Name: Bonnie "Prince" Billy
Start: 2025-12-02T20:00:00
End: 2025-07-21T23:00-05:00
Location: Haw River Ballroom

GoldFord is a singer-songwriter known for his soulful, emotive music that blends classic and modern pop and soul styles. With over 50 million streams on his hit song "Orange Blossoms," In recent years, GoldFord’s music and songs he’s featured on have amassed over half a billion streams.GoldFord's musical journey is marked by a dedication to mental health and mindfulness education. He partners with organizations such as Whole School Mindfulness and Give to Give to address mental health issues and promote healing solutions. His music, including collaborations with artists like Lost Frequencies and Andy Grammer has been featured in popular TV shows and commercials such as Grey’s Anatomy, Coca-Cola, Station 19, Jeep, and the Super Bowl LVII, further cementing his mainstream appeal.

GoldFord

The nomadic, self-taught, soul searching troubadour has effectively and dynamically been able to disassemble the idea of an artist needing to be accredited to be accomplished. With an old soul and a fresh perspective, he has cultivated soundscapes and wave therapy on some of the musical worlds biggest stages such as Newport Jazz Festival, TEDx, and NPR while simultaneously staying steadfast in his belief of authentic quality over quantity; and it is with that stance that Charles has acquired cosigns from the likes of GRAMMY AWARD winning artists such as Son Little, Cedric Burnside, and Hip-Hop legends Digable Planets and Arrested Development; of which he has been direct support on a string of sold out shows. The D’angelico Guitars and Supro endorsed Charles’s inquisitive introspection has caught the attention of over 300k listeners across streaming platforms; not to mention the countless listeners he has captivated at venues, festivals, and conferences. His unique sonics have entertained and helped heal those who have listened, and Charles plans to continue that standard with his newest EP, “Here We Are.”, ushering in a new era; elevating his artistry and vision to new heights once again.It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Tre. Charles

On Saturday, May 17, from 6:00-9:00pm we will be celebrating our 51st year in the universe at the Haw River Ballroom, where we'll be leaning into an Area 51 and extraterrestrial theme for an out-of-this-world event.&nbsp;With a wonderful meal provided by Tandem and delicious desserts donated by local bakeries, we'll be dining family style while being regaled by TAC's own Tyler Dennis who'll serve as this year's auctioneer.All silent and live auction items will be posted for your viewing pleasure May 4 (MAY THE FOURTH BE WITH YOU!), but in the meantime a couple of highlights include a once-in-a-blue-moon painting workshop by Jane Filer, and weeklong mountain getaway to Blowing Rock. As always, all proceeds raised at GALAxy 51 will help fund our scholarship fund, educational programming and outreach, and studio improvements and amenities.In keeping with the spirit of a masked ball, we welcome you to come as you are and leave your human costume (and your cares) at home!

The ArtsCenter GALAxy

Lou Hazel was born in the town of Olean, New York to a family of northeastern wiseacres.Not one to commit, he skirted the compulsive hunting and fishing tradition held close to his father’s heart - instead cultivating a sensitivity more suited to artists and vagabonds. As a result, his travels brought him across the country and eventually through debilitating depression before coming to rest with a sense of personal peace and positivity in Durham, NC.Yet, Lou’s brain is still a bat cave. Mostly, he wakes up with no idea what he’s going to do next, then finds himself there. In songwriting, he pulls from this cave rambling, heartfelt tales flowing through unselfconscious truth. In illustrations, he swirls and meanders towards an eventual finish only understood upon completion – as in his music. And in his photography and design work, he renders the essence of fellow musicians into expressive, personalized works of art.Today, Louie continues crafting genuine folk tales of honest longing, disquieting loss, and nostalgia through a brilliant sheen of fresh insight with humble humor. Grabbing us by the ears in a new-age, Prine-like grip. Transforming the minutiae of everyday life into ever more evocative music. And surprising us all, including himself, with where we emerge.In other words, Lou Hazel is coming out of this unbearable, unbelievably tragic, disconcerting year like a damn newborn moth with jet engine wings aimed toward a totally full super-moon. And it is good.It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Lou Hazel

Mark your calendars and plan to join us the evening of May 27th at <a target="_blank" rel="noopener noreferrer nofollow" class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xkrqix3 x1sur9pj x1fey0fg x1s688f" href="https://www.facebook.com/The-Haw-River-Ballroom-439817229479643/?__cft__[0]=AZVexe_PRfAS-IrUB1_r3L63HNDyFWUrXO4_-9W_YsQuVnCV3plbJsBegNAbtdyQz8lmU1ON9_g5lX8ZByVkZ_Z5-YJ5O9Y0bQpwluTqpTF389NaQ3cz-kl9a1gtRSBxnldPsr6dyR71Oim7L6VKnr2f_-rAjfP1aHlS40zBIYxTOligIqZtcZWTCWnnHNr55VKCbgopeWEN5yaRhQD3afvZxYmknRX1OSDLQePVB3fWig&amp;__tn__=kK-y-R">The Haw River Ballroom</a> for this community wide event!!WHAT CAN YOU EXPECT??Great food for sale (thanks to <a target="_blank" rel="noopener noreferrer nofollow" class="x1i10hfl xjbqb8w x1ejq31n xd10rxx x1sy0etr x17r0tee x972fbf xcfux6l x1qhh985 xm0m39n x9f619 x1ypdohk xt0psk2 xe8uvvx xdj266r x11i5rnm xat24cr x1mh8g0r xexx8yu x4uap5 x18d9i69 xkhd6sd x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz xkrqix3 x1sur9pj x1fey0fg x1s688f" href="https://www.facebook.com/leftbankbutchery?__cft__[0]=AZVexe_PRfAS-IrUB1_r3L63HNDyFWUrXO4_-9W_YsQuVnCV3plbJsBegNAbtdyQz8lmU1ON9_g5lX8ZByVkZ_Z5-YJ5O9Y0bQpwluTqpTF389NaQ3cz-kl9a1gtRSBxnldPsr6dyR71Oim7L6VKnr2f_-rAjfP1aHlS40zBIYxTOligIqZtcZWTCWnnHNr55VKCbgopeWEN5yaRhQD3afvZxYmknRX1OSDLQePVB3fWig&amp;__tn__=-]K-y-R">Left Bank Butchery</a> and current parents!)Live music from local legend Alexander UnderwoodThe chance to snag some really incredible student made art (silent auction style)Community engagement as we gather in support of our youngest SaxapahooligansThe opportunity to learn more about our program as told by the stories in the artAn abundance of JOY, FUN, and LOVEMay 27th 5:30-7pm!!!

Itty Bid-y Art Auction

On their self-titled debut album, Fancy Gap–the duo of singer/songwriter Stuart McLamb (The Love Language) and songwriter/producer Charles Crossingham–takes listeners on a journey that steers through life’s melodies with windows down. It’s a country-tinged, radio-ready sound, yet delves deep into universal themes. From stirring reflections on death and aging to the joyous celebrations of life, love, and triumph, every track on Fancy Gap captures different facets of the human experience. With a twang evoking the heartland and a widescreen perspective hinting at something greater, McLamb and Crossingham explore poignant moments of laughter and loss, enduring bonds of friendship, and the ups and downs of relationships.&nbsp;McLamb has always been a heart-on-his-sleeve songwriter–one that’s also a traveler, tourer, hand-holder, relationship whisperer, and chronicler of beginnings and endings–and the bittersweetness that courses through The Love Language’s four albums is a voyage worth all the heartbreak. As he began working on the band’s fifth album in early 2020, McLamb took some early demos to Crossingham, whom he had known for nearly a decade but became closer with after moving back to Raleigh, North Carolina, that March. The pandemic struck in the midst of feeling out those early ideas; the two sheltered in Crossingham’s mountain cabin in Fancy Gap, Virginia, and questions of what life would look like when the world started over seeped into their late-night songwriting sessions. What began as a producer/artist collaboration blossomed into a close-knit co-writing project, rooted in Crossingham’s inspired belief and admiration in McLamb’s talents, and the musical kinship that the two had forged.As the tracks were fleshed out, a collective idea of song and place became entwined in how the two wanted these compositions to sound and feel. “Charles and I wanted to make an album that sounded like the music we wanted to hear. It just so happens that at the time we were listening to a lot of classic ’90s radio rock and a lot of classic country radio 98.1 WBRF out of Galax, VA,” McLamb explains. Fancy Gap was born. “Over the next two years,” he adds. “We hustled through odd jobs to keep our heads above water while dedicating ourselves to crafting the best songs we could.” The music took shape during recording sessions at the cabin, as well as impromptu jam sessions where Crossingham played guitar and McLamb handled drums and vocals. “The lockdown had us feeling cooped up, so we just let loose and rocked out. Making music with a friend like that was a blast—it took me back to the early days of jamming in my parents’ garage with my younger brother,” McLamb recalls fondly. They would then refine their best ideas at the Fancy Gap cabin, utilizing a portable rack unit of Quad Eight preamps. “Many of the lead vocals were captured in the moment, often on the first or second take,” he says.&nbsp;Reaching out to fellow artists and musicians became a priority as their excitement around the music continued to grow, and also felt like the thread to sew together the fabric of life after lockdown. “During the pandemic, we–and a lot of our artist friends who were struggling–needed a belief that there would be a light at the end of this,” Crossingham explained. “As the songs began to come together, we wanted to open our tent, and ask some of those friends and artists we respected to be a part of Fancy Gap with us.” As such, the album features masterful contributions from Sharon Van Etten (vocals on “Strawberry Moon”); Taking Back Sunday’s Adam Lazzara (vocals on “Filthy Habits”); Rami Jaffee (The Foo Fighters, The Wallflowers) on the Hammond B3 organ and Wurlitzer; acclaimed session guitarist Will McFarlane (Bonnie Raitt, The Mountain Goats, Etta James); and Jon Graboff on pedal steel ( Willie Nelson, Noel Gallagher, M. Ward, Norah Jones). Fancy Gap was finalized over five sessions with Grammy-award-winning engineer Craig Alvin (‘Album of the Year’ Kacey Musgraves’ Golden Hour), who mixed the album at Noble Steed Studios in Muscle Shoals, Alabama.&nbsp;As McLamb’s timeless voice leads the way–all classic pop timbre and heart swells, casting notes toward the sky–the songs explore love found (“Little Heart Racer”) and love lost (“Diamond Cutter”), the passing of loved ones (“Magnolias”), and hazy dreams and addictions of all kinds (“Old Ways”). The album pulses with a front porch phrasing and tempos that echoes the mountain locale of its recording; “How to Dance” and “Little Heart Racer” swing with a breezy roadhouse exuberance countered by the sweet melancholy of “Strawberry Moon.” Throughout, Fancy Gap also finds McLamb and Crossingham conjuring the pop leanings of early Counting Crows and The Lemonheads (“Filthy Habits”), the chordal phrasing and harmonies of Joni Mitchell and Crosby, Stills &amp; Nash (“Whispering Winds”), the stadium-sized sing-along choruses of The Wallflowers (“40,000 Miles”), and the expansive western terrains akin to a more psychedelic Marty Robbins (“Diamond Cutter”).&nbsp;Fancy Gap, for all the genuine emotional resonance it hits lyrically, feels like a hands-in-the-breeze springtime ride at dusk, with a treasure trove of your favorite albums under your seat and nothing in front of you but gravel roads and wistful speed. It’s a musical expedition that transcends the sum of its parts, painting sonic landscapes that linger in the heart and soul.– Roy Bourne, April 2024It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Fancy Gap

Hadreas, a Seattle native, began his music career in 2008 and released his debut album, Learning, in 2010 via long-time label home Matador. The album immediately captured critics’ attention, with Pitchfork praising its “eviscerating and naked” songs, marked by “heartbreaking sentiments and bruised characterizations delivered in a voice that ranges from an ethereal croon to a slightly cracked warble.” These descriptors became the hallmarks of Perfume Genius - Hadreas’ unique ability to convey emotional vulnerability not only lyrically, but with his impressively nuanced vocals.&nbsp;In 2012, Hadreas released Put Your Back N 2 It, further growing his audience and critical acclaim. His 2014 album, Too Bright, marked a bold evolution in production and confidence. Co-produced by Adrian Utley of Portishead, it featured the standout single “Queen,” which quickly became a queer anthem and powerful statement of identity. Hadreas later performed the track on Late Night with David Letterman.&nbsp;In 2017, Perfume Genius released the GRAMMY-nominated No Shape, a breakthrough album that expanded his global fan base and brought mainstream recognition to his art. Produced by Blake Mills (Fiona Apple, Alabama Shakes), the record earned high praise, with The New Yorker noting, “The center of his music has always been a defiant delicacy—a ragged, affirmative understanding of despair. No Shape finds him unexpectedly victorious, his body exalted.” During the album’s campaign, Hadreas appeared on multiple late-night shows and graced the cover of The Fader.&nbsp;In 2020, Hadreas released Set My Heart On Fire Immediately, a critical masterpiece on Matador Records that garnered worldwide acclaim. Produced by GRAMMY winner Blake Mills, the album featured contributions from Phoebe Bridgers, Jim Keltner, Pino Palladino, Matt Chamberlin, Rob Moose, and longtime collaborator Alan Wyffels. It explored and subverted concepts of masculinity and traditional roles, introducing distinctly American musical influences.Hadreas promoted the album with performances on Jimmy Kimmel Live! (“Jason”), The Late Show with Stephen Colbert (“Whole Life”), and The Tonight Show Starring Jimmy Fallon (“On The Floor”). He followed with Ugly Season, a project born from his collaboration with choreographer Kate Wallich on The Sun Still Burns Here, a dance piece commissioned by Seattle Theatre Group and Mass MoCA and performed across major cities in 2019. &nbsp;The release included a stunning 30-minute film, Pygmalion’s Ugly Season, created with renowned visual artist Jacolby Satterwhite, blending surreal visuals with Hadreas’s music.&nbsp;Mike Hadreas is now based in Los Angeles with his partner in life and music, Alan Wyffels.&nbsp;

Perfume Genius

It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

The Wilson Springs Hotel

Three women ignite the flames of curiosity and adventure which lay dormant within so many of us, by deepening our understanding of the synergy between nature and humanity—and by doing so radically, through a voyage across the North Atlantic.Motivated by Kiana’s first North Atlantic crossing in 2019, where she witnessed a plastic-littered ocean, Mara Noka and Kiana, joined by filmmaker Alizé Jireh and environmentalist Lærke Heilmann, set off across the North Atlantic again in 2022 to follow plastic pollution on its ride to Europe via the Gulf Stream. Throughout the entirety of the voyage, larger floating debris including fishing nets, buckets, bottles, plastic bags, and nylon ropes were constant companions.&nbsp;Though the initial intention of the film was to focus mainly on telling this story of plastic, the voyage took on a much more personal tone as the days progressed. The women were then faced with the reality of life at sea aboard a boat, for 30 days, with no space from each other or themselves. Calms and tempests reflected their own inner workings, and an entire moon’s cycle on the ocean brought their femininity to the forefront. They experienced their fragility and their strengths with an intensity that is unmatched, transforming this film into an intimate portrayal of woman and nature.

Women & the Wind: Film Screening

ll Y’all Records is the brainchild of Dave Hedeman from the Gone Ghosts and Nick Stroud from Heat Preacher. Together they saw an opportunity to do things differently. Veterans of the local North Carolina and regional music scenes, Nick and Dave share a common camaraderie.Together, they have seen it all throughout their musical careers. But In recent years the music industry has turned itself upside-down and inside-out and the game has completely changed. And it's hardly ever in the interest of the independent artist.&nbsp;All Y’all Records sees an opportunity to help up-and-coming artists in our respective genres, reach their musical goals, while opening up a different paths to success on their musical journeys.All Y’all Records’ goal is to foster a thriving live music scene for independent artists in the Americana Rock / Roots Rock / Alt-Country and Indie Rock genres. Together, we’ll help North Carolina bands succeed by sharing knowledge, experience and connections. We’ll amplify each other's unique strengths to advance everyone's career., because we believe we can be stronger together than by going it alone. It's as simple as that.&nbsp;We hope you will&nbsp; follow us in our musical journey to help support local musicians and artists thrive.It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

All Y'all Country All Stars

Country Cruel

This show is standing room.Godspeed You! Black Emperor released a string of albums from 1997-2002 widely recognized as redefining what protest music can be, where longform instrumental chamber rock compositions of immense feeling and power serve as soundtracks to late capitalist alienation and resistance. The band’s first four releases—especially&nbsp; F#A#∞ (1997) and Lift Your Skinny Fists Like Antennas To Heaven (2000)—are variously regarded as classics of the era and genre. Godspeed's legendary live performances, featuring multiple 16mm projectors beaming a collage of overlapping analog film loops and reels—along with the distinctive iconography, imagery and tactility of the band's album artwork and physical LP packages— further defines the sui generis aesthetic substance, ethos and mythos of this group. GY!BE has issued two official band photos in its 25-year existence (the second, left, a 2010 recreation of the first from 1997) and has done a half-dozen collectively-answered written interviews over that same span. The band has never had a website or social media accounts. It has never made a video. Few rock bands in our 21st century have been as steadfast in trying to let the work speak for itself and maintaining simple rules about minimising participation in cultures of personality, exposure, access, commodification or co-optation.Following a seven-year hiatus that began in 2003, Godspeed returned to the stage in December 2010 (curating the UK festival All Tomorrow’s Parties) and the band’s post-reunion period has now lasted over a decade, marked by hundreds of sold-out live shows and three additional albums, all of which have been met with high acclaim.G_d’s Pee AT STATE’S END! – the band’s fourth post-reunion album (and eighth overall) –&nbsp;was released&nbsp;on April 2nd, 2021.

Godspeed You! Black Emperor (NEW DATE)

Boom Unit Brass Band is a 10-piece second line brass band from NC.It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Boom Unit Brass Band

Joe Troop is a multi-instrumentalist, singer, and songwriter hailing from the North Carolina Piedmont. He is one half of the acclaimed panamerican folk duo Larry &amp; Joe, and founder of GRAMMY-nominated stringband Che Apalache. His music is deeply inspired by a decade living in Buenos Aires and traveling throughout Latin America and the world.When the pandemic landed him back in North Carolina in 2020, Joe began working with stalwart organizers in order to more effectively meld his music and progressive social agenda. This culminated in his 2021 album “Borrowed Time,” featuring an epic cast of collaborators including Béla Fleck, Abigail Washburn, Tim O’Brien and Charlie Hunter.In December of 2021 the stars aligned, and Joe met his musical soul brother, Raleigh-based Venezuelan folk music legend and asylum-seeker Larry Bellorín. Soon thereafter he decided to put down roots in Durham to pursue the duo full time.&nbsp;When not on the road with Lare-bear, Joe leads various ensembles in NC, which play his original music.&nbsp;It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Joe Troop's Truth Machine

A songwriter based in North Carolina, Django Haskins has fronted the pop-noir band, The Old Ceremony, since 2004. He also forms one half of the psych-folk duo Au Pair with the Jayhawks' Gary Louris. He has toured. He has been written about. In 2016 he received the NC Arts Council's Artist Grant in recognition of his extensive creative exertions. He has been a part of the traveling circus known as Big Star's Third since its inception in 2011. He has released a thirteen albums of his songs in various guises.SHADOWLAWN began as a series of experimental recordings in his newly built studio, and eventually evolved into a kind of late-summer song cycle full of meditations on death, love, fear, wanderlust, and exploration of interior worlds. The 1966 Nancy Sinatra recording of "Bang Bang" and Angelo Badalamente's work with David Lynch provided sonic touchstones for the album, with their extensive use of negative space and simultaneously lush and spare atmospheres. As twenty-some songs were whittled down to eleven, banjo and baritone guitar alternated with piano in accompanying the unusually exposed vocals, leaving plenty of space for listeners to fill in the spaces with their own imagination.In 2022, Haskins released a pair of self-produced EP’s, Beforetimes 1 &amp; 2, which featured friends Syd Straw, Skylar Gudasz, Phil Cook, and Matt Douglas, bringing a feeling of community to the bedroom folk-pop songs.Haskins has been writing a song a week since the onset of the pandemic, resulting in over 100 new songs and counting.Lost World, out 7.27.23, is the first release of this pandemic body of work, and it’s also Django’s first collection of piano songs. He recorded alone at his Chapel Hill studio, Calvander Sound, bringing in old friend Matt Douglas (Mountain Goats) to add sax on one song, and doing some post-production with the dB’s Chris Stamey. Since the onset of the pandemic he has been writing a song a week as a way of continuing to develop creatively in the face of a complete shutdown of live performances. Even as the world is partially reopened, he’s kept up the practice, currently up to 115 new songs, and from these he selected a coherent group of eight piano songs to form LOST WORLD. The mood is dreamlike, ethereal, and melancholy, a reflection of that difficult period of time. Touchstones included the minimalist work of Erik Satie, the dark theatricality of Kurt Weill, Bill Evans’ harmonic painting, and Sinatra’s thematic albums of the Fifties. It is a record you can put on and sink into like a hot spring, watching the steam rise as you begin to float.&nbsp;Mortality and loss figure heavily in the lyrics, from “Lost World,” which explores the ways that we hold on to our own idealized personal golden ages, to “The Woodpecker,” in which a seeker arrives at their dream city only to find it long abandoned; to “I Dream of Cities,” where the singer “didn’t recognize my neighborhood/they’ve paved over the park.” In fact, the obituary pages provided inspiration for several songs, including “King of Hearts,” the story of a troubled street artist in downtown NYC; “Man in Sea,” a first-person tale of Charles Lindbergh’s surviving son who became a deep sea diver; and “Will There Be Time,” a meditation sparked by the story of late North Carolina architect Phil Freelon and his surviving family. And yet, there is an enveloping comfort in the melodies and soundscapes that balances the dark themes.&nbsp;It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Django Haskins

