives me an opportunity to reach a little bit further than I could do. I’ve done well and it’s not that I feel like I’m gonna run out of money — that was not my motivation. But I think I can do good things with that money, while I’m got the energy to make good things happen, you know?

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It Happened Last Night: The Rolling Stones Took Over South Philly

Photos and dispatches from the packed (and hit-packed) performance.

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The Rolling Stones performing at Lincoln Financial Field in South Philadelphia as part of they Hackney Diamonds tour / Photography by Lisa Schaffer

The first thing you notice is the tailgating. Each makeshift hangout station has its own Rolling Stones soundtrack. So, as you make your way from the Broad Street Line to Lincoln Financial Field for Tuesday’s show, you listen to “Shattered” become “Angie,” which then morphs into “Waiting on a Friend,” and so on. This is a crowd that skews older and judging from the plethora of t-shirts from prior tours, it’s clear they’ve seen this band multiple times before.

A gargantuan arena show by British rock veterans is different enough from an Eagles game that a mild sense of chaos hung over Pattison Avenue as everyone tried to find the right entrance to the Linc. The copious security guards posted at every gate probably spent most of their time glancing at tickets and providing directions towards the correct entryway for each concertgoer.

The crowd was still filtering into the stadium as opening act Kaleo played their Icelandic blues rock. (That’s a genre?!) The band looked like Chris Stapleton roadies and sounded closer to Cinderella. Their last song was barely finished when the headliner’s crew made the gear switch with ruthless efficiency.

At 9:30 p.m., the Rolling Stones hit the stage with a somewhat de rigueur “Start Me Up.” The overwhelming size of their stage was immediately apparent: 180 feet wide by 65 feet deep, flanked by 46-foot-tall digital screens that showed the band and their eight auxiliary musicians from multiple angles.

Rolling Stones fans inside the Linc right after the show started

The Linc was packed. And because the Rolling Stones are old pros at playing stadiums, they long ago figured out how to give even the farthest reaches of the crowd a view of the stage.

It was impressive how vital they sounded for band led by two octogenarians. (As an aside, Amy Perlingiero of South Philadelphia enjoyed “how many times Mick [Jagger] took off a layer of clothing while performing, only to put something else on and remove it again during another song.”)

Collin and Holly Keefe of South Philadelphia got their tickets from a family member on Tuesday afternoon. They were especially excited to hear favorites like “She’s a Rainbow,” “Monkey Man” and “Tumbling Dice.” “I was really blown away by the energy,” Collin said. “These guys are like the same age as my dad (and President Joe Biden), and yet still rock it out on every song.”

The audience enthusiastically responded to a sing-along, gospel-inspired “You Can’t Always Get What You Want.” Other highlights included “Gimme Shelter,” featuring an incendiary showcase from backing singer Chanel Haynes ; and the extended “Midnight Rambler” that showed off Jagger’s harmonica skills and a bluesy guitar interplay by Keith Richards and Ronnie Wood.

The band also played three songs from their most recent album, Hackney Diamonds — nominally the whole reason for this tour — though these were the songs during which people were most likely to sit back down, or hit the restrooms and concession stands.

As a frontman, Jagger is nothing if not well-rehearsed, rattling off trivia about prior Philly shows (they first played here in 1965 with Herman’s Hermits) and dropping references to the Phanatic, Gritty, and Tastykakes. His crack about an exchange program with the Stones in town and the Phillies in England got some nods; no one had the heart to tell Mick that the Fightins were already back in the U.S. and playing in Boston that night. And his showmanship was in full force: He did his pointing dance, his hand-clapping dance, and made numerous jaunts down the stage catwalk.

After a one-song encore of “Satisfaction” (what did you expect?), the show wrapped up at the two-hour mark. The road crew reappeared and moved fast, and the crowd moved slowly to the exits.

Want to see the Rolling Stones’ 2024 tour for yourself? You better act fast, because it all ends in July . Alas, the closest they’re getting to Philly after last night is Cleveland.

Bonus: Rolling Stones Fans in the Parking Lot

Before Philadelphia photographer Lisa Schaffer went into Lincoln Financial Field to catch the Rolling Stones show, we sent her out to the parking lot to meet some fans. Here are some photos from her fan interactions.

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Josh kruger killer robert davis sentenced, i was *this close* to graduating from the university of the arts, mayor parker’s kensington crackdown intensifies in philadelphia, it happened last night: the rolling stones took over philadelphia, in this section.