Bass Battery

Paradise Motel Lounge

Omar Ruiz-Lopez

This is a seated show. All seats are general admission- pick your seat.Few bands enter their fifth decade of making music with all the fierce creative energy of their early years. Even fewer bands are like The Church.&nbsp;Experiencing a renaissance of sorts with their worldwide critically-hailed 26th album The Hypnogogue and a world tour that took them through North America, the UK, Europe and Australia, The Church was met with fervent audiences who embraced not only their early catalog but their new material as well. UNCUT encapsulated this idea when they wrote in their 8 out of 10 review that “The&nbsp;Hypnogogue is like every other Church album, and nothing quite like any of them; both statements are intended as compliments.” A monumental concept album, The Hypnogogue found The Church honing in on their bespoke sound without retreading creative steps, unveiling a cinematic record that couples their trademark psychedelic-splashed indie rock with a dystopian narrative – a first for the band. Featuring pre-album release singles “The Hypnogogue”, “C’est La Vie” and “No Other You,” the album offers a pool of melancholy tones and psychedelic swells, transporting listeners to another realm, guided by its striking science fiction narrative. Reading like a short story from visionary science fiction author Philip K. Dick (“A Scanner Darkly,” “Electric Dreams”), The Hypnogogue is a retro-futuristic, dystopian tale that revolves around a fictional machine (the "Hypnogogue") that extracts music directly from subconscious dreams.&nbsp;As fans’ love of the band grew with the advent of the new record and its new direction, critics embraced them too. Rolling Stone quipped, “In full flight, Kilbey plays the bass with a power and intent once reserved for ascending Lancaster bomber pilots in WWII.” Vive Le Rock rated it a 9 out of 10 and calls the album “a great leap forward, thanks to the incredible melting pot of talent that Kilbey is now stirring.” American Songwriter praised, “On The Hypnogogue, the quintet creates fluid moods, moving in idiosyncratic directions while maintaining the shadowy gaze that has defined The Church’s style." Classic Rock hailed, “The Hypnogogue finds [Steve Kilbey] close to the top of his game… The best bands have the capacity to surprise even after decades at the coal face. That The Church remain so vigorous and vibrant is a delightful surprise indeed.”&nbsp;To continue the excitement that the music world at large was experiencing, Steve Kilbey and band decided to further the storyline of the Hypnogogue by returning to the studio to add additional tracks for a deluxe edition of The Hypnogogue to be released this Fall 2023. While the digital companion to the album will be available worldwide on DSPs, a special physical deluxe edition will be available to purchase as a standalone physical format at merch on the upcoming U.S. dates.&nbsp;

The Church - THE SINGLES: 1980-2025

Weirs is a collective of North Carolina musicians who interpolate traditional ballads and hymns through their love of free improvisation, drone, tape music, and deep listening. Through this work they seek not to simply preserve these old songs but use them as a shared lexicon for sonic exploration and the development of new musics rooted in collaboration and collective creation.It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Weirs

John Howie Jr. and the Rosewood Bluff

Country Soul Songbook

Caique Vidal (ka-EE-kee vee-DAHL) faithfully shares the Afro-Brazilian traditions of his Bahia birthplace. He is an educator and community organizer for the Brazilian diaspora in North Carolina.As a young man, Caique joined a new wave of politically-charged street musicians in the city of Salvador da Bahia, known as “the Black Rome of the Americas”. Playing with Olodum, the founding family of samba-reggae, Caique established the genre’s infectious rhythms and message of Black empowerment in Brasil, Europe, and the Americas, starring in a Spike Lee and Michael Jackson <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=QNJL6nfu__Q&amp;ab_channel=michaeljacksonVEVO">music video </a>along the way.A studied rhythmic and choral arranger, Caique collaborated with producer Mikael Mutti on <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.kennedy-center.org/artists/p/pa-pn/-percussivo-mundo-novo/">Percussivo Mundo Novo</a>, an experimental reinterpretation of traditional Bahian percussion. He has proudly shared the stage with acclaimed musical ambassadors Suzana Baca, Carlinhos Brown and Gilberto Gil.It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Caique Vidal & Batuque

Hayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of us what to do or think. But he is charting out a personal guide for his life, quieting the noise, and sitting with his real voice – the one that’s candid, consistent, and often inconvenient.We’re Only Human is Carll’s tenth album. Like his best lyrics, it is also an understated masterpiece, an honest snapshot of one man’s confrontation and delight with humanity’s biggest and most intimate questions. Where do we find forgiveness for ourselves and grace for others? How do we hold on to peace of mind and stay present? What can we—and should we––trust? And how can we moor ourselves to, well, ourselves, in the midst of confusing, trying times? We’re Only Human offers audiences the chance to listen to Carll as he listens to himself.“I’ve lived outside of myself for so long,” Carll admits. “Distractions, fear, anxiety, insecurity, and the complexity of being human in this world have so often pulled me away from being present or at peace.”“I feel like there’s been a voice riding shotgun all my life, pushing me to do better, but I’ve struggled to listen to it,” Carll says. “The idea behind this record was to do the personal work I needed to do, then codify those lessons in song to serve as sort of breadcrumbs to get me back on the trail if, and inevitably when, I get lost again.”Carll is more than two decades into a celebrated career. Praise from places such as Pitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle tough issues with wry humor to Bob Dylan––punctuate a resume that includes Americana Music Awards and a Grammy nomination. His songs aren’t safe, but many of Nashville’s stars have recorded them, including Kenny Chesney, Lee Ann Womack, and Brothers Osborne. As a solo recording artist, Carll has long-since established himself as one of Americana’s most-played––and most loved––voices. His warm but crackling vocals, wit, and heart dance through wordplay that’s always clever, and never too precious. Through it all, whenever Carll points a finger, it’s most often at himself.As We’re Only Human collects moments of Carll figuring out how to be with himself, the songs feel forthright, hopeful, and timely. In today’s onslaught of instant gratification, rage-baiting headlines, glorified intolerance, and falling empathy, the record is a startling outlier: an artist’s raw, real-life effort to live well—both with himself and others. Carll embraces private epiphanies, and shares them with the world, allowing them to unfold for all to see and share.Of course, We’re Only Human is also art. So while appreciating the motivation and compelling themes driving it will underpin the listener’s experience, Carll’s album also matters because of the sheer brilliance of its execution. These are songs composed by a writer’s writer, wielding his considerable skill with precision and beauty.The album’s title track unfolds with plaintive piano and a mantle of grace. Carll sings, with a calming sincerity, “We’ll do most anything to avoid the pain / Hiding our hearts and casting the blame / 6,000 tongues, but we’re all the same / Ain’t no need to carry that shame / ‘Cause we’re only human.”Hard-won minutes of quiet clarity inspired some of the record’s most beautiful moments. Accented by bright mandolin and soft, simple percussion, “Stay Here a While” captures a peaceful reprieve from a racing mind. “I remember sitting on the couch, looking out the window, watching the birds do their thing,” Carll says with a laugh. “I got lost in their lives for a moment, and it was such a wonderful feeling because my mind is always going in circles, seeking excitement, and frankly, just thinking about myself. I enjoyed the peace I felt in that moment and I thought, this is lovely and I’d like to stay in this place.” Carll shared that takeaway with MC Taylor, aka Hiss Golden Messenger, who not only could relate, but helped finish the song.“High” offers another invitation to stop and breathe. Opening with a solo horn, flute, and stripped down piano, the track is lovely and sincere, with Carll’s signature humor hovering comfortably nearby. There are also times when Carll’s sharp wit comes roaring to the foreground. “Progress of Man (Bitcoin and Cattle)” sends up society’s disorienting––and conflicting––forces, while “Good People (Thank Me)” is a masterclass in comedic timing, stubborn humanism, and the untapped potential of gratitude.A dogged insistence on acceptance, both of one’s self and others, courses through the album— as does Carll’s determination to hold himself accountable. “If I’m judging others, then I’m not having to look at myself,” Carll says. “I’m flawed as hell, judgmental, and critical of myself and those around me. That’s a loop that feeds itself. But I figure If I can look at myself clear-eyed and acknowledge my own shortcomings, it might help me have some grace and acceptance for myself and others.”It’s that sort of harmonious duality––embracing one’s self and confessing one’s own mistakes––that solidifies the record’s big-hearted honesty. “The creative process was in large part a self-therapy session. I don’t think that would work if I was only looking at everyone else’s issues,” Carll says.A moving series of grounding vignettes, realizations, and self-love roll through “What I Will Be,” as Carll promises to not compromise himself to fit in. A slow-burning, blues-tinged standout, “I Got Away with It” is painful and gorgeous. Brimming with hope, “One Day” balances the work Carll sees as necessary with the certainty that satisfaction, contentment, and peace are reachable by trusting in yourself and the universe.Featuring a parade of Carll’s longtime friends, album closer “May I Never” is a plea to himself. As Ray Wylie Hubbard, Shovels &amp; Rope, Darrell Scott, Nicole Atkins, and The Band of Heathens’ Gordy Quist and Ed Jurdi each take verses, listeners are swept up in a resolute promise to keep after good. “It brings up a lot for me when I hear them singing those lines,” Carll says. Each of those people – whether they know it or not – have played a part in my story, and it’s gratifying and humbling to me to have them lend their voices to this song.”In the end, Carll’s latest album is a lovingly and purposefully written collection of reminders. “I hope other people find something in it, too” Carll says. “Through it all, I am trying to stay appreciative, knowing that I did what I set out to do: write something that can help me navigate this journey with a little more grace and peace.”

Hayes Carll

With their hypnotic rhythms and mesmerizing vocals, Stereolab became one of indie's most distinctive and influential bands when they emerged in the early '90s. Led by Tim Gane and Laetitia Sadier, the group celebrated strands of pop music -- bossa nova, lounge-pop, movie soundtracks -- that were traditionally banished from rock's lineage. On early singles and albums such as 1993's Transient Random-Noise Bursts with Announcements, Stereolab combined '60s pop melodies with an art rock aesthetic borrowed from Krautrock bands like Faust and Neu!; by the time of 1996's Emperor Tomato Ketchup, their sound incorporated jazz, hip-hop, and dance music. Their work with John McEntire and Jim O'Rourke on 1997's Dots and Loops and 2001's Sound-Dust reflected an increasingly intricate, experimental approach, but following the 2002 death of member Mary Hansen, they eventually returned to a poppier style on albums like 2008's Chemical Chords. Stereolab's unmistakable sound had a lasting impact: Contemporaries like Pavement and Blur aped their style in the '90s, while hip-hop artists such as J Dilla and Tyler the Creator sampled the band's music or collaborated with its members in the 2000s and 2010s. Late in that decade and into the 2020s, Stereolab's revival as a touring band and a steady stream of reissues underscored their reputation as innovators. Tim Gane (born July 12, 1964; guitar, keyboards) was the leader of McCarthy, a London-based band from the late '80s that functioned as a prototype for Stereolab's sound. Gane met Laetitia Sadier (born May 6, 1968; vocals, keyboards), a French-born vocalist, at one of McCarthy's concerts. The pair began a romantic relationship that became a musical collaboration after McCarthy disbanded in 1990; Sadier sang on the final McCarthy album. The duo began recording as Stereolab, borrowing the name from Vanguard Records' hi-fi effects division in the '50s. Gane and Sadier also formed the label Duophonic Records with manager Martin Pike to release their singles. Stereolab's first year of existence was prolific: The debut EP Super 45 arrived in May 1991, followed quickly by the Super-Electric EP that September and the Stunning Debut Album EP that November. At that point, the group were working with Th' Faith Healers drummer Joe Dilworth and former Chills bassist Martin Kean; Gina Morris occasionally provided backup vocals. Too Pure released the band's first full-length, Peng!, in May 1992, and the EP compilation Switched On in October. As with all of the group's releases from this era, both albums featured the visual trademark of a maniacally grinning cartoon taken from a '70s Swiss political comic (which the band named "Cliff"). That year, Stereolab also issued the Lo-Fi EP and added keyboardist/vocalist Mary Hansen and drummer Andy Ramsay to the fold. Released in early 1993, Stereolab's The Groop Played "Space Age Bachelor Pad Music" EP featured the core group of Gane, Sadier, Hansen, and Ramsay, along with ex-Microdisney guitarist Sean O'Hagan and bassist Duncan Brown. One of the first '90s alternative records to explicitly draw from the "Space Age" lounge-pop music of the '50s, The Groop became an underground sensation, paving the way toward Stereolab's first American record contract with Elektra Records. Their next album, and first American release, was Transient Random-Noise Bursts with Announcements. Released in August 1993, it became an underground and college hit throughout the U.S. and U.K. They followed it that October with Crumb Duck, a split EP with Nurse with Wound.&nbsp;

Stereolab

Sleepy Cat Records is thrilled to be joining The Haw River Ballroom again in presenting our 4th Annual Sleepy Fest in the beloved community of Saxapahaw, NC on October 11th, 2025! Sleepy Fest provides an important platform for emerging North Carolina-based artists, creates opportunities for our community to connect, and helps raise the funds we rely on to stay in operation. We take pride in using Sleepy Fest as a platform to promote the social justice work that is already happening in our community as well as the kind of thoughtful work we hope to encourage moving forward - including but not limited to racial and environmental justice, anti-colonial/imperialist organizing and discourse for non-western nations, and queer representation/platforming.The day will kick off with free-to-the-public performances at the Haywagon Stage and&nbsp; Artisan Market in the spirit of the long-running Saturdays in Saxapahaw series. Ticket holders will have access to the main festival grounds near the Ballroom, enjoying performances between the Haywagon Stage, Ballroom Main Stage, and the Amphitheater. In addition to the shops in town, we’ll have food and beverage vendors, as well special programming by participating local businesses.As in Sleepy Fest’s past, you can expect a diverse lineup of Sleepy Cat and other artists and one-time collaborations and improvisations. We’re planning visual installations and other non-music arts elements similar to last year’s quadraphonic performances, projections by dance artist Brooks Emanuel and Dye Vat DJs, as well as our Vendor and Artisan Market, Kids Zone, and more! We believe that this event will once again bring a day of joy and music-immersion to attendees, and will continue to foster a deeper appreciation for the wealth of culture and community in our area.<h1>Lineup</h1>This year’s festival will feature a blend of performances from our Sleepy Cat Artists as well as non-label artists and friends. So far the lineup includes folk, oldtime, americana, cumbia, immersive electronic, a drag show, a puppet show, twangy punk rock, and more:Alice Gerrard, Hard Drive, Twain, Stormie Daie, Delver, Lonnie Walker, Trippers &amp; Askers, Slow Teeth, Kill the Buddha, Ancestor Piratas, and MORE!<h1>Arts &amp; Makers Market</h1>This year’s market will be located at Saxapahaw’s Haywagon Stage, home of the long running and family-friendly Saturdays in Saxapahaw. In keeping with that spirit, we will kick off Sleepy Fest with a free/open-to-the-public show and market from 11am-430pm. Our ticketed experience will then run from 2pm-10pm at the main festival grounds between the Ballroom and Amphitheater. Exact schedule subject to changeSignup to be a market vendor -&nbsp; coming soon.<h1>Food &amp; Bev</h1>There will be food and beverage vendors to enjoy all day, including coffee, alcoholic and NA beverages, and vegan food options.Full food &amp; bev vendor list coming soon.*You’re welcome to bring your own food items if you have specific dietary preferences, though we encourage you to purchase food onsite from our great vendors and local businesses.<h1>Schedule</h1>11am-430pm Free Arts Market &amp; Show at Haywagon Stage2pm-10pm Ticketed access to festival grounds - Ballroom &amp; AmphitheaterExact schedule subject to change<h1>»TICKET INFO«</h1>TICKET SALES STOP AT 12PM DAY-OF FEST, OCTOBER 11thAND WILL BE AVAILABLE AT THE DOOR<h1>General Admission</h1><ul><li>Adult - $49.50 // EARLY BIRD* - $45</li><li>Kids 6-12 - $22 // EARLY BIRD* - $20</li><li>Kids 0-5 - FREE</li></ul>General Admission tickets provide access to the festival grounds for all programming from 2pm-10am, where you’ll enjoy feature performances between the Ballroom and Amphitheater, Haywagon and Art Market, DJ sets, vendors and other special programming.*Early Bird is scheduled to end June 1st<h1>Volunteer</h1>SIGNUP OPENS AUGUSTOur volunteers play a big role in making Sleepy Fest what it is. Volunteer for one shift (approx 3 hours) in exchange for free entry to Sleepy Fest. Volunteers are assigned on a first-come, first-serve basis, and early signups receive first choice of preferred shifts. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.sleepycatrec.com/join-newslitter">Sign up for the Sleepy Cat NewsLitter</a> to get first access<h1>Sliding Scale</h1>We’re offering sliding scale tickets for ALAANA/BIPOC/SWANA** attendees. If this applies to you and you’d like to purchase sliding scale tickets, please visit our<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.venuepilot.co/events/111344/orders/new#/"> Sliding Scale Ticket Page</a>. No proof required. Available for all ages. If you have questions or would like clarification on this matter please contact us at<a target="_blank" rel="noopener noreferrer nofollow" href="https://form.jotform.com/242194644171153"> </a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.sleepycatrec.com/join-newslitter">sleepycatrec@gmail.com</a>.**ALAANA - African, Latine, Asian, Arab, Native American // BIPOC - Black, Indigenous, People of Color // SWANA - South West Asian and North African<h1>Extra Donations</h1>Feeling extra giving? Make stand-alone or add-on donations in $5 increments.Your extra donation will go towards:<ul><li>Our sliding scale program, subsidizing affordable tickets, and helping make Sleepy Fest more accessible</li><li>Funding our label projects for 2025, should we have surplus beyond the above mentioned priorities</li><li>Paying event staff and performers bonuses above base pay</li></ul><h2 style="text-align: center">Thanks so much!</h2>More information and contact info at:<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.sleepycatrec.com/sleepyfest"> </a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.sleepycatrec.com/join-newslitter">https://www.sleepycatrec.com/sleepyfest</a>Follow us on IG<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/sleepyfest/"> @sleepyfest</a> to stay in the loop as we roll things out

Sleepy Fest

Folk’s modern muse Jensen McRae has revealed the release date for her highly anticipated sophomore album, I Don’t Know How But They Found Me!, scheduled to drop on April 25 via Dead Oceans.&nbsp;Set against the backdrop of heartbreak, self-discovery, and the complexities of love, I Don’t Know How But They Found Me! is a bold evolution for the young artist. The eleven-track album, recorded in North Carolina with Brad Cook (Waxahatchee, Bon Iver) and featuring contributions from Nathan Stocker (Hippo Campus), Matthew McCaughan (Bon Iver), and her brother Holden McRae, is a vibrant collection of songs anchored by razor-sharp lyrics and timeless pop melodies.McRae’s voice is as versatile as her songwriting—wispy and textured at times, clear and bright at others. It’s a voice that embodies both the heartbreak of being left and the strength of doing the leaving. The album’s title, inspired by a line from Back to the Future, reflects McRae’s resilience: “I could’ve easily collapsed beneath the weight of what happened to me, but I didn’t. I was bulletproof the whole time.”Following the release of her latest album, Jensen McRae will embark on an extensive North American and European/UK tour in Spring 2025, bringing her signature blend of raw lyricism and soulful melodies to stages across the globe. The North American leg kicks off on May 3 in Philadelphia, PA, with stops in major cities like New York, Toronto, Chicago, and Los Angeles. In June, McRae will take her evocative storytelling overseas for a string of shows across Europe, with dates in Berlin, Amsterdam, Brussels, Dublin, Glasgow, Manchester, and Bristol. General public tickets go on sale Friday, February 28, at 10 AM local time at <a target="_blank" rel="noopener noreferrer nofollow" href="http://jensenmcrae.com">jensenmcrae.com</a>At just 27, Jensen McRae has already toured with Noah Kahan, MUNA, Amos Lee, and Corinne Bailey Rae, graced a Times Square billboard, and served as the cover of Spotify’s Today’s Singer-Songwriters playlist. A graduate of USC’s Thornton School of Music and a GRAMMY Camp alum, McRae is carving out space for young Black women in the folk genre with unflinching honesty and raw lyricism.She released her debut album, Are You Happy Now?, in 2022, featuring viral singles like “Immune” and “Wolves,” has earned widespread acclaim from The New York Times, Rolling Stone, Vulture, UPROXX, NY Post, Billboard, and &nbsp;Stereogum. She’s been spotlighted in PAPER, DORK and&nbsp; Wonderland Magazine, with the latter declaring, “The future is just beginning for Jensen McRae.” Of her most recent work with “Massachusetts,” NYLON praised her candid storytelling: “Listening to Jensen McRae almost feels too personal, as if every lyric was not just a line in a song, but an unraveling of her innermost thoughts.”Inspired by the likes of Joni Mitchell and Tracy Chapman, McRae’s voice—both literal and lyrical—resonates deeply, personifying the human experience with rare vulnerability and grace. With a sound that blends introspection and artistry, she’s an artist who’s here to stay.