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Gladys Knight, Patti LaBelle join Biden for early Juneteenth celebration on White House lawn

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WASHINGTON (AP) — President Joe Biden celebrated the Juneteenth holiday early with a Monday concert on the White House South Lawn with singers including Gladys Knight and Patti LaBelle.

“Black history is American history,” Biden told the crowd.

The Democratic president warned that some “old ghosts” in new clothes — a veiled reference to some of his Republican rivals — seek to take away their freedoms by making it harder for Black Americans to vote.

This year’s concert came as the presidential election is intensifying, with Black voters sure to play an important role. Biden won 91% of Black voters in 2020, according to AP VoteCast .

Presumptive Republican nominee Donald Trump, the former president, contends that more Black voters are turning his way . While Black Americans have consistently voted Democratic, minor changes in political loyalties or low turnout in key states could influence who wins in November.

The Juneteenth concert had blatant political overtones with emcee Roy Wood Jr., the comedian and actor, ticking through policy achievements by the Biden administration such as capping insulin prices and forgiving student debt.

Biden signed a law in 2021 that made June 19, or Juneteenth, a federal holiday. It commemorates the day in 1865 when the last enslaved people in the United States learned they were free, more than two years after then-President Abraham Lincoln signed the Emancipation Proclamation that liberated slaves in the Confederacy during the Civil War.

Generations of Black Americans have celebrated Juneteenth, which marks the enforcement of the proclamation in Texas with the Civil War ending in a Union victory.

Others at the White House event included singer and songwriter Raheem DeVaughn, gospel singer Kirk Franklin, rapper Doug E. Fresh, singer and songwriter Anthony Hamilton, singer and actress Patina Miller, country singer and songwriter Brittney Spencer, jazz musician Trombone Shorty and singer and songwriter Charlie Wilson.

There was a festive mood, with Vice President Kamala Harris dancing on stage with Franklin.

Harris, speaking at the concert, said this year’s Juneteenth will be a national day of action on voting, an effort to promote participation in the election and oppose efforts at voter suppression.

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• May 17, 2024 Setlist

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• May 17 2024 The Pour House This Setlist Charleston, SC, USA Add time Add time
• May 16 2024 Charleston Music Hall Charleston, SC, USA Start time: 9:00 PM 9:00 PM
• May 17 2024 Walhalla Performing Arts Center Walhalla, SC, USA Add time Add time
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Kirk Franklin Gets Kamala Harris To Dance On Stage At White House Juneteenth Concert

Vice President Kamala Harris danced on stage with Kirk Franklin during a performance of Smile, as the White House held its second annual Juneteenth Concert.

The lineup included Gladys Knight, Patina Miller, Trombone Shorty, Doug E. Fresh, Raheem DeVaughn, Anthony Hamilton, Brittney Spencer, Patti LaBelle and Charlie Wilson. Roy Wood Jr. emceed.

“The White House lawn has never seen anything like this before,” President Joe Biden told the attendees.

Biden talked of the nation’s “North Star,” or goal of equality, but added, “Let’s be clear: There are old ghosts in new garments trying to take us back.”

“They are taking away your freedoms making it harder for Black people to vote, or have your vote counted; closing doors of opportunity, attacking the values of diversity, equity and inclusion; if you can believe it, banning books about Black experiences, trying to erase and rewrite history.”

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Auburn Community Concert Band ready to start 43rd season

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The Auburn Community Concert Band performs weekly Wednesday evening concerts at Festival Plaza in downtown Auburn. Submitted photo

The Auburn Community Concert Band, under the direction of Milt Simon, will kick off its annual summer series of weekly outdoor evening concerts at 7 p.m. on Wednesday, June 26, at Festival Plaza in downtown Auburn. This year marks the organization’s 43rd anniversary. Founded by director Milt Simon in the Fall of 1981, the group has varied in size from 24 to over 50 members. This season’s 49 volunteer musicians range in age from late teens to early 80’s, and collectively represent some 16 central and western Maine communities.

Simon stated that the organization “gives many individuals a chance to utilize musical talents neglected since their high school days, and the entire community benefits.” He added that the Auburn group “is one of the larger community bands in the state of Maine, and often attracts over 300 people to its weekly concerts.” The City of Auburn has partnered with the group since its inception.

Each Wednesday evening, the band will present a 75-minute program featuring popular hit songs from the 60’s through the present. Simon predicts that the group’s repertoire of songs will appeal to audiences of all ages. “If you have a favorite song that’s been heard on the radio or in the movies, chances are good that our band will perform it sometime during the upcoming 9-week concert series,” Simon said.