Jensen McRae

S.G. Goodman returns from the Western Kentucky bottomland with her latest full-length album, Planting by the Signs, Available June 20, 2025 on her very own Slough Water Records via Thirty Tigers. Composed of songs inspired by love, loss, reconciliation, and the aforementioned ancient practice. Eleven tracks highlighted by the critically-acclaimed and award-winning artist’s singular voice and her penchant for juxtaposing vulnerable folk music with punchy rock ‘n roll, replete with chiming guitars, ethereal atmospherics, and her DIY ethos. Goodman provides a timely reminder that the only way forward is together, and that we must always take into account humanity’s dependence on and responsibility to the natural world. Back in the early hours of 2023, Goodman told her late friend Mike Harmon and his wife Therese that she wanted to base her next album around the concept of planting by the signs, which she had heard about growing up, and recently rediscovered while reading a volume of Foxfire. She remembered general points from her rural southern childhood - how planting a garden, or weaning a baby, or getting a haircut are best timed in accordance with the cycle of the moon. A concept diametrically opposed to the tech-obsessed, profit margin-driven mania swirling around her. Through exploring themes related to planting by the signs, Goodman hoped to help herself and others reconcile this jarring disconnect, as well to pass along the story of the practice to her nieces and nephews - the latter being a role she took very seriously. &nbsp; But it wasn’t an easy path to writing Planting by the Signs or to the recording studio. 2023 saw the passing of her beloved dog, Howard, as well as the tragic death of Harmon, a father figure and mentor. Mike was mentioned in Goodman’s song, “Red Bird Morning” on Old Time Feeling, her debut. Her band used to practice in the quonset hut behind his house. He would check on her house while she toured. Often, Goodman would call him for advice from the road. A few days before he died, he advised her about putting chains on her van during a snow storm. He once drove that same van from Boston to Chicago so the band could play a one-off in the middle of a tour. He was a rock for Goodman, and a rock star in his own right. Harmon’s death led to Goodman reconciling with her longtime collaborator and guitarist, Matthew Rowan, who had become estranged from her following a year of grueling live shows in 2021. Rowan and Goodman had met in their early 20s while at college in the Murray, KY, indie rock scene, and eventually began playing music together. His idiosyncratic guitar work became an essential part of her production. He wrote most of the guitar parts on her first two records, and their creative relationship stretched for nearly 10 years. But life on the road isn’t for all, one thing led to another, and Rowan decided to step away. After Harmon passed, Matt was one of the first people Goodman called. From there they began to mend their relationship, and eventually, once she started working on her new album, S.G. asked Rowan to be her co-producer. The album would not exist in its current form without their reconciliation.&nbsp; With over 150 performances on the books in ‘23, including headlining sold out tours and opening for the likes of Tyler Childers and Jason Isbell from Red Rocks to the Grand Ole’ Opry, there was also little time for songwriting, much less recording.

S.G. Goodman

The human who sings and composes under the name Bonnie "Prince" Billy and acts under the name Will Oldham has, over the past three-plus decades, made an idiosyncratic journey through, and an indelible mark on, the worlds of independent music and cinema. With his highly individualistic approach to music making and the music industry, one that cherishes intimacy, community, mystery, and spontaneity; his brilliance has captivated fans and made Bonny one of our most influential and beloved songsmiths.&nbsp;Bonnie "Prince" Billy's latest offerings include 2023’s Keeping Secrets Will Destroy You and 2024’s Hear the Children Sing the Evidence (with Nathan Salsburg and Tyler Trotter). &nbsp;He had a cameo role in Jeff Nichols’ The Bikeriders. &nbsp;BPB’s newest record is The Purple Bird (produced by David Ferguson), and features such giants of American music as John Anderson and Tim O’Brien.

Bonnie "Prince" Billy

Hamilton Leithauser, the hard-hitting, Carlyle-crooning frontman of The Walkmen, has worked the last eight years in the heart of Bedford Stuyvesant, writing and recording his new breakthrough solo record, This Side of the Island. Known for his evocative lyricism, quick wit, and distinctive voice, Leithauser has been a significant force in rock ‘n’ roll since the early 2000s NYC scene, transitioning smoothly from his band’s successes to a flourishing solo career. This Side of the Island boldly turns away from the folk-rockvibes of his two previous records I Had a Dream That You Were Mine and The Loves of Your Life; and introduces a groovier, bass-heavy, modern sound—a sound undoubtedly influenced by several decades of music: Sly Stone’s There’s a Riot Goin’ On, Talking Heads’ Fear of Music, SZA’s SOS, Funkadelic’s Maggot Brain, Randy Newman’s Trouble in Paradise, Prince’s Parade, Panda Bear’s Panda Bear Meets the Grim Reaper, and Neil Young’s On the Beach (to name a few). Hamilton loves working on his own schedule at his home studio, The Struggle Hut, but after eight years of playing myriad instruments, a visit to his old friend Aaron Dessner’s upstate Long Pond Studio in the Spring of 2024 is what finally brought the album home. (Leithauser and Dessner originally met when the National opened for the Walkmen in 2001). Dessner, renowned for his work with The National, Taylor Swift, and Gracie Abrams (among many others), introduced an enormous modern sound, and played many different instruments on nearly every track. Leithauser says Dessner “raised the ceiling, and lowered the floor on the whole thing,” expanding the record’s emotional and sonic depth. The collaboration resulted in a record that is both timeless and contemporary, cementing both as versatile and enduring artists in contemporary music. “It took me eight years to make this,” Hamilton says, “Longer than any other record I’ve ever worked on. Barack Obama was president when I started “Fist of Flowers”! So much in my life has changed since I started—my daughters grew, I lost a lot of friends, and I lost my mother…and it seems like the whole world’s been turned upside down—I live a very different life now, but I still truly love writing, recording, and performing music.” The lyrics on This Side of the Island showcase Hamilton’s unrelenting optimism and biting humor and as they consider heavy themes of solitude, love, loss, and resilience. Inspired by events in Hamilton’s personal life, the songs resonate deeply both in today’s polarized social and political world, as the title track says “It’s not a beautiful country/as much as I’d like it to be”. “What do I know?” “What do I know?” “What do I know?” “What do I know?” —emphasize any word in that title and you’ll change the meaning. Kind of silly questions…until you start digging in. “When the singer burns her torch/no she will not be ignored, and I love her pain, and her pride and her shame/but what do I love now?” he asks himself.

Hamilton Leithauser

Big Fat Gap

If you are a fan of Saxapahaw or are looking for something fun to do in the Village, then join us for a live painting event at Cup 22 in Saxapahaw, NC. We are Partnering with Cup22 to bring you this event. We will have art, music, and fun! Cup 22 will have an assortment of food and beverages for sale at the bar. Wine and Design will provide the supplies need to make your own masterpiece. Come on out and pARTy with us!! Arrive 30 minutes early to order your drinks! Wine &amp; Design will have everything ready for you to create your very own masterpiece. Event is NOT BYOB, discounts/coupons not valid. Thank you for painting with us! Email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:ch@wineanddesign.com">ch@wineanddesign.com</a> with any questions!! Cancellation Policy All sales are final, no refunds will be issued in the event that a customer cancels their reservation. To receive a credit, the customer must email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:ch@wineanddesign.com">ch@wineanddesign.com</a> 24 hours prior to the event. Please note that if you are booking a reservation within 24 hours of the class, a credit will not be an option in the event you cannot attend class. If there is a threat of inclement weather or if the event has low attendance, it is subject to cancellation. If this is the case, you will be given a credit for another class of equal value. Thank you!Wine and Design of Chapel Hill is your premier art entertainment source.&nbsp; We offer fun events for folks 5 years and up to play with art, experiment with DIY activities, and connect with others in a welcoming atmosphere. When you book an event with us, we provide&nbsp; everything you need to create a masterpiece.&nbsp; All you need to bring is yourself, a few friends, some snacks, and your favorite beverage. We put the Art into pARTy! Our event space in Chapel Hill is a great place to hold:<ul><li>Birthday parties,&nbsp;</li><li>Family reunions,&nbsp;</li><li>Bachelorette parties,</li><li>Team building events.</li><li>First dates</li><li>Anniversary celebrations.&nbsp;</li><li>And so much more.</li></ul>We offer public events Tuesday - Sunday.&nbsp; Private events are created by reservation. Please reach out to <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:ch@wineanddesign.com">ch@wineanddesign.com</a> for more information.&nbsp;We do not issue refunds, however you may receive a credit to a future class, if you email us at <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:ch@wineanddesign.com">ch@wineanddesign.com</a> at least 24 hours before the event. No credits or refunds for no shows.

Wine & Design

After an impressive 2010s run of albums that earned him a devoted fanbase, accolades from outlets like The New York Times, Fresh Air, and Pitchfork, and a place in the upper echelon of modern Americana singer-songwriters, John Moreland has already taken two unexpected turns this decade, both of which highlight his fierce artistic independence. First, he released a brilliant and sonically layered folk-electronica meditation on modern alienation, 2022’s Birds In The Ceiling, that took some of his fans by surprise. Then, after wrapping up a difficult tour behind that record in November 2022, he stopped working entirely. He took an entire year off from playing shows and didn’t use a smartphone for 6 months. “At the end of that year, I was just like ‘Nobody call me’. I needed to not do anything for a while and just process,” Moreland says. After nearly a decade in the limelight, constantly jostled by the expectations of his audience, the music industry, and anonymous strangers online, he carved out some time to rest, heal, and reflect for the first time.&nbsp;The result of that unplugged year at home is 2024’s Visitor, a folk-rock record that is intimate, immediate, deeply thoughtful, and catchy as hell. Moreland recorded the album at his home in Bixby, Oklahoma, in only ten days, playing nearly every instrument himself (his wife Pearl Rachinsky sang on one song, and his longtime collaborator John Calvin Abney contributed a guitar solo), as well as engineering and mixing the album. “Simplicity and immediacy felt very important to the process,” he says.&nbsp;This is a return to the approach Moreland took on his breakthrough albums, 2013’s In The Throes and 2015’s High On Tulsa Heat, both of which were largely self-recorded at home with a small cadre of additional musicians. Echoes of these early albums can be heard on Visitor (Moreland makes a passing reference to In The Throes’ opening track “I Need You To Tell Me Who I Am” in two different songs on Visitor), which finds Moreland shutting out the noisy world outside, and the even noisier digital world in his pocket, to reconnect with a muse that’s had to increasingly compete for his attention in the intervening years. Visitor charts his journey back to this muse. If Birds In The Ceiling’s theme was alienation, Visitor’s theme is un-alienation.&nbsp;Moreland begins the album where he began his year-long process of healing: doomscrolling past images of political turmoil, war, and environmental destruction, in a trio of surprisingly hooky folk songs that address present-day social realities more directly than any previous John Moreland songs. On opening track “The Future Is Coming Fast”, Moreland describes the perpetually logged-on life in a time of rolling catastrophe over gentle fingerpicking: “The news keeps steady coming in / Our condition shows its teeth again / A nightmare we all thought would end.”

John Moreland with Ramsey Thornton

It's the 20th anniversary of Saturdays in Saxapahaw!! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!

Haw River Festival

<h2 style="text-align: start">Saturday, April 26: FriendsFest, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/#/events">Haw River Ballroom</a>, Saxapahaw, NC</h2>Free and open to the public!&nbsp;There will be music, food trucks, libations,&nbsp;family friendly activities, and more.Outside Stage: Leo Rainey, emcee (River Amphitheater) 11:30 am -12:00 pm |&nbsp;Sing Along with Robinson Earle 12:00-12:20 pm | Middle School Chorus 12:30-12:50 pm | Gretchen Klopfer Wing 1:00-1:45 pm | Community Drumming Ensemble 2:00-2:45 pm | Oblations (Joe MacPhail, Daniel Fields) 3:00-3:45 pm | Get Rhythm (John Sharon, Bill Hoffman, Mark Whitener) 4:00-4:45 pm | A Restoration Project (Cleon Cumberbatch, Rony Thomas, Herb Powell, Will Ray) 5:00-5:45 pm | Living Arts Collective (Aubrey Griffith Roze, Bru Roze, Beverly Botsford)Inside Stage: Josh Lozoff, emcee (including magic!) (Haw River Ballroom) 2:30-3:15 pm | River Otters (Robinson Earle, Michael Buckley, David Barrett) 3:30-4:15 pm | Island Moons (Brandon Harwood, Spencer Ware, Dan Burkett) 4:30-5:30 pm | Upper School Music Ensemble 5:45-6:30 pm | Katherine Whalen (with Austin Riopel, Danny Grewen, Zoe Willard, Nate Gerard) 6:45-7:45 pm | Carolina Cutups (Spencer Woodman, Tim Wells, David Henderson, Matthew Rubin) 8:00-9:00 pm | Caitlin Linney

Friends Fest

<a target="_blank" rel="noopener noreferrer nofollow" href="https://bit.ly/Superbowl25HRB">This is a standing room show.</a>The New OutlawsListen: For some of us, maybe even most of us, it’s been a rough year. As I write these words,it’s mid-November in Chicago, the warmest autumn on record, and the bad news keepscoming. Family and animals and homes washed away in the rural south. A wildfire seasonthat never ends. Too much water in some places, not enough in others. Back in my homestate of Texas, pregnant people, some barely out of childhood, are dying for lack of medicalcare. And Lord have mercy if you, or someone you love, is an undocumented immigrant, orif you’re trans, queer, poor, Black, and the list goes on (and on and on). Sometimes it feelslike the whole damned world has made up its mind to destroy itself once and for all. So Ifeel it in my bones when Julien Baker sings, That it can’t get much worse depends on whoyou’re askin. Maybe you feel it, too, and maybe you could use the good company of thismuch-anticipated country album by critically acclaimed artists Julien Baker &amp; TORRES (akaMackenzie Scott).Send A Prayer My Way has been in the works for years. Imagine two young musiciansplaying their first show together at Lincoln Hall, a much-loved venue here in Chicago. It’sJanuary 15, 2016, and bone chillingly cold outside, especially for a couple of southerners.When the show is over and they’re shooting the shit, one singer says to the other, “Weshould make a country album.” This is the origin story, the stuff of legend in the world ofcountry music, and the beginning of a collaboration between two artists already admiredfor their spare, elegant lyrics as well as the courage to share their struggles with those wholove their music. It’s also the beginning of creating a work that, like the most enduringcountry albums, sustains and inspires, reminding both singer and listener that not one of usis ever totally alone in this world, that music is a steady companion. Why are you weeping?Whom are you seeking,” they sing in “No Desert Flower.” I can take more than a little rain/If the going’s tough I will not cower/And all the passing years won’t wash me away.I’ll lay my cards on the table from the get-go: Send A Prayer My Way is a damn fine country album, written and sung in the best of the outlaw tradition—defiant, subversive, working class, and determined to wrestle not only with addiction, regret and bad decisions, but alsowith oppressive systems of power. (In the best outlaw country, The Law is no friend ofyours, and neither is The Man; in TORRES and Baker’s music, neither are religiousblowhards or mothers who can’t stomach their daughter’s sexuality.) These are songs aboutwrapping up a long shift and driving home bone tired, just hoping for a little weed and aquiet place to put your feet up; or falling off the wagon (again) and wondering if this time itwill finally drag you under the wheels; or thinking that bad decisions are the only decisionsyou know how to make. If you ask how I’ve been doing I won’t lie/More than half the time I’monly skatin by/Waiting for the ice to melt beneath me, Baker sings in the opening song “Dirt,”and a few lines later, this beauty: Spend your whole life getting clean/Just to wind up in thedirt.Mercifully, this is only the beginning of the stories TORRES and Baker are determined totell. Because these are also songs about radical empathy and second chances, and thirdchances, and while there’s plenty of struggle and regret in here, there’s also humor anddefiance. In my book there’s no such thing as guilty pleasure/As long as your pleasure’s notunkind, TORRES sings in “The Only Marble I’ve Got Left.” On “Tuesday,” she turns her gazebackward, remembering a love affair long in the rearview mirror, and the harm done whenpassion meets shame. And if I could only go back in time/I’d rewrite our whole story…Andnow I know that your shame was not mine/And I am perfect in my Lord’s eyes. There is clarityin time’s passage, at least sometimes, and whatever grace some of us can muster oftencomes from taking the irreverent, and much funnier, low road. And in this way, Send aPrayer My Way reminds me of Lucinda Williams’s Happy Woman Blues (1980), or LorettaLynn singing about The Pill in 1975. And just like those badass women, Baker and TORRESaren’t asking for anybody’s tolerance, or forgiveness, and they sure as shit aren’t asking forpermission.And I’m here for every word of it. Because some of us sinners (and I mean that as acompliment of the highest order)—the criminals and cheaters among us, the addicts andlonely-hearted, those of us who, in the words of that brilliant and mad old outlaw, TownesVan Zandt, wear your skin like iron, your breath as hard as kerosene—were nursing our ownprivate heartaches long before the world started its most recent long skid. Some of us havelearned the hard way that leaning on poetry, stories, and songs ain’t a bad way to save yourown life.So listen: Whatever your story—if you’ve been staying up late and sleeping in, dodging callsfrom old friends and wondering how many times you can break your own heart throughevery fault of your own; if you’ve been missing work, or skipping school, or blowing pastdeadlines like they’re four-way stop signs on the highway to hell; and most especially, ifyou’re feeling afraid for your life, or the lives of those you hold most dear—I hope you willfind some comfort in these twelve songs. I hope you will put a little sugar in the tank and letthese two singers love you all the way to hell and back. Because here’s the thing about goingto hell and back: You came back.Elizabeth WetmoreAuthor of Valentine

Julien Baker & TORRES

The Dip is a Seattle-based Rhythm and Blues band that is known for its poignant songwriting, detailed arrangements, and vintage sound. Featuring a three-piece horn section, the group’s music harkens back to earlier soul and funk influences while hinting at the jazz foundations that brought the band’s members together. Along with singer and guitarist Tom Eddy, bassist Mark Hunter and drummer Jarred Katz are equally at home in a tight-pocketed groove as they are spacious free-improvisation. Trumpet player Brennan Carter joined by saxophonists Evan Smith and Levi Gillis serve as the band’s melodic counterpoint, playing off Eddy’s vocals to create a distinct sonic character that has drawn in millions of listeners to date.&nbsp;'Love Direction', the follow-up to 2022’s 'Sticking With It' (which landed at #1 on the Billboard Current R&amp;B Albums Chart) is the band’s fourth full-length studio album and second for Dualtone Records, is out now. This new record is the sound of the band taking their next step forward. The interplay of old and new is on full display throughout the album; and, the group augments their classic sound with an expanded instrumentation throughout. Eddy says of the album’s inspiration: “As you get further along in a relationship, sometimes you lose your way. The things that came easily in the beginning get hard. The love is still there, it’s just that people and life are complicated. Sometimes you don’t have the tools in the toolbox to figure out what you need to do to support the other person, so you have to get help and ask for directions.”Still, despite the title, this latest record isn’t a collection of straightforward love songs, but an investigation into the different angles and challenges that relationships can bring. Expanding on the album’s theme, Eddy further notes “These aren’t ‘Love Songs’ in the most obvious sense. They deal with the middle stages, the hinterlands of love and life together - figuring someone out and what they need, learning how to communicate, and examining your own faults. We set out to write music that felt more grown, a little wiser. The songs that emerged all pointed in the Love Direction.”Their last album cycle saw the band headline and sell-out shows at iconic venues across the country. They have also had the opportunity to support new friends like Lake Street Dive and The Black Pumas, while also appearing at major festivals including Bonnaroo and Outside Lands. No strangers to the road, this new album represents a reflection on the band’s touring gravitas as well as the promise of a new destination appearing on the horizon. Directions now in hand, The Dip is looking forward to furthering this exploration into all matters of the heart by bringing this expansive and detailed new recording to life in their next travels together.

The Dip

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.”Then 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.Now, 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),2015’s Dark Bird Is A Home, his “most personal record… surreal and dreamlike” (Pitchfork) and and the self-released I Love You, It’s a Fever Dream in 2019. 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.Nick 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.”An 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.”“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.”The 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.”Matsson’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.”

The Tallest Man on Earth

Come see the best paddling films of the year from all around the world!In partnership with our friends at the Haw River Ballroom, we will be hosting a screening of select films from the 2025 International Paddling Film Festival. These world-class short films highlight the best of the paddling community, showcasing paddlers overcoming incredible challenge and adversity while forging deep bonds with both nature and each other.But more than just watching great films, we want to take this opportunity to celebrate and share our love of paddling and our local rivers! We'll be a hosting a "River Social" event before the film screening, where attendees will have a chance to learn from organizations involved in the creation of the Haw River State Trail and protecting, maintaining and educating about the river’s natural &amp; cultural history. There will also be organizations offering paddling opportunities, teaching about river safety and rescue, and providing new and used paddling equipment and gear for sale.<h2>Ticket Prices</h2><ul><li>$18 online</li><li>$22 at the door</li><li>20% off up to 2 tickets for members of the <a target="_blank" rel="noopener noreferrer" href="https://fareharbor.com/embeds/book/hawrivercanoe/items/578044/?full-items=yes&amp;flow=856120">Haw River Paddle Club</a>!</li></ul><h2>What's included</h2>Admission to a 3 hour screening of back-to-back select films from the 2025 International Film Festival, including a 20 minute intermission. Attendees will be able to vote on their favorite films, helping determine the Best Film of 2025 award winner!Admission to a 90 minute "River Social" event before the screening, bringing together people and organizations from the local paddling and river-loving community.Food and beer will be available on-site for purchase.

2025 Paddling Film Festival

Celebrate the lives of our transgender friends, family, and community with us featuring Mx. Princexx Peritwinkle, Stormie Daie, and SS Byride!We will have drag, snacks, and a community craft. Celebrations are appropriate for the whole family.At the Haw River Ballroom in Saxapahaw - March 23, 2025 - from 5:00-7:00This event is FREE but registration lets us plan better!

Trans Day of Visibility - FREE Event

Introducing SECTION4: A Music Experience Like No OtherFor the first time, SECTION4 is coming to Saxapahaw, bringing a high-energy, immersive music experience like no other. Designed to blend the intimacy of a close-knit dance floor with the excitement of a major concert, this event is all about connection, energy, and unforgettable performances.The lineup features three incredible DJs:• Nick Rosen will kick off the night at 7:00 PM with an electrifying opening set.• Gunda takes over at 8:00 PM, delivering high-energy dynamic beats to keep the energy flowing.• Mora Odona headlines at 9:00 PM, promising a high-intensity, genre-blending performance that will have everyone jumping.SECTION4 isn’t just a concert—it’s an entirely new concept for the Saxapahaw music scene. Created by Mora Odona, the event is designed to deliver a raw, unfiltered energy while fostering a deep connection between the crowd, the music, and the atmosphere. Inspired by the iconic Boiler Room format, the event focuses on an intimate yet powerful shared experience.

SECTION4

This is a sitting event - adults admission is $15 and kids admission is free! <h3 style="text-align: start">Matthew Chenet and Betsy Bertram began a journey in 2017 to turn grief into art, launching a feature documentary project about how to live a magical life. Combining elements of narrative, documentary and visual poetry, Captain Scott B and the Great Adventure, explores questions of how to fully live, how to cultivate a deep connection with the natural world, and above all, how to enjoy the brief and wondrous time we spend on this planet.&nbsp;</h3>A heartwarming and heroic journey to discover the magic of everyday life. A grief-stricken young woman sets out to follow the trail her deceased father left for heri n countless hours of home video recordings and a lifelong journaling practice.With each new stop along the path, she slowly beings to uncover the key ingredients of her larger-than-life father’s wisdom as she finds the connection, purpose and healing she was seeking, hidden in plain sign. Learn more at <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.captainscottb.com/">https://www.captainscottb.com/</a>

Captain Scott B & The Great Adventure (Screening Event)

Join us for Appalachian Square Dancing at the beautiful Haw River Ballroom with a caller/ instructor to the fantastic live music of Big Fat Gap! Whether you are a pro or a novice all are welcome! Professional barn dance leader Dave Dobbins will hold a lesson for all before each dance and then the stomping and whirling begins! $15 per person or $40 for a family/party of 4.

Barn Dance

Join us for the "Disenfranchised Disco" – a gathering celebrating the voices of 60,000 voters in North Carolina whose rights have been challenged. Dance, plan, rejuvenate, make friends, and make a difference, while connecting with fellow advocates, individuals and organizations, sharing stories, and empowering each other to stand and dance! for justice. Together, we will ensure that every vote counts!

Disenfranchised Disco

This is a partially seated show.There is something warm and instantly familiar about the beloved roots duo, Chatham Rabbits. Partners in music and life, Chatham Rabbits’ Austin and Sarah McCombie blend their personal histories through deft songwriting and a history that comes from building a life together. Leaning into each other's strengths, their songs present a congenial, collaborative spirit that has captured the pure adoration of fans along the way and earned them praise from Garden &amp; Gun Magazine, American Songwriter, and No Depression.&nbsp;Their artistry hinges on a fervent desire to connect with others through the music that first brought the pair together. Steeped in the regional traditions of their North Carolina home, Chatham Rabbits’ musical pursuits represent a new age of roots music. Chatham Rabbits recorded and released their beloved debut album, All I Want From You in 2019. This set the standard for their sophomore release The Yoke is Easy, The Burden is Full—the centerpiece song “Oxen” was named “Top Folk Song of 2020” by Paste Magazine. Nurtured by central North Carolina’s fertile, influential music scene, Chatham Rabbits’ sound continues to evolve in their expansive third album, If You See Me Riding By (2022), which was simultaneously released with a television series, On the Road with Chatham Rabbits, on PBS-NC. The McCombies ingenuity during the Covid-19 crisis led to the creation of their mobile concert experience, The Stay at Home Tour, which took the duo to 194 neighborhoods in 2020-21. The pair is currently recording their fourth album of poignant original songs and continuing to foster their tight-knit fan community across the US.

Chatham Rabbits - Duo - Night 2 of 2

These are partially seated shows.There is something warm and instantly familiar about the beloved roots duo, Chatham Rabbits. Partners in music and life, Chatham Rabbits’ Austin and Sarah McCombie blend their personal histories through deft songwriting and a history that comes from building a life together. Leaning into each other's strengths, their songs present a congenial, collaborative spirit that has captured the pure adoration of fans along the way and earned them praise from Garden &amp; Gun Magazine, American Songwriter, and No Depression.&nbsp;Their artistry hinges on a fervent desire to connect with others through the music that first brought the pair together. Steeped in the regional traditions of their North Carolina home, Chatham Rabbits’ musical pursuits represent a new age of roots music. Chatham Rabbits recorded and released their beloved debut album, All I Want From You in 2019. This set the standard for their sophomore release The Yoke is Easy, The Burden is Full—the centerpiece song “Oxen” was named “Top Folk Song of 2020” by Paste Magazine. Nurtured by central North Carolina’s fertile, influential music scene, Chatham Rabbits’ sound continues to evolve in their expansive third album, If You See Me Riding By (2022), which was simultaneously released with a television series, On the Road with Chatham Rabbits, on PBS-NC. The McCombies ingenuity during the Covid-19 crisis led to the creation of their mobile concert experience, The Stay at Home Tour, which took the duo to 194 neighborhoods in 2020-21. The pair is currently recording their fourth album of poignant original songs and continuing to foster their tight-knit fan community across the US

Chatham Rabbits - 2 Night Pass - Feb 22 & 23

This is a partially seated show.There is something warm and instantly familiar about the beloved roots duo, Chatham Rabbits. Partners in music and life, Chatham Rabbits’ Austin and Sarah McCombie blend their personal histories through deft songwriting and a history that comes from building a life together. Leaning into each other's strengths, their songs present a congenial, collaborative spirit that has captured the pure adoration of fans along the way and earned them praise from Garden &amp; Gun Magazine, American Songwriter, and No Depression.&nbsp;Their artistry hinges on a fervent desire to connect with others through the music that first brought the pair together. Steeped in the regional traditions of their North Carolina home, Chatham Rabbits’ musical pursuits represent a new age of roots music. Chatham Rabbits recorded and released their beloved debut album, All I Want From You in 2019. This set the standard for their sophomore release The Yoke is Easy, The Burden is Full—the centerpiece song “Oxen” was named “Top Folk Song of 2020” by Paste Magazine. Nurtured by central North Carolina’s fertile, influential music scene, Chatham Rabbits’ sound continues to evolve in their expansive third album, If You See Me Riding By (2022), which was simultaneously released with a television series, On the Road with Chatham Rabbits, on PBS-NC. The McCombies ingenuity during the Covid-19 crisis led to the creation of their mobile concert experience, The Stay at Home Tour, which took the duo to 194 neighborhoods in 2020-21. The pair is currently recording their fourth album of poignant original songs and continuing to foster their tight-knit fan community across the US

Chatham Rabbits - Full Band - Night 1 of 2

This show is standing room.Born and raised in North Carolina, the Tan and Sober Gentlemen began taking in the songs, stories, and tunes that make up their beloved state’s musical tradition before they could talk.The music of the Carolinas, (and Appalachia in general) stems from the marriage of the Irish fiddle and the African banjo, which first met in the American South before the Revolution. The Tan and Sober Gentlemen aim to bring these traditions full circle. They play Irish tunes, ballads, and pub songs right next to the Appalachian fiddle tunes of their youth, melding the two into what they call “Irish-American hillbilly music.”Meanwhile, they have earned a reputation as one of the South’s hardest-hitting live acts, playing at blazing tempos and putting every last bit of energy they possess into the show. The result is a raucous celebration of the Carolinas’ Irish heritage, with drinking, dancing, and merriment galore. Since their formation in 2017, the six-piece band has toured the US and Ireland, headlining legendary Irish clubs such as Whelan's and the Roisin Dubh and playing the internationally renowned festival Electric Picnic. Stateside, their resume includes festivals such as the IBMA Bluegrass Live!, Bristol Rhythm and Roots, Appaloosa Festival, Great Blue Heron, and Shakori Hills. This year they will be adding Merlefest and the Blue Ox Festival to their resume as well as Fleadh Cheoil na Héireann, the world's largest annual festival of Irish music. In January of 2024, in their home of Alamance County, they sold out their show at the Haw River Ballroom recording a live album with a crowd of 800 people. They released their sophomore record, Regressive Folk Music, in June 2022, and their debut record, Veracity, was named by Shite'n'Onions as one of the five best Celtic punk records of 2019 and 2020.

The Tan and Sober Gentlemen

Hailing from both the Appalachian and Piedmont regions of North Carolina, the Rangers have long held traditional bluegrass paramount, while possessing an exceptional ability to bring it down the mountain, and to incorporate accessible influence from all walks of the region. With the band’s last few albums, they have gained recognition from well beyond the world of bluegrass, earning a reputation as some of the most influential songwriters in Americana today. Newcomer to this ship, Aaron Burdett, brings a soul-stirring element to the Rangers’ mastery of mountain music. Burdett is an award-winning singer-songwriter, and a student of folk tradition. He provides a fresh, emotional context to the songbook, which “can reach out and touch your heart or slap you in the face,” to use the praise of drummer and multi-instrumentalist, Mike Ashworth. Steep Canyon Rangers is made up of Graham Sharp on banjo and vocals, Mike Guggino on mandolin/mandola and vocals, Aaron Burdett on guitar and vocals, Nicky Sanders on fiddle and vocals, Mike Ashworth on drums and vocals, and Barrett Smith on bass, guitar, and vocals.Over the band’s esteemed career, the three-time Grammy nominees have released 14 studio albums, three collaborative albums with actor and banjoist Steve Martin, been inducted into the North Carolina Music Hall of Fame, and appeared on some of music’s biggest stages. In 2013, Nobody Knows You won the GRAMMY Award for Best Bluegrass Album, while 2012’s Rare Bird and 2020’s North Carolina Songbook garnered nominations in the same category.&nbsp;

Steep Canyon Rangers - Night 2 of 2

Hailing from both the Appalachian and Piedmont regions of North Carolina, the Rangers have long held traditional bluegrass paramount, while possessing an exceptional ability to bring it down the mountain, and to incorporate accessible influence from all walks of the region. With the band’s last few albums, they have gained recognition from well beyond the world of bluegrass, earning a reputation as some of the most influential songwriters in Americana today. Newcomer to this ship, Aaron Burdett, brings a soul-stirring element to the Rangers’ mastery of mountain music. Burdett is an award-winning singer-songwriter, and a student of folk tradition. He provides a fresh, emotional context to the songbook, which “can reach out and touch your heart or slap you in the face,” to use the praise of drummer and multi-instrumentalist, Mike Ashworth. Steep Canyon Rangers is made up of Graham Sharp on banjo and vocals, Mike Guggino on mandolin/mandola and vocals, Aaron Burdett on guitar and vocals, Nicky Sanders on fiddle and vocals, Mike Ashworth on drums and vocals, and Barrett Smith on bass, guitar, and vocals.Over the band’s esteemed career, the three-time Grammy nominees have released 14 studio albums, three collaborative albums with actor and banjoist Steve Martin, been inducted into the North Carolina Music Hall of Fame, and appeared on some of music’s biggest stages. In 2013, Nobody Knows You won the GRAMMY Award for Best Bluegrass Album, while 2012’s Rare Bird and 2020’s North Carolina Songbook garnered nominations in the same category.

Steep Canyon Rangers - Night 1 of 2

Super Bowl viewing party on February 9. Doors at six -show on at 6:30. Come join your neighbors and watch the Super Bowl at the Haw River Ballroom. We will have chairs out on the main floor and the game on the big screen. You’re welcome to bring food inside and we’ll have a cash bar open downstairs. No outside alcohol is allowed. Halftime Kendrick Lamar dance party!

Superbowl Watch Party

This is a costume party. Wear a Renaissance costume, some other historical costume from before 1600, or pick one from our rolling costume closet.<ul><li>All state and local laws concerning alcohol and contraband will be strictly enforced, of course.<h2>Activities</h2><h3>Dancing</h3>We will be learning and doing dances of a wide range of styles and speeds so there is something for everyone.<ul><li>Bouncy dancing – got it!</li><li>Courtly, elegant dancing – got it!</li><li>Weaving through other lines of people – got it!</li><li>Spinning about to show off your fancy clothes – got it!</li></ul><h3>Singing</h3>Between dance sets, we’ll sing some fun and easy rounds from the Tudor era.<h3>Runway</h3>If you like, saunter down the catwalk in your fancy outfit.<h2>Contests</h2><h3>Costume Contest</h3>Have you put together a great outfit? Tell us about it. Separate prizes for the most authentic Tudor outfit and the cutest kid outfit.<h2>Admission</h2>$25 Adults (18+)Youth 6-17 $15Children 0-5 FREE</li></ul>5:00 PM Doors &amp; costume closet open5:30 PM Orientation for new dancers6:00 PM First dance set6:45 PM Singing rounds7:00 PM Second dance set7:45 PM Costume Runway8:00 PM Third dance set8:45 PM Closing ceremonies9:00 PM Return borrowed costumes9:30 PM Doors close

Sir Walter Raleigh Costume Ball

This show is standing room."I've been in the game a long time, but I've always considered myself a student," says G. Love. "Finishing this album with Keb Mo' felt like graduation."Recorded in Nashville with a slew of special guests including Robert Randolph, Marcus King, and Roosevelt Collier, 'The Juice' is indeed diploma-worthy. Co-produced and co-written with GRAMMY-winning icon Keb Mo,' it's an electrifying collection, one that tips its cap to more than a century of blues greats even as it offers its own distinctly modern pop spin on the genre, mixing programmed beats and hip-hop grooves with blistering guitar and sacred steel. G. Love's lyrics are both personal and political here, artfully balancing his appreciation for the simple joys in life with his obligation to speak out for justice and equality, and his performances are suitably riotous and rousing to match, with infectious call-and-response hooks and funky sing-along choruses at every turn. Easy as it is to succumb to cynicism these days, the songs on 'The Juice' refuse, insisting instead on hope and determination in the face of doubt and despair.“I've always tried to make music that's a force for positivity," G. Love explains. "It was important to me that this album be something that could empower the folks who are out there fighting the good fight every day. I wanted to make a rallying cry for empathy and unity."Born Garrett Dutton in Philadelphia, PA, G. Love grew up equally enthralled with folk, blues, and rap, devouring everything from Lead Belly and Run D.M.C. to John Hammond and the Beastie Boys. After migrating to Boston, he and his band, Special Sauce, broke out in 1994 with their Gold-selling self-titled debut, which earned widespread critical acclaim for its bold vision and adventurous production. Over the next twenty-five years, G. Love would go on to release seven more similarly lauded studio studios albums with Special Sauce (plus four solo albums on his own), solidifying his place in music history as a genre-bending pioneer with a sound The New York Times described as "a new and urgent hybrid" and NPR called a "musical melting pot." G. Love's magnetic stage presence, meanwhile, made him a fixture on festival lineups from Bonnaroo to Lollapalooza, and his relentless appetite for tour and collaboration landed him on the road and in the studio with artists as diverse as Lucinda Williams, Dave Matthews, The Avett Brothers, Jack Johnson, and DJ Logic.While G. Love has covered considerable sonic ground during his prolific career, he's always found himself drawn back to the blues, and to one bluesman in particular."Keb Mo' and I got signed to the same label at the same time back when I first started out, and we toured together early on in my career," G. Love remembers. "He used to introduce me onstage as 'a true American original,' and I could tell that he got a kick out of what I did. We didn't see each other for a while after that, but a few years ago we reconnected and did a co-headline tour, which was really special for me."Two decades after they'd first hit the road together, the unlikely duo picked up right where they left off, and after a couple late-night jam sessions, G. Love pitched Keb Mo' on producing his next album. The pair decided to test the waters with a writing session first, teaming up with GRAMMY-winner Gary Nicholson (famed for his work with B.B. King, Buddy Guy, Willie Nelson, and Ringo Starr among others) for a week in Nashville, where they penned a handful of tunes based on phrases G. Love had saved in his phone or rough demos he'd recorded at home on Cape Cod. Those tracks quickly became fan favorites on the road, and G. Love knew he was on to something special."I got wrapped up in touring and in my Jamtown project with Donovan Frankenreiter and Cicso Adler after that first session, and even though I really enjoyed working with Keb Mo' and Gary, it was a year-and-a-half before I was able to get back down to Nashville to finish writing the album with them."When it came time to record, Keb Mo' was meticulous, working closely with G. Love in the studio on nearly every aspect of his performances. While G. Love was used to creating raw, loose albums by the seat of his pants, Keb Mo' worked in a much more deliberate, methodical fashion, building songs up like a hip-hop producer. He'd create a beat on his keyboard, lay down a bass line, and then coach G. Love through the tracks sometimes line-by-line."He was always impressing on me where to place the emphasis and how to phrase my lyrics and guitar playing in relation to the beat," G. Love explains. "He'd tell me to sing like I had a shovel in my hands and I was digging on the one."The resulting mix of G. Love's idiosyncratic style and Keb Mo's old-school influence proves intoxicating on 'The Juice,' which opens with the shuffling, anthemic title track. "We got the juice / We got the love / We got the dreams / We had enough," G. Love sings, setting the stage for an album all about recognizing your power to impact the world around you in ways both big and small. The infectious "Birmingham," for instance, is an ode to perseverance when , while the funky "Go Crazy" cuts loose in the face of our maddening 24-hour news cycle, and the relentless "Shake Your Hair" rattles off a head-spinning list of modern ills before declaring "donate, don't wait, spread love don't hate.""I've never been the kind of guy who thinks he's going to change the world with his guitar," reflects G. Love. "But maybe I can write the kind of songs that give strength and encouragement to the people who are out there doing the work to make this planet a better place. Those are the people I want to lift up with my music."When G. Love sings about making the world a better place, he's not just singing about politics, though, and 'The Juice' serves as a beautiful exploration of the ways we can brighten our own little worlds and the worlds of those we care about on a daily basis. The gritty "SoulBQue" is a celebration of community and friendship, while the rootsy "She's The Rock" pays tribute to all the little ways lovers can lift each other up, and the breezy "Diggin' Roots" spins cultivating a garden into a metaphor for the importance of tending to your home and family and neighbors."I was going through a tough time in my life when I met my fiancé, but my whole world seemed to turn around after that," says G. Love. "I started meditating, we had a son, and we moved out to the Cape. That's when I stopped writing breakup songs and started writing love songs and family songs and friendship songs."Life is good for G. Love these days, and he's not taking a moment of it for granted. In fact, in just the past few years alone he's launched his own beer collaboration with Oregon's Good Life Brewery (The Juice IPA), started his own festival in Massachusetts (The Cape Cod Roots &amp; Blues Festival), and founded his own record label, Philadelphonic, which he aims to use as an outlet for curating both music and visual art (the cover of 'The Juice' features a brand new work G. Love commissioned from renowned painter Greg Haberny)."I'm more inspired right now than I've ever been before," G. Love reflects. "I feel more thoughtful, seasoned, marinated, confident. I'm making the records I've always wanted to make."Cue "Pomp and Circumstance."

G. Love and Special Sauce

Celebrate Black History Month at the Haw River Ballroom on February 23! Featuring music from a live DJ, dancing, games and fun!

Rap & Spades: Celebrate Black History Month

This show is standing room.Donna The Buffalo is not just a band, rather one might say that Donna The Buffalo has become a lifestyle for its members and audiences. Since 1989, the roots rockers have played thousands of shows and countless festivals including Bonnaroo, Newport Folk Festival, Telluride, Austin City Limits Festival, Merle Fest, and Philadelphia Folk Festival. They’ve opened for The Dead and have toured with Peter Rowan, Del McCoury, Los Lobos, Little Feat, Jim Lauderdale, Rusted Root, and Railroad Earth to name a few. They also toured with Ben &amp; Jerry’s co-founder Ben Cohen to help raise awareness about increased corporate spending in politics. In 1991, the band started the Finger Lakes Grassroots Festival in Trumansburg, NY. The four day festival has become an annual destination for over 15,000 music lovers every year and was started as an AIDS benefit. It continues as a benefit for arts and education. To date, the event has raised hundreds of thousands of dollars and is now one of three Grassroots Festivals; the Bi-annual Shakori Hills fest in North Carolina and Virginia Key festival in Florida. In 2016 GrassRoots Culture Camp was introduced in Trumansburg, New York as four days of music, art, dance and movement workshops, including nightly dinners and dances.