The members of this summer’s concert band are:

FLUTE: Sharon Blodgett, Olivia Grallert, Barbara Jabaut, Laura Malkin, Julie Mann, Barbara Odiorne, Carrie Palmer; CLARINET: Steve Allman, Kiani Camire, Ron Draddy, Bill Galbraith, Denise Leavitt, Eilleen Messina, Patti Pelletier, Rick Rau, Louise Theberge; BASSOON: Hayden Pelletier; ALTO SAXOPHONES: Justin Fortier, David Griswold, Belinda Murchison, Nathan Titus; TENOR SAX: Angela Greenwald, Annabeth Treadwell; BARITONE SAX: Meghann Bilodeau, Jason Toussaint; TRUMPETS: Dominick Cammuso, Elliott Epstein, Nancy Morris, Josh Lampron, Ronald Seguin, Mike Truchon; FRENCH HORNS: Kelly Bickford, Stephanie Burke, Paul Mann, Denise Tabet; TROMBONES: Sonny Begin, Mark Jacobs, David Lantagne, Chip Morrison, Tom Nelson, Mendell Patton; BARITONES: Hadley Blodgett, Jacob Patton, Marsha Stone; TUBAS: Joshua Patton, Duncan Webster; and PERCUSSION: Keileigh Belanger, Laurie Swart, Mitch Thomas.

The performance is the first of nine concerts scheduled for this Main Street location. The free concerts will continue weekly on Wednesday evenings through August 21, weather permitting. There is no rain location this summer. In the case of inclement weather, that evening’s concert will be cancelled, and an announcement will be posted online. People planning to attend any of the Wednesday evening concerts at Festival Plaza should bring their own lawn chair on which to sit, and are advised to arrive well before the start time, as large audiences are again expected this summer. Ample free parking is available in the parking garage located across the street from the Plaza. Portable toilets have been located alongside the garage for use by the band’s weekly audiences. For more information or cancellation announcements, visit auburncommunityband.com.

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35 Facts About Saratov

Written by Floris Rosenthal

Modified & Updated: 31 May 2024

Reviewed by Jessica Corbett

Saratov is a fascinating city located in southwestern Russia, nestled on the banks of the great Volga River. With a rich history, vibrant culture, and stunning natural beauty, Saratov has become a popular destination for travelers from around the world. In this article, we will explore 35 fascinating facts about Saratov that will not only leave you in awe but also inspire you to add this amazing city to your travel bucket list. From its iconic landmarks and historical sites to its delicious cuisine and cultural festivals, Saratov has something to offer for every type of traveler. So, get ready to delve into the secrets of Saratov and discover why this dynamic city should be on your radar .

Key Takeaways:

• Saratov, a city on the Volga River, offers a rich history, diverse culture, and stunning landscapes. From its iconic bridge to vibrant festivals, Saratov has something for everyone to enjoy.
• With its mix of historical landmarks, cultural attractions, and natural beauty, Saratov is a warm and welcoming city that captivates visitors and residents alike. Whether you’re a history buff, art enthusiast, or nature lover, Saratov has it all!

Saratov is situated on the banks of the Volga River.

The city offers breathtaking views of the majestic Volga River, which is the longest river in Europe.

It was founded in 1590.

Saratov has a deep-rooted history that dates back to the 16th century when it was established as a fortress.

The name “Saratov” means “Yellow Mountain” in Tatar.

The city’s name is derived from the Tatar word “sary tau ,” which refers to the distinctive yellowish cliffs found in the area.

Saratov is the administrative center of Saratov Oblast.

As the capital of the Saratov region, the city plays a crucial role in the governance and economic development of the area.

It is often referred to as the “Gateway to Volga.”

Due to its strategic location on the Volga River, Saratov serves as a key transportation hub and a starting point for journeys along the waterway.

Saratov is home to over 800,000 inhabitants.

With a thriving population, the city boasts a diverse community with various cultural backgrounds and traditions.

The Saratov State University is one of the oldest and most prestigious universities in Russia.

Established in 1909, the university has a rich academic history and offers a wide range of courses in various disciplines.

The historic Saratov Theater is a prominent cultural landmark.

This beautiful theater, founded in 1851 , hosts a variety of performances, including ballet, opera, and drama.

Saratov is known for its beautiful architecture.

The city features a mix of architectural styles, including neoclassical, art nouveau, and Soviet-era buildings.

Saratov has a continental climate with hot summers and cold winters.

The city experiences distinct seasons, with temperatures ranging from hot and humid in the summer to freezing cold in the winter.