Donna the Buffalo (NEW DATE)

This show is standing room."The past isn't finished with us yet. Love can be like that, too. A couple of years ago I found love in different forms leaving my life at once. In a single month I lost my closest group of friends, my 13-year relationship ended, and my dad was diagnosed with cancer. I had just stopped touring to write the next Blind Pilot album, but instead I was watching each of my plans unthread as a new season pulled forward relentlessly."Avoiding suffering, is avoiding real happiness too. My reason to tell this story isn't because it broke me and pinned me breathless. There was suffering, but those two years, as I moved to my hometown to help my parents through my dad's sickness and eventually his death, also brought me true closeness, a deeper will to care and hope, and many moments of beauty I can barely describe."This album came from love for my family, my town, my friends, my community. We don't have to be so afraid of loss. We can speak and share its name, knowing we are together in it. If these songs are invitations to talk about loss and death, the invitation is to talk closely of the courage we find when we face loss honestly, cracked open and unsure of what we will become."- Blind Pilot's Israel NebekerBlind Pilot's 'And Then Like Lions' on ATO Records is the third LP from the Portland, Oregon-based sextet consisting of frontman Israel Nebeker, fellow founding member Ryan Dobrowski, Luke Ydstie, Kati Claborn, Ian Krist and Dave Jorgensen. The album was produced by Israel Nebeker and Tucker Martine (The Decemberists, Neko Case, My Morning Jacket), and was written and composed by Nebeker. It comes five years after the band's well-received 'We Are the Tide' and three years after Nebeker thought he'd be starting the songs that would become the band's third album.'And Then Like Lions' opens with "Umpqua Rushing," the first single from the album and the track that most directly deals with the end of his relationship. It's inspired by memories of visiting the Umpqua River with his then girlfriend. The song connects images of a forest fire to the destruction and new beginning found in love's wake."Umpqua Rushing" has a strong, mid-tempo flow built on major chords and rich instrumentation that matches the river the song's named for. Nebeker's voice soars on strings to an uplifting ending, and it's as vulnerable and open as he's ever been.Packed Powder is an upbeat, solidly-driven song filled with elevated textures of guitar hooks and trumpets. It comes from an idea Nebeker had as a teenager, when he and his friends found they could repack fireworks to different outcomes: "We're all made of the same stuff, but who knows how we're packed and what we'll show as we burn across the black sky of our own time?" The song speaks lightheartedly of ironic outcomes when trying to better a life through different career paths, and then sings a chorus that surrenders and desires life to reveal what we are made of.'And Then Like Lions' ends triumphantly on "Like Lions," a song inspired by various stories of courage Nebeker has whitenessed in his recent years, including watching his father fight for life and, before the end, find strength enough to give himself and be at peace with his own mortality.Blind Pilot has performed on Ellen and The Late Show with David Letterman, at the Newport Folk Festival, Bonnaroo, and Lollapalooza. The group has shared stages with The Shins, Local Natives, Andrew Bird, and more. The project began in 2007 when Israel and co-founding member Ryan Dobrowski went on a West Coast tour via bicycle. Blind Pilot's six members recorded for this new album and will tour through 2016.

Blind Pilot

This show is standing room.“The best and most emotionally direct album Umphrey’s McGee have ever made.” -David Fricke&nbsp;In the twenty-four years since eclectic improv-rock band Umphrey’s McGee formed, their sound has been an amalgamation of genres, moods, and tempos, effortlessly flowing from one feeling to the next throughout an album or concert—or sometimes within a singular song. But with time and repetition comes wisdom and maturity, both personally and musically, and in the case of the band’s new album Asking For A Friend, Umphrey’s McGee entered the recording studio with something to say and a wise, measured way to say it. The end result is an astoundingly cohesive fourteen-song album that feels like a fresh statement from a group of world-class musicians and friends reapproaching their craft with a new lens. But long-time fans will be happy to know that the Umphrey’s McGee they know and love is still very much present on Asking For A Friend, just more refined. More focused.C

Umphrey's McGee

Tycho is embarking on their first headlining tour since 2020. Following the release of Weather in 2019, the band returns to their roots, delivering their signature blend of electronic dance music and melody-driven instrumental post-rock. Scott Hansen’s creative vision, delicate melodies, and mesmerizing soundscapes take on new energy in the live setting, thanks to the incredible drumming of Rory O’Connor and an immersive visual experience. With guitarist/bassist Zac Brown and multi-instrumentalist Billy Kim rounding out the lineup, Tycho has been captivating fans for over a decade.

Tycho

In 2017 Holly &amp; Paige of Celestial Dreamers began as a duo in Southern California. They’ve dialed in their motivating and uplifting sound to include Progressive styles, Techno, and Trance; coloringtheir DJ sets with grit and darker sounds in contrast with euphoric melodies.In 2024 they were granted the Theresa Velasquez Memorial Fellowship with LP Giobbi’s Femme House label. The duo has been enjoying their music production journey and education - finishingoriginal music, remixes, and exploring Mixing &amp; Mastering techniques.This year they’ve supported Eli &amp; Furr, Manic Focus, Marsh, and Bexxie, and also premiered a new radio show called “Starlight Sessions” which releases new episodes every month on YouTube.

New Year's Eve Rave

The BFG Holiday Reunion is a over 20 year tradition!This show is standing room.

Big Fat Gap Holiday Reunion Show

Culture Mill's Tango &amp; Chill is a quarterly workshop offering that expands community through playful movement practice. To help us expand our community, please bring consider bringing a friend new to Culture Mill!Through Argentine Tango, we invite you to discover a practice that has deeply informed Culture Mill's leadership and followership style. We will start with a gentle warm-up that will bring awareness to the body and a sense of availability, finding balance and easefulness in basic exercises of tango alone and in connection to a partner. As you are guided you through this embodied experience, you will also learn how the basic principles of tango such as leading, following, deep listening, playfulness, centeredness, togetherness away from sameness, moment to moment presence, and posture that have helped shape Culture Mill's ethos.&nbsp;This workshop is open to all. No experience, no partner necessary!Tango &amp; Chill is donation-based (free for all Patreon sustainers and current supporters) -- pay what you wish via Venmo, PayPal or cash.

Tango and Chill

This show is standing room.When Rose-Garcia went into the studio with his band, he realized he didn’t have songs, but rather soundtrack ideas. “I sent them all a link to some of the soundtrack stuff. We came up with this way to record where we went through them like themes. I came up with the plot of an imaginary movie. And we started to treat it like a soundtrack to a movie.”“Movie Of The Week is definitely more on the lush side,” he continues. “I'm really excited about making this more like a project than an album.”The album also features the recently released “<a target="_blank" rel="noopener noreferrer nofollow" href="https://shakeygraves.fanlink.to/RON">Ready or Not</a>,” a duet with rising star Sierra Ferrell. The song is already a streaming hit and continues to climb with over 15M spins globally.Shakey Graves has undergone a myriad of personal and sonic evolutions since its inception in 2011. Beginning as a solo music project, to now being accompanied by a full band, Rose-Garcia depicted the journey in ways such as changing his album covers from black and white to color, mirroring the musical growth. With beginnings in the folk-rock space—even winning “Best Emerging Artist” at the Americana Music Awards—he went on to move away from much of the stripped-down, folk sound and began drawing on influences such as The Beatles, The Kinks, Elliot Smith, Broken Social Scene, Built to Spill and other 90’s indie rock bands.Through the years, Rose-Garcia has always found innovative ways to engage his fan base—from burning CDs and putting them in personalized bags, to building intricate scavenger hunts sending fans around the city following trails of clues to find exclusive tapes, to sharing Bandcamp-only releases in the age of the DSPs—he is intentional in everything he does and aims to create a unique experience and adventure for each fan.With Movie of the Week, Rose-Garcia will continue to expand upon the idea of his fans controlling the destiny of the music in an even bigger way—stay tuned for more info to come.

Shakey Graves

This show is standing room.The holiday tour spirit returns! No this is not a "holiday song review," CCL plays their rocking catalog of original tunes with special guest John Mailander who guested on the latest release "Hiyo." John will also play an opening set of music at 8pm. See you there!

Chatham County Line Holiday Tour

This show is seated show.Reared in Georgia and now settled in North Carolina, Jake Xerxes Fussell has established himself as a devoted listener and contemplative interpreter of a vast array of so-called folk songs, lovingly sourced from a personal store of favorites. On his latest album, When I’m Called—his first LP for Fat Possum, and his first as a parent—Fussell returns to a well of music that holds lifelong sentimental meaning, loosely contemplating the passage of time and the procession of life’s unexpected offerings.&nbsp;The album was produced by James Elkington and mixed by Tucker Martine. In addition to Elkington, it features the playing of Ben Whiteley (The Weather Station), Joe Westerlund (Bon Iver, Califone), and others. Blake Mills contributes guitars on several tracks. Joan Shelley and Robin Holcomb provide backing vocals.&nbsp;“…Fussell is the rare contemporary to approach folk in its pure form, shunning self-penned compositions about bummer relationships to concentrate on material handed down from bygone, hardened times.” – The New Yorker“(Fussell) is one of the great magpies of American song, collecting forgotten, tarnished gems with a folklorist’s zeal… his renditions aren’t so much cover versions as composites…” – The Guardian“…maybe the leading interpreter of American folk music right now.” – Ann Powers, NPR

Jake Xerxes Fussell

xperience the joy and energy of the Slinky Kids dancers ages 3-10 in this lively performance, featuring a mix of jazz, hip hop and creative movement. Watch as they express themselves through vibrant choreography and contagious enthusiasm. Doors open at 5:30 and show begins at 6pm. It will be approximately 30min in length and is FREE to attend.

Slinky Kids Seasonal Dance Celebration

The annual Saxapahaw Holiday Market is back on Saturday, December 7 and Sunday, December 8!Hours are Saturday 12/7 9am-5pm and Sunday 12/8 9am-4pm.Admission is free!Shop with vendors at Haw River Ballroom, Culture Mill, Paperhand Puppet Project and the Hawbridge School!

Holiday Market (Day 2 of 2)

The annual Saxapahaw Holiday Market is back on Saturday, December 7 and Sunday, December 8!Hours are Saturday 12/7 9am-5pm and Sunday 12/8 9am-4pm.Admission is free!Shop with vendors at Haw River Ballroom, Culture Mill, Paperhand Puppet Project and the Hawbridge School! VENDOR SPOTS ARE FULL!HOLIDAY ALBUM-RELEASE SHOW + SINGALONG WITH THE PINKERTON RAID at 12PM, SAT, DEC 7, AMPHITHEATERDurham’s The Pinkerton Raid has a new Christmas(ish) album out this year,&nbsp;JAGGED VACANCE: Winter Songs by Other People,&nbsp;featuring timeless songs from Bon Iver, The Beatles, Joni Mitchell, Elvis Presley, John Lennon &amp; Yoko Ono, The Pogues, Counting Crows, Fleet Foxes and Paul Simon. For years, singer-songwriter Jesse James DeConto has been leading these tunes at his annual SONGS FOR HUMANS holiday singalong at Fullsteam Brewery. This year, the band will bring them to the Haw River Ballroom outdoor amphitheater for a concert and singalong coinciding with the Saxapahaw Holiday Market. The outdoor show will start at 12 noon on Saturday, December 7. They’ll bring lyric books for you to sing along and will take some requests. They may mix in some original songs for good measure.&nbsp;Donations will be accepted to support the musicians. To pre-order&nbsp;JAGGED VACANCE, visit&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="http://pinkertonraid.com">pinkertonraid.com</a>.Durham’s The Pinkerton Raid has a new Christmas(ish) album out this year,&nbsp;JAGGED VACANCE: Winter Songs by Other People,&nbsp;featuring timeless songs from Bon Iver, The Beatles, Joni Mitchell, Elvis Presley, John Lennon &amp; Yoko Ono, The Pogues, Counting Crows, Fleet Foxes and Paul Simon. For years, singer-songwriter Jesse James DeConto has been leading these tunes at his annual SONGS FOR HUMANS holiday singalong at Fullsteam Brewery. This year, the band will bring them to the Haw River Ballroom outdoor amphitheater for a concert and singalong coinciding with the Saxapahaw Holiday Market. The outdoor show will start at 12 noon on Saturday, December 7. They’ll bring lyric books for you to sing along and will take some requests. They may mix in some original songs for good measure.&nbsp;Donations will be accepted to support the musicians. To pre-order&nbsp;JAGGED VACANCE, visit&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="http://pinkertonraid.com">pinkertonraid.com</a>.

Holiday Market (Day 1 of 2)

This show is standing room.Seminal indie rock band the dB’s will have their first two albums, Stands for deciBels and issued for the first time on vinyl this spring and fall via Propeller Sound Recordings. Pitchfork cited Stands for deciBels among its 100 Top Albums of the 1980s. AllMusic applauded “a reverence for British pop and arty post-punk leanings . . . rarely is experimentation so enjoyable and irresistibly catchy” and said The dB’s were “the band that bridged the gap between classic ’70s power pop . . . and the jangly new wave of smart pop personified by R.E.M.”

The dB's

Join us for Appalachian Square Dancing at the beautiful Haw River Ballroom with a caller/ instructor to the fantastic live music of Big Fat Gap! Whether you are a pro or a novice all are welcome! Professional barn dance leader Dave Dobbins will hold a lesson for all before each dance and then the stomping and whirling begins! $15 per person or $40 for a family/party of 4.

Thirty years into a career of music making, 2024 finds Alan Sparhawk entering uncharted territory. Sparhawk co-founded the band Low alongside vocalist and drummer Mimi Parker, who passed away in late 2022. Their music derived elemental power from its fearless exploration of quiet, gentle places. Low released thirteen albums and influenced a movement of spacious, graceful, intimate, and ever-evolving music.Over time, Low’s anthemic songs heightened in urgency and tone, unearthing new layers of musical exploration and lyrical questioning. Their final album, Grammy nominated “Hey What,” was released in 2021 to universal acclaim and marked a high point in their musical evolution and trajectory.Sparhawk has recently been playing with various collaborators and projects with friends and family members, including guest appearances with Yo La Tengo, Trampled by Turtles, Peder Mannerfelt, Charlie Parr, and funk band Derecho Rhythm Section. He is performing solo shows and releasing the album “White Roses, My God” in fall 2024.

Alan Sparhawk (of LOW)

It’s obvious listening to Sarah Shook and the Disarmers’ clear-eyed, biting, and unafraid songs that integrity is the most important thing to the Chapel Hill, North Carolina, country-punk outfit.“A lot of artists are in this industry for fame, recognition, and money but those things don’t mean anything to me,” says bandleader River Shook. “Songwriting is it for me. It’s the only real healthy coping mechanism I've ever had. It’s life-saving. I don't care about any superficial things when I’m making a record.” On their resonant fourth album Revelations, produced by Shook and out March 29 via Thirty Tigers, these raw and resilient tracks come first. Throughout, Shook’s deft storytelling documents regular people getting by and keeping on, all presented without filter or pretension.

Sarah Shook & the Disarmers

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Saxapahaw Halloween Party

TICKET SALES STOP AT 12PM OCTOBER 26thAND WILL BE AVAILABLE AT THE DOOR<h1 style="text-align: center">ABOUT</h1>Sleepy Cat Records is proud to be entering our fifth year as an independent, label. To celebrate this milestone, we are joining The Haw River Ballroom in presenting our 3rd annual Sleepy Fest in the beloved community of Saxapahaw, NC on October 26th, 2024! Sleepy Fest provides a platform for emerging North Carolina-based artists, creates opportunities for our community to connect, and helps raise the funds we rely on to stay in operation. Furthermore, as in the past two years, we intend to use Sleepy Fest to elevate the social justice work that is already happening around us, as well as the kind of thoughtful work we hope to encourage moving forward - including but not limited to racial and environmental justice, anti-colonial/imperialist organizing and discourse, and queer representation/platforming.Sleepy Fest has become an integral piece to the puzzle of what we do. We’re tremendously grateful for the success of our first two years in Hillsborough with our family-farm host, Down Yonder, and are ready to bring our festival to a new town. We’ve been in community with The Haw River Ballroom in Saxapahaw for nearly a decade now and the timing couldn’t be better for us to come together to make something special happen.The day will kick off at 11am with a free-to-the-public arts market and performance at the Haywagon Stage in the spirit of the long-running Saturdays in Saxapahaw series. From 2pm to midnight, ticket holders will have access to the main festival grounds at the e Ballroom, enjoying feature performances between the Ballroom Main Stage and the Amphitheater, DJ sets, and other special programming. Saxapahaw’s main attractions like the Haw river trails, restaurants, and local businesses will be accessible to the public per usual. Local businesses will be in on the fun, offering special goods and services. Locals interested in more information: please reach out to Jess at <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:sleepyfest@gmail.com">sleepyfest@gmail.com</a>.This year’s festival will feature a blend of performances from our Sleepy Cat Artists as well as non-label artists and friends. As in Sleepy Fest’s past, you can expect one-time collaborations and improvisations between artists. We’re planning visual installations and other non-music arts elements like last year’s immersive poetry room and ephemeral art installation, as well as an expanded vendor and artisan market, kids zone, and more! We believe that this event will once again bring a day of joy to attendees, and will continue to foster appreciation for the wealth of culture and community in our area.<h2>Lineup</h2>To celebrate our 5th anniversary as a label this year’s festival will feature a blend of performances from our Sleepy Cat Artists as well as non-label artists and friends. As in Sleepy Fest’s past, you can expect one-time collaborations and improvisations between artists.Magic Al, Blue Cactus, Lou Hazel, Chessa Rich, Tre. Charles, Setting, DUNUMS, Libby Rodenbough, Delver, SunSp.t, T. Gold, Andy Stack &amp; Jay Hammond, Aquarian Devils, Lover Boyz, Gibson &amp; Toutant, Owen FitzGerald, The Faces Blur, Calapse, Holden Xcess, Sleepy Cat House Band<h2>Arts &amp; Makers Market</h2>This year’s market will be located at Saxapahaw’s Haywagon Stage, home of the long running and family-friendly Saturdays in Saxapahaw. In keeping with that spirit, we will kick off Sleepy Fest with a free show and market from 10am-230pm. Our ticketed experience will then run from 2pm-12am at the main festival grounds between the Ballroom and Amphitheater.Market signup coming soon.<h2>Food &amp; Bev</h2>There will be food and beverage vendors to enjoy all day, including coffee, alcoholic and NA beverages, and vegan food options.Full food &amp; bev vendor list coming soon.*You’re welcome to bring your own food items if you have specific dietary preferences, though we encourage you to purchase food onsite from our great vendors and local businesses.<h2>Schedule</h2>10-230p Free Arts Market &amp; Show at Haywagon Stage2p-12p Ticketed access to festival grounds - Ballroom &amp; Amphitheater<h1 style="text-align: center">TICKET INFO</h1><h2 style="text-align: start">General Admission</h2><ul><li>General Admission Adult - $49.50</li><li>General Admission Kids 6-12 - $22</li><li>General Admission Kids 0-5 - FREE</li></ul>General Admission tickets provide access to the festival grounds for all programming from 2pm-12am, where you’ll enjoy feature performances between the Ballroom and Amphitheater, DJ sets, and other special programming.<h2>VOLUNTEER</h2>Our volunteers play a big role in making Sleepy Fest what it is. Volunteer for one shift (approx 2-3 hours) in exchange for free entry to Sleepy Fest. Volunteers are assigned on a first-come, first-serve basis, and early signups receive first choice of preferred shifts.<a target="_blank" rel="noopener noreferrer nofollow" class="sqs-block-button-element--small sqs-button-element--tertiary sqs-block-button-element" href="https://form.jotform.com/242194644171153">»VOLUNTEER SIGNUP LINK»</a><h2>SLIDING SCALE</h2>We’re offering sliding scale tickets for ALAANA/BIPOC/SWANA** attendees. If this applies to you and you’d like to purchase sliding scale tickets, please visit our <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.venuepilot.co/events/111344/orders/new#/">Sliding Scale Ticket Page</a>. No proof required. Available for all ages. If you have questions or would like clarification on this matter please contact us at <a target="_blank" rel="noopener noreferrer nofollow" href="https://form.jotform.com/242194644171153">sleepycatrec@gmail.com</a>.**ALAANA - African, Latine, Asian, Arab, Native American // BIPOC - Black, Indigenous, People of Color // SWANA - South West Asian and North African<h2 style="text-align: start">Extra Donations</h2>Feeling extra giving? Make stand-alone or add-on donations in $5 increments.Your extra donation will go towards:<ul><li>Our sliding scale program, subsidizing affordable tickets, and helping make Sleepy Fest more accessible</li><li>Paying event staff and performers bonuses above base pay</li><li>Funding our label projects for 2025, should we have surplus beyond the above mentioned priorities</li></ul><h2 style="text-align: center">Thanks so much!</h2>More information and contact info at: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.sleepycatrec.com/sleepyfest">https://www.sleepycatrec.com/sleepyfest</a>Follow us on IG <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/sleepyfest/">@sleepyfest</a> to stay in the loop as we roll things out

Gillian Welch’s rich and remarkable career spans over twenty-five years, and she and her musical partner David Rawlings are a pillar of the modern acoustic music world. They have been hailed by Pitchfork as “modern masters of American folk” and “protectors of the American folk song” by Rolling Stone.&nbsp;After moving to Nashville in the early 1990s, Welch was launched into the public consciousness when Emmylou Harris recorded a cover of Welch’s “Orphan Girl.” Her career continued to flourish as her 1996 debut Revival, produced by T Bone Burnett, was released to critical acclaim. Firmly on the roots music map following the release, Welch followed up that GRAMMY nominated album release with 1998’s Hell Among The Yearlings, a stark duet record with Rawlings, further solidifying the duo as a force in the folk music scene.&nbsp;For her work as executive producer as well as a performer and songwriter on the eight times platinum O Brother, Where Art Thou? soundtrack, Welch was awarded the Album of the Year GRAMMY, and was simultaneously nominated for her own Time (The Revelator) which Rolling Stone called one of the best albums of the 2000s and is widely considered by critics to be one of the best albums of all time. This release was Welch-Rawlings’ first on their own record label, Acony Records, helping to establish the duo’s fierce commitment to independent music.&nbsp;2003’s Soul Journey was the pair’s first experimentation with a fuller, electric sound, which paved the way for the Dave Rawlings Machine project, and their first release under Rawlings’ name (A Friend of A Friend, 2009), which was accompanied by a time period of heavy touring and headlining major festivals while biding their time to return to the duet sound the two were traditionally known for. 2011’s The Harrow and The Harvest&nbsp; was nominated for for Best Contemporary Folk Album and Best Engineered Album at the GRAMMYs, and won Artist of the Year (Welch) and was nominated for Instrumentalist of the Year (Rawlings) at the Americana Honors &amp; Awards. The album garnered glowing reviews and topped multiple year end “Best Of” lists.&nbsp;In celebration of the twenty year anniversary of the Welch-Rawlings partnership, the two launched an archival branch of Acony Records, entitled Boots, dedicated to releasing outtakes, demos, bootlegs, and live recordings from their copious vault. Thus far they have released five album’s worth of music with more on the way.&nbsp;In&nbsp;2018, Welch was the first musician to receive the Thomas Wolfe Prize for Literature. The award is bestowed by University of North Carolina Chapel Hill’s Department of English &amp; Comparative Literature and recognizes contemporary writers with a distinguished body of work.&nbsp;2019 saw Welch and Rawlings nominated&nbsp;for an Academy Award for “Best Original Song” where they performed their singing cowboy duet, written for the most recent Coen brothers’ film, live on the show. In 2020 the duo released All the Good Times, the first album under both their names, and won the GRAMMY for&nbsp;the Best Folk Album.Recently, they were crowned with the Berklee American Masters Award and honored by Americana Music Association with a Lifetime Achievement for Songwriting.Welch and Rawlings continue to tour the world in support of their music while simultaneously writing and lending their talents to countless fellow artists’ projects. They are continuously working to release their acclaimed catalog on phonograph records of the highest possible fidelity.Singer. Grammy-nominated songwriter. Producer. Award-winning guitarist. Since kicking off his career with 1996’s Revival — an album billed under Gillian Welch’s name, but featuring the indispensable co-writing, harmony-singing and instrumental chops of her musical partner — David Rawlings has woven one of the most acclaimed paths in Americana music. He reaches a new destination with his third solo album, Poor David’s Almanack, whose songs point to a frontman who continues walking the fine line between rootsy revivalism and bold innovation.This is a modern folk album that wears its old-school influences on its sleeve. Like Bob Dylan’s early work, Poor David’s Almanack looks to archetypal songs of the American roots-music catalog for inspiration, using them as launching points for a wildly original tracklist. The high-lonesome harmonies and acoustic fretwork of “Midnight Train” jumpstart the album on an earthy note, while “Airplane” — a southern ballad featuring a string section arranged by Rawlings himself — reaches skyward. Rawlings even evokes the call-and-response format of old field songs during the chorus of “Good God a Woman,” then serenades a lover with the fiddle-fueled, countryfied “Come Over My House.” Throughout its 10-song tracklist, Poor David’s Almanack sounds both fresh and familiar, offering new music rooted in the tradition, texture and twang of the folk songbook.“This is new territory for me, with songs that stick much closer to classic folk melodies and classic folk structures,” he explains. “Before, if I’d wanted to sing a song like ‘Midnight Train,’ I would’ve covered a traditional song that already exists. This is the first time I looked at myself and thought, ‘Wait, if I want to play music like that, I should make it myself,’ because I love that kind of music and I want to be a creator of it. I want to try and inject some of myself into that folk bloodstream.”A leader of the contemporary folk revival, Rawlings began releasing albums with Gillian Welch in the mid-’90s, championing a more acoustic-based sound during the heyday of grunge. For more than two decades since, he has juggled multiple roles as a frontman, duo partner, sideman and behind-the-scenes producer. His vocals can be heard on the Grammy-winning soundtrack to O Brother, Where Art Thou?, whose multi-platinum sales and widespread popularity helped introduce old-time folk music to a 21st century audience, and his unique approach to the acoustic guitar has influenced a new generation of forward-thinking folkies, several of whom — including Dawes and Old Crow Medicine Show — have hired Rawlings to produce their own albums. Dawes’ Taylor and Griffin Goldsmith both make appearances on Poor David’s Almanack, as do multiple members of Old Crow’s past and present lineups, including Ketch Secor and Willie Watson. On an album filled with some of the brightest lights in Americana music, though, Rawlings’ star shines the strongest, whether he’s singing in a mercurial voice or leading his band through an instrumental section worthy of a front-porch picking party.Half of Poor David’s Almanack was written alone — a first for Rawlings, who typically co-writes with Gillian Welch — and songs like “Money is the Meat in the Coconut” have already become staples of his live show, tossed into his setlist days after they were completed. Later, while recording the album to analog tape at Woodland Studios in East Nashville, Rawlings experimented with overdubs and other layered effects. Assisting him were a pair of top-shelf engineers: longtime collaborator Matt Andrews and legendary studio hand Ken Scott, whose work can be heard on landmark albums by the Beatles, David Bowie, and Elton John.Influenced by new experiences, old sounds and classic books (including Benjamin Franklin’s Poor Richard’s Almanack, whose title serves as the basis for Rawlings’ own album), Poor David’s Almanack nods to its source material without borrowing. It’s a nod to the past and a step toward the future. “Cumberland Gap,” with its electric guitar solos and coed harmonies, even evokes the California folk-rock of Fleetwood Mac, pushing Rawlings into ever-evolving territory.“That’s the beautiful thing about this kind of music,” he says. “It’s supposed to be a chain. Maybe it’s supposed to be a chain that looks like a circle. We’re all looking for our best way to contribute to the great musical landscape. We’re all trying to raise some little part of that building.”

Gillian Welch & David Rawlings

For over two decades, Atmosphere has maintained a course of rigorous output, releasing over two dozen studio albums, EP’s and collaborative side projects in as many years. In that time, the venerated duo have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music, continually challenging themselves to evolve without straying too far from their roots. Slug has proven masterful at storytelling and writing compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that helped shape him. Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop’s pioneering DJ’s and producers, creating his own trademark sounds while providing the pulse for songs about life, love, stress and setbacks. At its essence, Atmosphere has been a musical shepherd, and with each new album comes a new journey as they guide generations of listeners through this thing called life.

Atmosphere

Join community members, educators, students, parents and activists to get pumped, to connect, and DANCE to DJ Kai (student at NC state), learn about the issues facing schools and educators know how to get registered, and get involved to make sure we know what’s at stake and elect people who care about public education in NC!

EDM 4 EDU (Rescheduled Date!)

“It’s wild, the ways that humans try to make boundaries out of things.” With her third LP, COUNTRY, Gudasz interrogates borders of land and sea, mind and body: the limits of the lines we draw for ourselves.Gudasz has concentrated her attention on matters of the mind and heart, last issuing a solo record with 2020’s Cinema (“★★★★ a career-making star turn” —MOJO) after her 2016 debut Oleander (“the Joni Mitchell the South never had” —Bitter Southerner). Between her LPs, Gudasz has registered a long list of extracurricular credits, taking up playing in the live bands of Hiss Golden Messenger, Eric Bachmann, Big Star’s Third, and spearheading the Ask Me Anything super trio tour with Libby Rodenbough and Kate Rhudy. She’s staked out her own poetic corner as a songwriter, drawing upon influences that span rootsy surf, witchy rock and roll, cinematic Southern twang, and dreamy art-pop.A turquoise underdog of a semi-hollowbody guitar that Gudasz dug out of a closet became the songwriter’s conduit to an album as she worked out the shimmering “Fire Country,” around which eight more songs fell into place (“They followed me around like a humming cloud and I just tried to show up to finish them.”). Daily walks in the woods deepened the connections that Gudasz felt with the natural world. “A lot of the songs were written in movement, and then after walking, coming back, and putting them on the piano,” she says.&nbsp;Gudasz recorded most of COUNTRY with her longtime pal Ari Picker, whose self-built Goth Construction studio in nearby Pittsboro made for a potent outpost for their work. The pair occasionally recorded outside, giving numbers a glow of ephemeral ambiance.As Gudasz tangles with the contradictions and unanswerable questions of her being, COUNTRY pierces at the human desire—the need—to live free, unbound, unlimited.—Allison Hussey

Skylar Gudasz Album Release Show

Did you know there are over 30 businesses and organizations in Saxapahaw? And probably more that either all of us don’t know about, or are just starting up? Where can you join a group? &nbsp;Who is organizing teams? &nbsp;Where can you volunteer? What are the amazing resources right here in the village and what do YOU want to share? The Saxapahaw Business Collaborative is hosting a fun gathering for residents and close neighbors of Saxapahaw to come together, get to know each other and build community and networks of support, information and creativity! Starting out with a networking soiree and Saxapahaw street food on the Coffeeshop level of Cup 22 we’ll then move downstairs to the main ballroom floor for a guided group tour and interactive map of the village. You will get a ticket for a specially selected adventure and along the way learn more about all the things this village has to offer - as others learn about you and your hopes and interests. For those who want to join in we will end with a dance party that everyone is invited to join. We hope you will join in! Let’s get to know each other Saxapahaw!!

Saxapahaw Soiree

or Beginners: The Best of M. Ward is a collection for M. Ward fans of any vintage. Gathering together 14 tracks from across his Merge Records discography, including the newly recorded song “Cry,” For Beginners is both a primer and a mixtape of favorites sequenced in a way that gives them new life.&nbsp;Beginning with “Chinese Translation” and “Poison Cup” from 2006’s Post-War, For Beginners drops in on Ward as he expands his prowess in the studio. His singular cover of David Bowie’s “Let’s Dance,” from 2003’s Transfiguration of Vincent, breaks out into the exuberant “Never Had Nobody Like You” from 2009’s Hold Time. Rather than the neat evolutionary line suggested by a chronological arrangement, what holds For Beginners together is Ward’s impeccable skill as a songwriter, which remains in focus as his sound expands from low-fi home recordings to electric, radio-ready stompers. Serendipitously timed for release during Merge Records’ 35- year anniversary, this celebration of one of the label’s most beloved artists includes “Cry”—his first new recording on Merge since 2018—a stripped-down cover of the Godley &amp; Creme pop classic featuring Melbourne, Australia’s Folk Bitch Trio.&nbsp;M. Ward on “Cry”:“Cry” was recorded in a Tasmanian modern art museum called MONA. I sat at the end of a long hallway a few feet away from Anselm Kiefer’s sculpture of a 20-foot-high stack of lead books, and standing to my left and right around a single microphone were Melbourne’s Folk Bitch Trio; we rehearsed and recorded “Cry” in about 30 minutes. A pleasure to add this song to a collection of some of my favorite memories of music-making during the first decade of record-creating with my friends at Merge.&nbsp;The song is the perfect capstone for a collection of this nature, summing up much of Ward’s power as a musician: the richness he’s capable of achieving in sparse recordings, his knack for collaboration, and his ability to see through to the soul of a meticulously crafted pop song—as much a means of looking forward to what’s to come of his own work as it is a callback to his past.&nbsp;

M. Ward

If you'd like to donate to this tour and Abuela Daira's work for justice and healing in Colombia, <a href="https://www.gofundme.com/f/support-daira-quinones-on-tour" target="_blank" style="color: var(--paragraphLinkColor); background-color: rgb(255, 255, 255);">visit our fundraiser</a> . All money raised after covering the material expenses of the tour goes directly to Daira Quiñones and her de ella community organization de ella AMDAE.

Daira Quiñones

It was the silence as much as the disease that proved so unsettling. The world had gone inside, underground, taking with it some of its more destructive aspects. The clean and clear air in major cities was a jarring reminder of the airborne rot we had grown used to. Stuck indoors, we went stir crazy, imagined new worlds, dystopian worlds, apocalypses of the small and large variety. There were viral social media stories, most of them fake, about animals reoccupying cities, dolphins taking back the canals of Venice, elephants getting drunk in abandoned Chinese corn wine distilleries and passing out in tea gardens . In those first fearful days of the pandemic, we wrote ourselves out of existence and imagined what the world would be like without us. We missed the noise; we carried it inside us. We tried to find melody in the madness.Most of us have lived some inner Tropical Fuck Storm over this past year and a half. Gareth Liddiard, frontman for the Aussie band with a name perfectly suited to the times, was like the rest of us in feeling the malaise. On not writing any new songs for the first six months of the global shutdown, he says, “Why would I? Everything seemed pointless.” Even for a band that’s made a career out of crafting songs attuned to political and social crisis, there was a new bleak in the air, what the band calls “give-a-fuck fatigue.” A Laughing Death in Meatspace and Braindrops, Tropical Fuck Storm’s 2018 and 2019 records, probed the destructive force of consumerist culture, the imperialistic reaches of the United States, the threat posed by a warming planet. The band wedded a brave new worldview to an ever lively acid punk sound. Which made you sometimes despair. While still wanting to dance.Deep States mines familiar ground as well as new cultural terrains, while digging deeper into the subjective state of contemporary panic. Over the last five years, you didn’t have to be conspiratorial to see the conspiracies everywhere you turned; and Liddiard, Fiona Kitschin, Erica Dunn, and Lauren Hammel, the Tropical Fuck Storm collective, know how to make friends with the strange. They invite our paranoia and fatigue. “It’s a permanent state,” Liddiard sings, “war made the State, the State made war, what’s the point of worrying ’bout it anymore?” The band chronicles weird adventures in statecraft and surveillance, ponders the global infatuation with resurgent fascisms. Tropical Fuck Storm shines an incandescent light on a world in which corporate media, bad-faith leaders, and charismatics of all stripes lose the ability to recognize their own deceptiveness.At times we’re tempted to call Deep States a protest album, though it’s not, quite. The band is far too wary of the self-importance attached to songs in the didactic mode. “We make pop records,” Liddiard says, “that don’t deny we’re all in a bit of trouble here.” But Tropical Fuck Storm does their preaching on the sly, always cognizant of the fact they are making pop music, after all, no matter how avant-garde or “out there” it gets. Deep States comes complete with Q drops, nods to the January 6 th Capitol Riot, a riff on pizzagate, MAGAs squaring off with Antifas, waterboarded Martians, dangerous cults from Heaven’s Gate to The Shining Path and, not to be outdone, Romeo agents who bed us at night only to betray us by morning. We live in a world in which the bizarre has become the normative, and Tropical Fuck Storm plumbs that paradox.On “The Greatest Story Ever Told,” Jesus comes back from the grave to warn humankind off our collective bloodlust and fondness for the “end of days.” Deep States is rife with characters in a God-awful hurry to court catastrophe and global conflict. In that same vein, “Blue Beam Baby” offers a pining homage to Ashli Babbitt, the woman shot as she tried to breach the U.S. Capitol, her MAGA heart warped by that Blue Beam conspiracy theory involving NASA, Antichrists, and technology, presumably as updated by Q. And yet Tropical Fuck Storm, ever connoisseurs of the weird, makes us shed a tear for her. If a fanatic never broke your heart, just wait until you hear Liddiard playing the part of a MAGA martyr’s lover, crooning in Shane MacGowan-esque throaty blues while Kitschin and Dunn whisper eerie-sweet harmonies, like sympathetic brainwashing angels, beckoning us to follow into the blue light.What makes Tropical Fuck Storm so great is the intersection between their dark but satiric storytelling and musical arrangements intent on perverting received canons and wisdoms. Entering into a Tropical Fuck Storm song is like arriving late to a live show where everybody’s grooving and too far gone to notice you. Even though the track has already been cut, you feel as though the band’s still improvising, making it all up as you listen. These are songs as experiment, advancing and retreating at their own idiosyncratic, deeply unsettling pace. They hang on the slant beat and slide into jazzy, distortion-packed jams so tumultuous they’d make Charlie Mingus proud. Musically, Deep States goes wherever it wants, riffing on pop, R&amp;B, Talking Heads-style new wave, Delta blues, Tom Waits, and some of the band’s hip-hop favorites such as Wu-Tang Clan and Missy Elliot. Barriers aren’t just broken, they seem to have completely fallen away.In a world where everything is digitized there is no musical past. The record store bin has gone virtual, as vast as eternity. It’s all right here, right now, timeless in the most literal sense possible. Which is all the more reason why a song such as “New Romeo Agent,” with its glorious mash-up of contemporary and historical influences, ought to be topping the charts. At once spooky, sweetly sad, and off kilter — Erica Dunn doing a world-weary Debbie Harry — the song is a reminder of the melody within even the most feedback-heavy of the band’s arrangements.As we write this, parts of the world are opening up, or trying to. But Tropical Fuck Storm is here to remind us that many of our most urgent political and social problems have been around a long time now. Same as it ever was, as another genre bending band once sang. As the signs of latest crisis subside, and the dull ache of awareness with it, Deep States will be here to remind us that there is no foreseeable end to human folly, nor, fortunately, to the creativity that resists it. Over the past few years we’ve all heard the noise in our own heads. Tropical Fuck Storm has made music of it.-R. Clifton Spargo &amp; Anne K. Ream

Tropical Fuck Storm

<h2 style="text-align: start">SLAUGHTER BEACH, DOG</h2>From the Desk of Craig Finn Hey, I just got off the phone with Jake Ewald. He says hello. I called him to tell him I’ve been digging the new Slaughter Beach Dog album he’d sent me. I’d been playing it around the house a lot, and had a question about it. He picked up on the first ring and told me that it’s called Crying Laughing Waving Smiling and that it’s going to come out on September 22nd on Lame-O Records. That wasn’t really my question, but I guess it’s good to know. I actually called to ask him if his van really got stolen. He mentions it in one of my favorite songs on the record, called “Engine”. I’ve been a fan of Slaughter Beach Dog for a little while now, and I know that Jake can tell a fantastic story, though I also know a great storyteller can stretch the truth. But Jake said his van really did get stolen in 2020, right at the top of the pandemic. It’s also true that just a little while later he moved from Philadelphia, where he’d been living for a decade, to a house in the Poconos. Once there, he found he had less distraction and a calmer mind. He started going for walks and listening to music. He found some new appreciation for the “old guys”, as he said on the phone- Neil Young, Randy Newman, Tom Waits, those types. Personally, I’d call them the “classic guys”, but I’m a bit older so I’m probably somewhat defensive about age. Anyways, to me it seems like some of this might have led to an old school approach to making a record. In July 2022, the whole Slaughter Beach, Dog band (Jake, Zach, Ian, Adam, Logan) gathered at their long time studio The Metal Shop back in Philly with a bunch of songs Jake had written over the past two years. Jake would show them a new song, singing and playing an acoustic guitar, and then the band would all play what they were hearing for the song. Classic, human, and not overthought. They’d talked before entering the studio about this approach: emphasising the instinctual, not being afraid, listening to each other. The band caught fire. They captured fifteen songs in the first five days. The priority throughout was serving the song. I’ve been listening for days now. I can tell you these songs got served. There’s beautiful space in everything. It’s patient and aware. I’ve always admired Jake’s eye for detail, and it’s on full display here. It’s an album filled with gorgeous imagery and vivid worlds are built within each song. I see it all. He careens around the country (New Jersey, Baton Rouge, San Antonio, Florida, Georgia) and engages his tastebuds (spinach, cheddar, caviar, buttercream, margaritas). He’s tender in bars and funny in cars. And vice versa. Most impressively to me, he consistently finds the divine and sacred in the everyday: church pews in a diner, toast bearing the image of Christ. It’s my opinion that every record is about growing up- we all have to get a little older before we make the next one. But Crying Laughing Waving Smiling examines a particular weightlessness that is part of spreading wings, putting down roots, trying to grab a hold of something. This is how it feels when you’re making the moves that you make while becoming the person that you’re going to be. A few months back I watched Slaughter Beach Dog play a sold out club in Brooklyn. The band was awesome, and the audience sang every damn one of the words to their songs back to them. It was impressive. But I know it’s not effortless, and Jake Ewald has been persistent. Starting with Modern Baseball, he’s led two different bands over countless tours of this country. He’s gathered fans around the world. He’s dedicated his life to rock and roll. He told me that sounds dramatic. Probably, but it’s also true. So as much as it speaks to our own modern age, my favorite part of this record is its timelessness. Before I got off the phone with Jake, I told him that this sounds like a record we’ll listen to in ten years, twenty years, beyond. It should get more and more people into Slaughter Beach Dog and the already deep catalog of music they’ve built. Next time I see the band, there will be even more people singing every word of every song. I’ll be in the back of the room, raising a toast to my pal Jake, congratulating him on the success of this fantastic record. I just hope he’ll still take my calls.cf

Slaughter Beach, Dog

Doors open at 10:15am for a self-guided warmup&nbsp;Opening circle at 11am90-minute dance wave, followed by an optional closing shareIncluded with Soil Sky Event Pass. Option to purchase a dance-only ticket for $15 on the ticket page.No experience necessary.Newcomers please arrive for the opening circle.Dance in bare feet, socks or dance specific shoes.&nbsp;Please refrain from wearing scents.&nbsp;Bring an open mind and heart.&nbsp;Bring a water bottle.&nbsp;Dancing children are welcome with an attentive guardian. Please help kids preserve the conversation-free dance floor. Small children especially should be kept from running through the space to prevent collision and injury. Ecstatic Dance is an improvisational movement journey led by carefully curated music inspired by Gabrielle Roth's 5Rhythms. Generally, the score, or dance wave, starts slow, builds in energy toward a peak and descends again to stillness. With no verbal guidance or conversation on the dance floor, there is abundant space for presence, creativity, improvisation, feeling and synchronicity to unfold. Practitioners are encouraged to welcome and follow the body’s impulses toward authentic, spontaneous expression which can include a full range of feelings from grief and anger to ecstatic joy and celebration.Ecstatic Dance can be a profound, empowering, playful and prayerful practice for people of diverse bodies, ages, orientations, affiliations and backgrounds. Absolute beginners and long-time practitioners are welcome.&nbsp;In this session, we’ll begin with an opening circle to orient everyone to the practice and co-create a safe and sacred space for movement exploration and connection.If you find that you love the practice and would like to dance more frequently, we invite you to weekly ecstatic dance on Sundays at <a target="_blank" rel="noopener noreferrer nofollow" href="https://heartwardsanctuary.org/temple-dance-sunday-dance-service/">Heartward Sanctuary</a>, 20 minutes south of Saxapahaw.