The Saratov Bridge is an iconic symbol of the city.

This impressive bridge spans the Volga River and offers stunning panoramic views of Saratov’s skyline.

Saratov is a significant industrial center.

The city is renowned for its manufacturing industries, including machinery, food processing, and chemicals.

The Victory Park in Saratov commemorates the heroism of World War II.

This sprawling park features monuments, memorials, and a museum dedicated to honoring the sacrifices made during the war.

Saratov is recognized for its strong sports culture.

The city has produced many talented athletes who have excelled in various sports, including ice hockey, football, and athletics.

The Saratov Art Museum showcases an extensive collection of Russian and European artwork.

Art enthusiasts can admire the masterpieces of renowned artists from different eras in this cultural gem .

Saratov is renowned for its festivals and cultural events.

The city hosts a myriad of celebrations throughout the year, including the Saratov Bridge Festival and the Saratov Jazz Festival.

Saratov is a major educational center.

In addition to Saratov State University, the city is home to numerous colleges, technical schools, and research institutes .

The Saratov Aviation Plant is one of the leading aircraft manufacturing facilities in Russia.

The plant has produced various aircraft, including the famous Antonov An-148 passenger jet.

Saratov is a popular destination for river cruises.

Tourists can embark on enchanting voyages along the Volga River, exploring the scenic beauty and historical sites along the way.

Saratov is a melting pot of cultures.

The city’s diverse population brings together different ethnic groups, contributing to a rich tapestry of traditions and heritage.

Saratov is famous for its delicious local cuisine.

Visitors can indulge in traditional dishes such as pelmeni (dumplings), borscht (beet soup), and blini (thin pancakes).

The Saratov Philharmonic Society is renowned for its exceptional musical performances.

Music lovers can enjoy classical concerts, chamber music recitals, and other enchanting performances at this esteemed institution.

Saratov is blessed with abundant natural beauty.

The city is surrounded by picturesque landscapes, including lush forests, rolling hills , and the serene Volga River.

Saratov has a rich literary heritage.

The city has been home to many notable writers , including Konstantin Simonov and Valentin Rasputin.

Saratov has a well-developed transportation infrastructure.

It is served by an extensive network of roads, railways, and an international airport, ensuring easy access to the city.

The Saratov Museum of Local Lore offers fascinating insights into the history and culture of the region.

Visitors can explore archaeological artifacts , ethnographic exhibits, and valuable historical documents.

Saratov is known for its vibrant nightlife.

The city offers a wide range of entertainment options, including bars, nightclubs , and live music venues.

Saratov is a popular destination for outdoor enthusiasts.

With its proximity to nature reserves and national parks, visitors can enjoy activities such as hiking, fishing, and camping.

Saratov is a center for space research and technology.

The city houses several scientific institutes and research centers dedicated to advancing space exploration.

Saratov has a strong tradition of chess.

The city has produced many talented chess players who have achieved international recognition.

The Saratov Puppet Theater delights audiences of all ages.

Featuring captivating puppet shows and performances, this theater is a must-visit for families.

Saratov is home to several beautiful parks and gardens.

Visitors can relax and enjoy the natural beauty in places such as Lipki Park and the Garden of Harmony.

Saratov hosts the annual Volga Fest, a vibrant celebration of local culture and traditions.

During this festival, the city comes alive with music, dance, art exhibitions, and traditional crafts.

Saratov has a thriving film industry.

The city has produced many acclaimed filmmakers and has a rich cinematic heritage.

Saratov offers a warm and welcoming atmosphere to both residents and visitors alike.

With its mix of historical landmarks, cultural attractions, and natural beauty, Saratov has something for everyone to enjoy.

These 35 facts about Saratov highlight the city’s historical significance, cultural heritage, and its role as a vibrant center of arts, education, and industry. Whether you are exploring the architectural wonders, immersing yourself in the local traditions, or simply enjoying the scenic beauty, Saratov is sure to captivate and leave a lasting impression.

Saratov is a fascinating city with a rich history, stunning architecture, and a vibrant cultural scene. From its picturesque waterfront to its historical landmarks, Saratov offers visitors a unique and immersive experience. Whether you’re interested in exploring its museums, enjoying its thriving food scene, or simply strolling through its charming streets, Saratov has something for everyone.

With its strategic location on the Volga River, Saratov has played a significant role in Russia’s history and continues to be an important hub for trade and transportation. Its diverse population and welcoming atmosphere make Saratov a destination worth visiting, whether you’re a history buff, a nature lover, or simply seeking to immerse yourself in a new and vibrant culture.