Soil and Sky Ecstatic Dance

The evening will include:<ul><li>An Intro to Argentine Tango Workshop with Culture Mill's Co-Directors</li><li>A screening of the full 10 years, 10 stories documentary</li><li>A screen printing party -- Bring your own T-Shirt to transform into Culture Mill swag!</li><li>Rodrigo's Burritos for sale + cash bar</li><li>Light bites, friends, and learn about the 2024-25 season</li></ul>See the Agenda for details. Come for what you wish and stay as long as you like!About tickets:We invite an expansive community, friends new and old, to join us for this event! Tickets are Pay What You Wish with a suggested sliding scale of $10-$30.Your entry includes access to the Intro to Tango Workshop, documentary screening, free Culture Mill screen printing (bring your own T-shirt!), and light refreshments. Rodrigo’s Burritos for sale and a cash bar will be available on-site.About Culture MillFounded in 2014 by dancers/choreographers Murielle Elizéon and Tommy Noonan, Culture Mill’s mission is to foster a creative and inclusive ecosystem through artist residencies, community-centered initiatives, and groundbreaking immersive artworks from local, national, and international artists. Stationed in Saxapahaw, NC, Culture Mill advances embodied interdisciplinary arts, cultivates community, and expands access to arts experiences. Reaching beyond rural Alamance County, the organization's work is shared across the greater Triangle/Triad region of NC. Culture Mill also engages in national and international collaborations through commissions, residencies, workshops, hosting artists from abroad, and touring Culture Mill works. At the intersection of a range of projects is sustained communal practices that center the body and claim the transformational power of art and storytelling. <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.culturemill.org">www.culturemill.org</a>About the ArtistsMurielle Elizéon, Culture Mill Co-Founder/Director (she/her) is a French dancer, performer, choreographer and teacher. She grew up in Southern France and studied Italian Literature and Dance Aesthetics while completing her dance training. She began her professional dance career in Paris in 1995. As a dancer/performer/choreographer, she has toured her own work and with various dance companies across Europe. As a movement artist, she is interested in the ever-evolving condition of the body and the complexity of human experience, as well as in the creation of diverse temporary communities. She is a skilled, experienced and enthusiastic teacher, having taught for 20 years in across Europe and the US for a diverse public. Murielle has also danced, taught, and performed Argentine Tango for more than 10 years, using the form as a tool to access clarity of intention, body awareness, communication and connection to others.Tommy Noonan, Culture Mill Co-Founder/Director (he/him) is a director, choreographer, writer, performer, and organizer based in Saxapahaw, NC. His trans-disciplinary performances have been presented extensively throughout the US, Germany, France, Portugal, Poland, Switzerland, Austria, Spain, Norway, and Mexico. His work engages rich and complex dynamics of power, belonging, and ambivalence that arise in the situation of performance itself. Drawing on a range of practices such as contemporary dance, theater, sound installation, somatics, and community facilitation, Tommy’s work circles around the felt sense of an embodied encounter in a specific place and the questions about commonality and difference that result. Tommy has toured smaller creations, his research and work in public space performance have appeared in the Guidebook of Alternative Nows, and his writings on collectivity and organizing have appeared in Fries Theater Journal (Austria), Revisita Obscena (Portugal), and The Performance Journal (NYC).

Culture Mill Season Launch

By buying tickets and attending events at Haw River Ballroom, you agree to our Code of Conduct, which you can read here: <a href="https://bit.ly/HRBCodeOfConduct" target="_blank" style="color: rgb(17, 85, 204); background-color: transparent;">https://bit.ly/HRBCodeOfConduct</a>Never seen a show at our venue before and have questions? Please see our FAQs: <a href="https://bit.ly/HRBFAQs" target="_blank" style="color: rgb(17, 85, 204); background-color: transparent;">https://bit.ly/HRBFAQs</a>

Saturdays in Saxapahaw Dance Season Finale

<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a> returns for an entire summer! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!Things To Know About <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a><ul><li>Blankets, lawn chairs, and coolers are permitted</li><li>No Smoking</li><li>No Dogs or other animals allowed (sorry!)</li><li>ADA recognized Service Animals are allowed but only those trained to do work or perform tasks for the benefit of an individual with a disability</li><li>No Guns allowed on the property (which is private)</li><li>No Soliciting</li><li>BE KIND and UNDERSTANDING to others! This is a free, fun, volunteer run community event. We do it because we love it - let’s all take care of each other and be safe</li></ul>Safety:2 members of the police department will be helping with traffic and and two EMS members of the Eli Whitney Fire Department will be onsite as well each week.Parking: (Scroll Down on the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw page</a> for Map)<ul><li>The main parking meadow of the past is now the new Hawbridge Upper School. There is parking in their lot outside the school.</li><li>Parking is available behind the Saxapahaw Museum in a gravel lot.</li><li>There are new designated parking areas on Pine and Hilltop near and just past the Water Tower.</li><li>There is a parking area to the right of Paperhand Puppet and Haw River Canoe/Kayak.</li><li>There is a large parking area on Saxapahaw Island (closes at 9pm).</li><li>There is a large parking lot at the Saxapahaw United Methodist Church across the bridge.&nbsp;</li><li>PLEASE DO NOT PARK IN THE ROAD or in people’s yards or driveways or blocking residential gates. We love our community and we ask that you respect that people live and work here and need to be able to feel that their homes and property are not affected by people coming in for the event. Cars parked in any of these spaces or over the white line on the road will be towed. We have been warned. Now you have as well.&nbsp;</li></ul>Rainy Days:If it is storming or raining, and if is not an event happening at Haw River Ballroom, we will move the show inside. However, if an event is happening inside Haw River Ballroom, we will have to cancel the event. We will make the call by 4:00 on Saturdays and announce on all our social media accounts should we have to cancel the event.Accessibility:There is very limited parking for vehicles with a handicap permit right next to the site (there will be a policeman right there with a police car and they can help). There are no chairs or seating provided but you are welcome to bring your own and/or we have a section for wheelchairs next to the stage on the flat tarmac.﻿Thanks to Saxapahaw Rivermill and Jordan Properties for supporting Saturdays in Saxapahaw and making the space available. Thanks to the Saxapahaw General Store, Haw River Farmhouse Ales, and to Malik Walker and Anna Elder for helping to organize this event and the market, and thanks to the Haw River Ballroom for hosting, planning, and underwriting the event.

Trio Huasteco

<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a> returns for an entire summer! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!Things To Know About <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a><ul><li>Blankets, lawn chairs, and coolers are permitted</li><li>No Smoking</li><li>No Dogs or other animals allowed (sorry!)</li><li>ADA recognized Service Animals are allowed but only those trained to do work or perform tasks for the benefit of an individual with a disability</li><li>No Guns allowed on the property (which is private)</li><li>No Soliciting</li><li>BE KIND and UNDERSTANDING to others! This is a free, fun, volunteer run community event. We do it because we love it - let’s all take care of each other and be safe</li></ul>Safety:2 members of the police department will be helping with traffic and and two EMS members of the Eli Whitney Fire Department will be onsite as well each week.Parking: (Scroll Down on the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw page</a> for Map)<ul><li>The main parking meadow of the past is now the new Hawbridge Upper School. There is parking in their lot outside the school.</li><li>Parking is available behind the Saxapahaw Museum in a gravel lot.</li><li>There are new designated parking areas on Pine and Hilltop near and just past the Water Tower.</li><li>There is a parking area to the right of Paperhand Puppet and Haw River Canoe/Kayak.</li><li>There is a large parking area on Saxapahaw Island (closes at 9pm).</li><li>There is a large parking lot at the Saxapahaw United Methodist Church across the bridge.&nbsp;</li><li>PLEASE DO NOT PARK IN THE ROAD or in people’s yards or driveways or blocking residential gates. We love our community and we ask that you respect that people live and work here and need to be able to feel that their homes and property are not affected by people coming in for the event. Cars parked in any of these spaces or over the white line on the road will be towed. We have been warned. Now you have as well.&nbsp;</li></ul>Rainy Days:If it is storming or raining, and if is not an event happening at Haw River Ballroom, we will move the show inside. However, if an event is happening inside Haw River Ballroom, we will have to cancel the event. We will make the call by 4:00 on Saturdays and announce on all our social media accounts should we have to cancel the event.﻿Accessibility:There is very limited parking for vehicles with a handicap permit right next to the site (there will be a policeman right there with a police car and they can help). There are no chairs or seating provided but you are welcome to bring your own and/or we have a section for wheelchairs next to the stage on the flat tarmac.﻿Thanks to Saxapahaw Rivermill and Jordan Properties for supporting Saturdays in Saxapahaw and making the space available. Thanks to the Saxapahaw General Store, Haw River Farmhouse Ales, and to Malik Walker and Anna Elder for helping to organize this event and the market, and thanks to the Haw River Ballroom for hosting, planning, and underwriting the event.

Fust

Join us for Appalachian Square Dancing at the beautiful Haw River Ballroom with a caller/ instructor to the fantastic live music of Big Fat Gap! Whether you are a pro or a novice all are welcome! Professional barn dance leader Dave Dobbins will hold a lesson for all before each dance and then the stomping and whirling begins! $15 per person or $40 for a family/party of 4.

"Reminiscent of the glorious sloppiness of Neil Young &amp; Crazy Horse." - Folk Radio UK Cosmic country-rock for weirdos! Wry lyricist and charismatic frontman Charles Latham leads the dynamic, high-octane Borrowed Band (which includes former members of Ben Folds Five, Shooter Jennings, Six-String Drag and more) on a wild ride from ballads to barnstormers. The band closed out 2023 with back-to-back single releases and accompanying videos; the video for "Last Great Never Was" features cameos from local luminaries such as Reese McHenry, Entrez Vous, and more. Charles Latham and the Borrowed Band are founding members of a new collective of alt-country/yallternative/americana bands in the SE, which includes Reese McHenry, Old Heavy Hands, Jack the Radio, the Gone Ghosts and more:&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.allyallrecords.com/">All Yall Records</a>.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a> returns for an entire summer! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!Things To Know About <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a><ul><li>Blankets, lawn chairs, and coolers are permitted</li><li>No Smoking</li><li>No Dogs or other animals allowed (sorry!)</li><li>ADA recognized Service Animals are allowed but only those trained to do work or perform tasks for the benefit of an individual with a disability</li><li>No Guns allowed on the property (which is private)</li><li>No Soliciting</li><li>BE KIND and UNDERSTANDING to others! This is a free, fun, volunteer run community event. We do it because we love it - let’s all take care of each other and be safe</li></ul>Safety:2 members of the police department will be helping with traffic and and two EMS members of the Eli Whitney Fire Department will be onsite as well each week.Parking: (Scroll Down on the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw page</a> for Map)<ul><li>The main parking meadow of the past is now the new Hawbridge Upper School. There is parking in their lot outside the school.</li><li>Parking is available behind the Saxapahaw Museum in a gravel lot.</li><li>There are new designated parking areas on Pine and Hilltop near and just past the Water Tower.</li><li>There is a parking area to the right of Paperhand Puppet and Haw River Canoe/Kayak.</li><li>There is a large parking area on Saxapahaw Island (closes at 9pm).</li><li>There is a large parking lot at the Saxapahaw United Methodist Church across the bridge.&nbsp;</li><li>PLEASE DO NOT PARK IN THE ROAD or in people’s yards or driveways or blocking residential gates. We love our community and we ask that you respect that people live and work here and need to be able to feel that their homes and property are not affected by people coming in for the event. Cars parked in any of these spaces or over the white line on the road will be towed. We have been warned. Now you have as well.&nbsp;</li></ul>Rainy Days:If it is storming or raining, and if is not an event happening at Haw River Ballroom, we will move the show inside. However, if an event is happening inside Haw River Ballroom, we will have to cancel the event. We will make the call by 4:00 on Saturdays and announce on all our social media accounts should we have to cancel the event.Accessibility:There is very limited parking for vehicles with a handicap permit right next to the site (there will be a policeman right there with a police car and they can help). There are no chairs or seating provided but you are welcome to bring your own and/or we have a section for wheelchairs next to the stage on the flat tarmac.﻿Thanks to Saxapahaw Rivermill and Jordan Properties for supporting Saturdays in Saxapahaw and making the space available. Thanks to the Saxapahaw General Store, Haw River Farmhouse Ales, and to Malik Walker and Anna Elder for helping to organize this event and the market, and thanks to the Haw River Ballroom for hosting, planning, and underwriting the event.

Charles Latham and the Borrowed Band

<h3 style="text-align: start">Shirlette Ammons is a Black queer southern truth teller. She is a poet and musician who has also served as producer on Emmy and Peabody award-winning TV &amp; film projects. She is also an identical twin who hails from a tiny, wonderfully-named pocket of eastern North Carolina earth called Beautancus.</h3><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a> returns for an entire summer! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!Things To Know About <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a><ul><li>Blankets, lawn chairs, and coolers are permitted</li><li>No Smoking</li><li>No Dogs or other animals allowed (sorry!)</li><li>ADA recognized Service Animals are allowed but only those trained to do work or perform tasks for the benefit of an individual with a disability</li><li>No Guns allowed on the property (which is private)</li><li>No Soliciting</li><li>BE KIND and UNDERSTANDING to others! This is a free, fun, volunteer run community event. We do it because we love it - let’s all take care of each other and be safe</li></ul>Safety:2 members of the police department will be helping with traffic and and two EMS members of the Eli Whitney Fire Department will be onsite as well each week.Parking: (Scroll Down on the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw page</a> for Map)<ul><li>The main parking meadow of the past is now the new Hawbridge Upper School. There is parking in their lot outside the school.</li><li>Parking is available behind the Saxapahaw Museum in a gravel lot.</li><li>There are new designated parking areas on Pine and Hilltop near and just past the Water Tower.</li><li>There is a parking area to the right of Paperhand Puppet and Haw River Canoe/Kayak.</li><li>There is a large parking area on Saxapahaw Island (closes at 9pm).</li><li>There is a large parking lot at the Saxapahaw United Methodist Church across the bridge.&nbsp;</li><li>PLEASE DO NOT PARK IN THE ROAD or in people’s yards or driveways or blocking residential gates. We love our community and we ask that you respect that people live and work here and need to be able to feel that their homes and property are not affected by people coming in for the event. Cars parked in any of these spaces or over the white line on the road will be towed. We have been warned. Now you have as well.&nbsp;</li></ul>Rainy Days:If it is storming or raining, and if is not an event happening at Haw River Ballroom, we will move the show inside. However, if an event is happening inside Haw River Ballroom, we will have to cancel the event. We will make the call by 4:00 on Saturdays and announce on all our social media accounts should we have to cancel the event.Accessibility:There is very limited parking for vehicles with a handicap permit right next to the site (there will be a policeman right there with a police car and they can help). There are no chairs or seating provided but you are welcome to bring your own and/or we have a section for wheelchairs next to the stage on the flat tarmac.﻿Thanks to Saxapahaw Rivermill and Jordan Properties for supporting Saturdays in Saxapahaw and making the space available. Thanks to the Saxapahaw General Store, Haw River Farmhouse Ales, and to Malik Walker and Anna Elder for helping to organize this event and the market, and thanks to the Haw River Ballroom for hosting, planning, and underwriting the event.

Shirlette Ammons

From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”Pratt quickly envisioned a more expansive set of influences—“big panoramic sounds that make you think of the ocean and California”—and the results are evident in the dynamic repertoire of instruments accompanying her graceful, dreamlike melodies. Throughout these nine songs, you will hear timpani and glockenspiel, baritone saxophone and flute alongside robust, layered vocal arrangements that create a triumphant mood, even when the lyrics hint at devastation.To achieve this sense of musical resilience, Pratt cites Pet Sounds as her “north star” in pursuing a fuller production style. But where plenty of artists look to the Beach Boys’ 1966 landmark as the untouchable precedent for symphonic grandeur, Pratt found herself drawn to the shadowy outskirts of those recordings. “It’s the atmospheric silence,” she explains. “There are times when you feel like you’re just hearing the studio for a moment. Those were always so intriguing for me as a young person, feeling like you could reach out and touch the texture of the sound in the air.”If Pratt’s early albums—2012’s word-of-mouth favorite Jessica Pratt and 2015’s devastatingly beautiful On Your Own Love Again—seemed beamed in from a dimly lit bedroom somewhere in the distant past, these songs stand on more solid ground. The tone can range from comforting and even chipper (“When you’ve fallen out, get both feet on the ground,” she reassures during the chiming chorus of “Life Is”) to a haunted, malevolent quality that feels entirely new in her songbook. “I became obsessed with figures emblematic of the dark side of the Californian dream while making this record,” Pratt explains, noting the influence of Los Angeles’ strange, seedy history and the bleak end of the hippy era. This creeping doom and illumination is palpable in the twisted bossa nova groove of “By Hook or by Crook” and the cryptic, antagonistic lyrics on the otherwise sunny, Laurel Canyon-influenced “Better Hate.”“I spend a lot of time worrying and imagining bad things happening,” Pratt confesses. “So maybe the idea of creatively inhabiting a character who wields the power is interesting.” You can hear this playfully villainous perspective emerging in her imagistic lyrics, although the clearest shift is in her vocal performance. While Pratt admits to always seeking inspiration from voices that sound like they’ve been “drug through life,” she worked on these songs to develop a fuller, more physical style that draws from the dignified baritone of Scott Walker and the weathered theatrics of latter-day Judy Garland. Exploring her lower register on the dazzling “World on a String” and the otherworldly piano ballad “Empires Never Know,” esoteric themes and influences led to her most adventurous music yet.Nowhere is Pratt’s evolution clearer than on the closing track, “The Last Year,” which ranks among her most gorgeous and bittersweet compositions to date: a song that feels like it could have existed in the Great American Songbook for ages. “I think it’s gunna be fine/I think we’re gunna be together/And the storyline goes forever,” she sings, tapping into a universal resolution that offers what she calls a “weird optimism” at the end of a record that leads down some admittedly dark roads. (The “pitch” in Here in the Pitch refers to both “pitch darkness” and bitumen, the black viscous substance that forms deep below the surface of the earth.)If a sense of hope is clear in Pratt’s words, it’s even clearer in her performance: placing her voice at the forefront and creating an emotional immediacy that sets this record apart from all her past work. “I never wanted it to take this long. I’m just a real perfectionist,” she explains of the album’s long gestation, which spanned from summer 2020 to the spring of 2023. “I was just trying to get the right feeling, and it takes a long time to do that.” With Here in the Pitch, Pratt comes as close as she ever has to this feeling of perfection, to music you can reach out and touch in the air around you, to summoning with every note the hope and mystery, the horror and romance, that lingers within the silence. Through these songs, she suggests those qualities are precisely what keeps us listening, over and over again, on the edge of our seats.—Sam Sodomsky

Jessica Pratt with @

Established in 1987 by experienced local musicians, the Alamance Jazz Band serves as a member group of Alamance Arts, aiming to offer organized musical learning and performances centered around big band jazz. Comprising 17 instrumentalists and a vocalist, the band has performed everything from outdoor concerts to private events, not only in Alamance County but also in various neighboring cities like Charlotte, Raleigh, and Greensboro. Its diverse membership, spanning multiple professions and ages, rehearses regularly and presents a repertoire encompassing swing hits, jazz standards, contemporary pieces, and even some compositions by area composers<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a> returns for an entire summer! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!Things To Know About <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a><ul><li>Blankets, lawn chairs, and coolers are permitted</li><li>No Smoking</li><li>No Dogs or other animals allowed (sorry!)</li><li>ADA recognized Service Animals are allowed but only those trained to do work or perform tasks for the benefit of an individual with a disability</li><li>No Guns allowed on the property (which is private)</li><li>No Soliciting</li><li>BE KIND and UNDERSTANDING to others! This is a free, fun, volunteer run community event. We do it because we love it - let’s all take care of each other and be safe</li></ul>Safety:2 members of the police department will be helping with traffic and and two EMS members of the Eli Whitney Fire Department will be onsite as well each week.Parking: (Scroll Down on the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw page</a> for Map)<ul><li>The main parking meadow of the past is now the new Hawbridge Upper School. There is parking in their lot outside the school.</li><li>Parking is available behind the Saxapahaw Museum in a gravel lot.</li><li>There are new designated parking areas on Pine and Hilltop near and just past the Water Tower.</li><li>There is a parking area to the right of Paperhand Puppet and Haw River Canoe/Kayak.</li><li>There is a large parking area on Saxapahaw Island (closes at 9pm).</li><li>There is a large parking lot at the Saxapahaw United Methodist Church across the bridge.&nbsp;</li><li>PLEASE DO NOT PARK IN THE ROAD or in people’s yards or driveways or blocking residential gates. We love our community and we ask that you respect that people live and work here and need to be able to feel that their homes and property are not affected by people coming in for the event. Cars parked in any of these spaces or over the white line on the road will be towed. We have been warned. Now you have as well.&nbsp;</li></ul>Rainy Days:If it is storming or raining, and if is not an event happening at Haw River Ballroom, we will move the show inside. However, if an event is happening inside Haw River Ballroom, we will have to cancel the event. We will make the call by 4:00 on Saturdays and announce on all our social media accounts should we have to cancel the event.Accessibility:There is very limited parking for vehicles with a handicap permit right next to the site (there will be a policeman right there with a police car and they can help). There are no chairs or seating provided but you are welcome to bring your own and/or we have a section for wheelchairs next to the stage on the flat tarmac.﻿Thanks to Saxapahaw Rivermill and Jordan Properties for supporting Saturdays in Saxapahaw and making the space available. Thanks to the Saxapahaw General Store, Haw River Farmhouse Ales, and to Malik Walker and Anna Elder for helping to organize this event and the market, and thanks to the Haw River Ballroom for hosting, planning, and underwriting the event.