So, pack your bags and get ready to explore this hidden gem in Russia . Saratov will enchant you with its beauty, captivate you with its history, and leave you with memories to last a lifetime.

1. What is the best time to visit Saratov? The best time to visit Saratov is during the summer months of June to August when the weather is pleasant and ideal for outdoor activities.

2. How can I get to Saratov? Saratov has its own international airport, and you can also reach the city by train, bus, or car from other major cities in Russia.

3. What are some must-visit attractions in Saratov? Some must-visit attractions in Saratov include the Saratov Opera and Ballet Theatre, Radishchev Art Museum, Saratov Embankment, and the Holy Trinity Cathedral.

4. Is Saratov a safe city for tourists? Yes, Saratov is generally a safe city for tourists. However, it’s always recommended to practice common safety precautions such as avoiding walking alone at night and keeping an eye on your belongings.

5. What is the local cuisine like in Saratov? Saratov is known for its delicious and diverse cuisine. Some local dishes to try include borsch (traditional Russian soup), pirozhki (stuffed pastries), and pelmeni (dumplings).

6. Are there any natural attractions near Saratov? Yes, there are natural attractions near Saratov, including the Lipki Park and the picturesque Sokolovskaya Mountain offering breathtaking views of the surrounding landscape.

7. Can I explore Saratov on foot? Yes, Saratov is a walkable city, and many of its main attractions are within walking distance of each other. However, there are also public transportation options available for getting around the city.

8. Are there any festivals or events in Saratov? Saratov hosts numerous festivals and events throughout the year, including the Saratov Bridge Festival, Saratov Jazz Festival, and the Saratov Street Theater Festival. Check the local event calendar for the specific dates of these events.

9. Are there any accommodation options in Saratov? Yes, there are plenty of accommodation options in Saratov, ranging from budget-friendly hotels to luxury resorts and cozy guesthouses.

10. Can I visit Saratov as a day trip from Moscow? While Saratov is located around 800 kilometers southeast of Moscow, it is possible to visit the city as a day trip. However, it is recommended to plan a longer stay to fully explore and appreciate all that Saratov has to offer.

Saratov's enchanting charm extends beyond its city limits. Uncover more fascinating facts about the mighty Volga River , which flows through Saratov and shapes its landscape. Explore the hidden gems of other captivating Russian cities , each with its unique history and cultural treasures. Delve into the intriguing world of Engels , a city closely intertwined with Saratov's past and present. Embark on a journey of discovery as you unravel the secrets and stories that make these places truly extraordinary.

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How to watch TSU Aristocrat of Bands, Fisk Jubilee Singers at White House's Juneteenth event

Tennessee State University's Aristocrat of Bands is all about making history. The first marching band to win a Grammy is riding a tidal wave of success, and is only adding unique accolades for the Historically Black College and University group.

So are the Grammy-winning Fisk Jubilee Singers — known for bringing their powerful roots gospel music to life.

Fresh off last week's performance at CMA Fest, Tennessee State's band members spent early Tuesday tuning up their instruments for another national performance, this time invited by first lady Jill Biden to perform at the nation's first official observance of Juneteenth at the White House. The Jubilee Singers will also perform at the White House — two Nashville-based HBCU powerhouses joining musical forces for an unforgettable performance.

The performances start Tuesday at 6 p.m. CT.

“We are honored to make history yet again by performing for the CMAs and even more ecstatic to be invited by the first lady of the United States to celebrate Juneteenth for the first time as a nation and during Black Music Month,” Tennessee State band director Reginald McDonald said in a news release.

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TSU student Natori Simmons, a Nashville native who plays the tuba, said she looks forward to epic moments at CMA Fest and the White House.

“I feel extremely blessed that I chose to be a part of a program that continues to make history every day,” Simmons said in a statement. “We’re able to put our voice into these different spaces, and that’s really important for our community.”

The Aristocrat of Bands previously performed at the White House in 2016 for former President Barack Obama and first lady Michelle Obama.

Fisk's Jubilee Singers have been electrifying audiences since 1871, performing for kings and queens in Europe. In 2008, the historic group received the National Medal of Arts, the nation's highest honor for artists and patrons of the arts.

Fisk first performed at the White House in 1872 for then president Ulysses S. Grant, according to the National Endowment for the Arts.

Reach reporter Craig Shoup by email at [email protected] and on Twitter @Craig_Shoup. To support his work, sign up for a digital subscription to www.tennessean.com.