Alamance Jazz Band

now&amp;now is an improvisation collective offering accompaniment for spoken word sharingAlison Weiner on keys, Jeff Brown on saxes and Scott Screws on drums

now&now - a project of MahaloArts

"Guaranteed to burn, the Carolina Cutups bring you the best of the North Carolina Piedmont sound with&nbsp;hard-driving bluegrass standards and sweet old-time ballads."<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a> returns for an entire summer! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!Things To Know About <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a><ul><li>Blankets, lawn chairs, and coolers are permitted</li><li>No Smoking</li><li>No Dogs or other animals allowed (sorry!)</li><li>ADA recognized Service Animals are allowed but only those trained to do work or perform tasks for the benefit of an individual with a disability</li><li>No Guns allowed on the property (which is private)</li><li>No Soliciting</li><li>BE KIND and UNDERSTANDING to others! This is a free, fun, volunteer run community event. We do it because we love it - let’s all take care of each other and be safe</li></ul>Safety:2 members of the police department will be helping with traffic and and two EMS members of the Eli Whitney Fire Department will be onsite as well each week.Parking: (Scroll Down on the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw page</a> for Map)<ul><li>The main parking meadow of the past is now the new Hawbridge Upper School. There is parking in their lot outside the school.</li><li>Parking is available behind the Saxapahaw Museum in a gravel lot.</li><li>There are new designated parking areas on Pine and Hilltop near and just past the Water Tower.</li><li>There is a parking area to the right of Paperhand Puppet and Haw River Canoe/Kayak.</li><li>There is a large parking area on Saxapahaw Island (closes at 9pm).</li><li>There is a large parking lot at the Saxapahaw United Methodist Church across the bridge.&nbsp;</li><li>PLEASE DO NOT PARK IN THE ROAD or in people’s yards or driveways or blocking residential gates. We love our community and we ask that you respect that people live and work here and need to be able to feel that their homes and property are not affected by people coming in for the event. Cars parked in any of these spaces or over the white line on the road will be towed. We have been warned. Now you have as well.&nbsp;</li></ul>Rainy Days:If it is storming or raining, and if is not an event happening at Haw River Ballroom, we will move the show inside. However, if an event is happening inside Haw River Ballroom, we will have to cancel the event. We will make the call by 4:00 on Saturdays and announce on all our social media accounts should we have to cancel the event.Accessibility:There is very limited parking for vehicles with a handicap permit right next to the site (there will be a policeman right there with a police car and they can help). There are no chairs or seating provided but you are welcome to bring your own and/or we have a section for wheelchairs next to the stage on the flat tarmac.﻿Thanks to Saxapahaw Rivermill and Jordan Properties for supporting Saturdays in Saxapahaw and making the space available. Thanks to the Saxapahaw General Store, Haw River Farmhouse Ales, and to Malik Walker and Anna Elder for helping to organize this event and the market, and thanks to the Haw River Ballroom for hosting, planning, and underwriting the event.

The Carolina Cutups

Dance Party

Nat Myers

A natural soul singer and blues musician, Drew Foust’s music sounds like it’s made between thebleary hours of a rock bar’s last call and a southern preacher’s early morning prayer. Handmade, self-made and arranged in dramatic structure, the music is lyrical and rhythm driven,always pushing a feeling forward. His latest release, “Good Thing,” is inspired by the Memphissoul music from the 60’s and 70’s.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a> returns for an entire summer! The weekly festivities include performances by local bands and a thriving Farmer’s Market with fresh local produce, eggs, baked goods, flowers, honey, locally produced microbrews, handmade arts and crafts, food trucks, ice cream and more! Festivities take place every Saturday with the market opening at 5pm and music going from 6 to 8pm from the first Saturday in May through last Saturday in August. Admission is free though donations are appreciated, organizers will have our famous “Swan Buckets” on stage each week and Swan Venmo information posted for the bands! Please give what you can to these wonderful musicians!Things To Know About <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw</a><ul><li>Blankets, lawn chairs, and coolers are permitted</li><li>No Smoking</li><li>No Dogs or other animals allowed (sorry!)</li><li>ADA recognized Service Animals are allowed but only those trained to do work or perform tasks for the benefit of an individual with a disability</li><li>No Guns allowed on the property (which is private)</li><li>No Soliciting</li><li>BE KIND and UNDERSTANDING to others! This is a free, fun, volunteer run community event. We do it because we love it - let’s all take care of each other and be safe</li></ul>Safety:2 members of the police department will be helping with traffic and and two EMS members of the Eli Whitney Fire Department will be onsite as well each week.Parking: (Scroll Down on the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.hawriverballroom.com/saturdays-in-saxapahaw">Saturdays in Saxapahaw page</a> for Map)<ul><li>The main parking meadow of the past is now the new Hawbridge Upper School. There is parking in their lot outside the school.</li><li>Parking is available behind the Saxapahaw Museum in a gravel lot.</li><li>There are new designated parking areas on Pine and Hilltop near and just past the Water Tower.</li><li>There is a parking area to the right of Paperhand Puppet and Haw River Canoe/Kayak.</li><li>There is a large parking area on Saxapahaw Island (closes at 9pm).</li><li>There is a large parking lot at the Saxapahaw United Methodist Church across the bridge.&nbsp;</li><li>PLEASE DO NOT PARK IN THE ROAD or in people’s yards or driveways or blocking residential gates. We love our community and we ask that you respect that people live and work here and need to be able to feel that their homes and property are not affected by people coming in for the event. Cars parked in any of these spaces or over the white line on the road will be towed. We have been warned. Now you have as well.&nbsp;</li></ul>Rainy Days:If it is storming or raining, and if is not an event happening at Haw River Ballroom, we will move the show inside. However, if an event is happening inside Haw River Ballroom, we will have to cancel the event. We will make the call by 4:00 on Saturdays and announce on all our social media accounts should we have to cancel the event.Accessibility:There is very limited parking for vehicles with a handicap permit right next to the site (there will be a policeman right there with a police car and they can help). There are no chairs or seating provided but you are welcome to bring your own and/or we have a section for wheelchairs next to the stage on the flat tarmac.﻿Thanks to Saxapahaw Rivermill and Jordan Properties for supporting Saturdays in Saxapahaw and making the space available. Thanks to the Saxapahaw General Store, Haw River Farmhouse Ales, and to Malik Walker and Anna Elder for helping to organize this event and the market, and thanks to the Haw River Ballroom for hosting, planning, and underwriting the event.

Drew Foust & The Wheelhouse

Tre. Charles is an Alternative/Indie Soul artist who dives into the depths of his soul and invites you into his world with an expressive blend of warm and soulful undertones, profound and powerful lyrics, and emotive crooning; all of which helps you navigate your way through the encompassing experience. Growing up along the East Coast from city to city, Tre. Charles has been exposed to a myriad of different customs and cultures. It is from these experiences that he has cultivated a sound of his own, which pays homage to his nomadic upbringing and lifestyle. With Charles not having been formally trained in music, it adds to his unassuming yet commanding allure. His sound has drawn comparisons of modern talents like Sampha, Hozier, and James Blake but also glints of classic pioneers like Muddy Waters and Lauryn Hill. With hints of avant-garde R&amp;B, modern indie flares, and ambient soul, Charles’ honest &amp; thought provoking music has the ability to make every performance feel like a transformative experience.&nbsp;Pitchfork contributor Brian Howe has described Tre. Charles’s sound as&nbsp; “stretched and shifted vocal harmonies, and long-tailed reverbs and delays that hum like cathedrals.” Howe also goes on to say “This labyrinth of sound, blurred at the edges yet sharply etched in the middle, is where we find his just-woke-up voice and glinting guitar, his fingers tweezing jazzy splinters from thick barre chords. The overall effect is calming, but in a transfixing, time-halting way, like dancing candlelight.”

XOXOK

Jenny Lewis released her fourth and most critically acclaimed solo album to date, On TheLine (WarnerRecords), on March 22, 2019. Recorded at the distinguished Capitol Studios, the album features a who’s who of supporting players including Beck, Don Was, Benmont Tench, Jim Keltner, Ringo Starr, Beck sidemen Jason Falkner and Smokey Hormel among others. On The Line continues to generate rave reviews, with Vulture declaring it her “best work to date,” and top spots on Best of 2019 (So Far)lists including Rolling Stone, NPR, Entertainment Weekly, USA Today and AV Club. A culmination ofLewis’ prolific 20+ year career, On The Line follows her three previous solo albums—2014’s TheVoyager (Warner Records), 2008’s Acid Tongue (Warner Records) and her 2006 solo debut Rabbit FurCoat (Team Love)—as well as her universally-loved work in Rilo Kiley and side projects Nice As Fuck,Jenny &amp; Johnny, as well as The Postal Service. After a globe-spanning 2019 tour that saw her headline the likes of The Ryman, Brooklyn’s Kings Theatre, and a very special stop at NPR Music’sTiny Desk,Jenny spent 2020 and 2021 recording new music, including the Dave Cobb-produced, “Puppy and A Truck, and captivating audiences as special guest of Harry Styles for Love On Tour. With no signs of slowing down for 2022, Jenny Lewis is fastidiously at work in the studio and on tour as she prepares to hit the road with The Chicks in addition to her own headlining dates.

Jenny Lewis

Four years on from the release of their unexpectedly self-assured debut album, NYC based Nation of Language have attracted a rapidly growing international audience via their danceable and impassioned take on new wave, post-punk &amp; shoegaze genres. Following the critical acclaim of their their first LP Introduction, Presence, its 2021 follow-up A Way Forward pushed them to a wider audience—landing them their late-night TV debut on The Late Show with Stephen Colbert and a string of sold out tours—and their 2023 record Strange Disciple has continued this momentum, landing Rough Trade’s coveted #1 album of the year spot. Now a mainstay atop lists of the best live acts of recent years, the band continue to charge synth-first into their latest chapter as a major festival draw at recent iterations of Austin City Limits Festival, Desert Daze, Pitchfork Festival, Primavera Sound, Corona Capital, Outside Lands, Bonnaroo and many others.

Nation of Language

Magic Al ft. Lou Hazel

Featuring Poets: Dr. L. Theresa ChurchLenard D. MooreCrystal Simone SmithDr. Sheila Smith McKoyGideon YoungDR. L. TERESA CHURCH has been a member of the Carolina African American Writers’ Collective since 1995 and serves as archivist and membership chairperson for the organization. Her writings have appeared in publications such as Simply Haiku, The Heron’s Nest, Obsidian: Literature in the African Diaspora, Solo Café, Nocturnes: (Re)view of the Literary Arts, African American Review, North Carolina Literary Review, and her chapbooks Hand-Me-Down Calicos and Beyond the Water Dance. She is an independent scholar/archival consultant and sole proprietor of LTC Consulting, in Durham, North Carolina. LENARD D. MOORE, a native of North Carolina, and U.S. Army Veteran, is the Founder and Executive Director of the Carolina African American Writers’ Collective. Moore’s work has appeared in over 400 publications, such as Callaloo, African American Review, Obsidian, Prairie Schooner, North Carolina Literary Review, and North American Review. His work also has appeared in over 100 anthologies, including The Haiku Anthology (Norton, 1999). His poetry has been translated into several languages. His books include The Open Eye (NC Haiku Society Press, 1985), The Open Eye, Limited 30th Anniversary Edition (Mountains &amp; Rivers Press, 2015), among others. Another collection, The Geography of Jazz, is forthcoming. He is recipient of the Haiku Museum of Tokyo Award (1983, 1994 and 2003), 1992 First Prize Winner in Traditional Style Haiku sponsored by Mainichi Daily News (Tokyo, Japan), Sam Ragan Award in the Fine Arts (2006) Raleigh Medal of Arts for Lifetime Achievement (2008), and North Carolina Award for Literature (2014). He is a Cave Canem Fellow (1998-2000). He is former President of the Haiku Society of America and the longtime Executive Chairman of the NC Haiku Society. Mr. Moore, Associate Professor of English, teaches Creative Writing and African American Literature at the University of Mount Olive. CRYSTAL SIMONE SMITH is the author of two poetry chapbooks, Routes Home (Finishing Line Press, 2013) and Running Music (Longleaf Press, 2014). She is also the author of Wildflowers: Haiku, Senryu, and Haibun (2016). Her work has appeared in numerous journals including Callaloo, Nimrod, Barrow Street, Obsidian: Literature in the African Diaspora, African American Review, and Mobius: The Journal of Social Change. She is an alumna of the Callaloo Creative Writing Workshop and the Yale Summer Writers Conference. She holds an MFA from Queens University of Charlotte and lives in Durham, NC, with her husband and two sons. She is an Adjunct Assistant Professor of English at Elon University and Greensboro College and the Managing Editor of Backbone Press. DR. SHEILA SMITH McKOY is professor of English and chair at Kennesaw State University. A Raleigh, NC, native, Smith McKoy is a poet, fiction writer, critic, and documentary filmmaker. Her work has appeared in the Schomburg series African American Women Writers 1910–1940, Black Gold, Callaloo, Contours, Journal of Ethnic American Literature, Mythium, Obsidian: Literature in the African Diaspora, Research for African Literatures, Valley Voices, and the College Language Association Journal. Smith McKoy’s books include The Elizabeth Keckley Reader (Volume 1, 2016; Volume 2, 2017) and When Whites Riot: Writing Race and Violence in American and South African Cultures (2001). GIDEON YOUNG is a native of Connecticut. A member of the Carolina African American Writers’ Collective, the Haiku Society of America, and the Carrboro Poets Council, his poetry has appeared in Backbone Press, Carve Magazine, Modern Haiku, Obsidian: Literature in the African Diaspora, Spillway, The White Elephant, Wild Plum Haiku, and The Elizabeth Keckley Reader: A Determined Life, Volume 2. Young earned a Master’s Degree in Elementary Education from North Carolina State University and Bachelor’s in Literature from the University of Connecticut. He is a Teaching Fellow for A+ Schools of North Carolina and a Title 1 Elementary Literacy Specialist.

Haw River in the Round Poetry Reading & Open Mic

Ephemeral Stream and Redford Wives

In the ever-evolving landscape of music, certain artists emerge like beacons of innovation, reshaping genres and leaving an indelible mark on listeners. Among them is the incomparable Shana Tucker: captivating vocalist, lyrical cellist, dynamic storyteller and pioneer of the genre she coined as "ChamberSoul". With each performance and each song, Shana reaffirms her status as a luminary, captivating audiences worldwide on cello and voice with her distinctive blend of jazzy-soulful melodies and classic sophistication. Shana will be releasing her highly anticipated second full-length project, Hiding in the Light (MamaGooch Music) in late Spring 2024. Known for her mesmerizing performances and endearing audience interplay, Shana continues to push boundaries and inspire with her unique ChamberSoul style, blending jazz, soul, and acoustic pop into an unforgettable musical experience. Hiding in the Light features a collection of songs requested by Shana's devoted audiences over the years, including renditions of thoughtfully reimagined classics such as "The First Time Ever I Saw Your Face" by Roberta Flack, "Overjoyed" by Stevie Wonder, and "Kiss of Life" by Sade. With this project, Shana is poised to captivate audiences with her timeless artistry. This new album of fan favorites will prove to be an ideal mechanism for fast-track trajectory into the next chapter in her musical journey. Experience the magic of Shana's music firsthand at her Hiding in the Light album release concert on Sunday, June 9, 2024, which will take place at 3:00 PM at the Haw River Ballroom in Saxapahaw, NC.

SHANA TUCKER: Hiding in the Light Album Release Concert (Jazz)

Prodigious Tuareg guitarist and songwriter Mdou Moctar boldly reforges contemporary Saharan music and “rock music“ by melding Eddie Van Halen pyrotechnics, full-blast noise and guitar shredding, field recordings, drums rhythms, poetic meditations on love, religion, women’s rights, inequality and Western Africa’s exploitation at the hands of colonial powers to rip a new hole in the sky with the Afrique Victime album.Mdou Moctar’s home is Agadez, a desert village in rural Niger. Inspired by YouTube videos of Eddie Van Halen’s six string techniques and traditional Tuareg melodies, he mastered the guitar which he himself built and created his own burning style.&nbsp; A born charismatic, Mdou went on to tell his story as an aspiring artist by writing, producing &amp; starring in the first Tuareg language film: a remake of Purple Rain called Akounak Tedalat Taha Tazoughai -&nbsp; which translates to “Rain The Color Of Blue With A Little Red In It”, winning the approval of his family and his community. The word and the sound travelled across West Africa via mobile phone data cards, a popular form of local music distribution. Gruelling DIY world tours and albums on the independent US label Sahel Sounds followed, including 2019’s landmark Ilana: The Creator album that earned Mdou Moctar an ecstatic international audience.Afrique Victime is result of the combined efforts of Mdou and the members of the band that shares his name. Mdou’s crucial collaborator is Ahmoudou Madassane, who’s been his rhythm guitarist since 2008- their two guitars are an alchemical combination. As a songwriter, producer and recording artist Ahmoudou is the premier musical ambassador to Tuaregs in Niger, empowering young musicians with instruments, recording opportunities, and visas. Masassane helped form the revolutionary first woman-fronted Tuareg guitar band Les Filles De Illighadad, whose debut album and tours caused an international sensation in 2019.The band‘s youngest member is prodigal drummer Souleymane Ibrahim, also a member of both the well-known Niger band Sultanat Star De L’air and the longest running wedding band in Agadez, Etran De L’air. Souleymane’s playing on this album ferociously sets a new standard for the “rock” drumset.Producer &amp; bassist Mikey Coltun flies 20 hours from Brooklyn, NYC, then takes a 28 hour bus ride to reach Agadez so the band can practice and record. With no support from a major label or a manager, they made this journey out of Niger every time they toured. In the past three years, Mikey’s played over 500 shows on three continents as Mdou Moctar’s bassist, road manager, producer/recording engineer, and friend. Coltun recorded and produced Afrique Victime around the band’s travels in 2019- in studios, apartments, hotel rooms, venue backstages, and in field recordings in Niger.Recording and honing songs as a touring outfit forged a livewire new sound, and If Ilana was a late ’60s early ’70s ZZ Top and Black Sabbath record – Afrique Victime is mid ’70s to early ’80s Van Halen meets Black Flag meets Black Uhuru. The ferocity of Moctar’s electric guitar and the band’s hypnotic rhythm section are on awe-inspiring display on songs like “Chismiten” and the mournful yet incandescent title track. Elsewhere, Moctar finds inspiration in highlighting lesser known facets of the group: “While people have gotten to know Mdou Moctar as a rock band, there is a whole different set of music with this band done on acoustic guitars which we wanted to incorporate into this album in order to go through a sonic journey,” he says. Mdou pays homage to one of his heroes Abdallah Ag Oumbadagou, the legendary Niger musician and political revolutionary, on songs “Habibti” and “Layla”. “Abdallah was a contemporary of Tinariwen and helped to pioneer the sound of Tuareg guitar music blended with drum machines and electronic sounds”.“From prison to Nobel prize. They ceded to Mandela / Africa is a victim of so many crimes / If we stay silent it will be the end of us / Why is this happening?“ Moctar asks on the heartfelt and rallying title track. “I want the world to know that we are making music to promote world peace and be with everyone on the same level, fighting against racism”, he says. “All colors and genders are equal. Women, Men and children all suffer in the desert due to the colonization by France and therefore there is a lack of the basics - hospitals, drinking water, schools.”  The needs of Agadez are a major part of what drives Moctar as an artist, and promoting the region’s youth through music is an especially personal cause. “I know what it’s like to have been in that position,” he says, “to not have the support of your family, or the money for guitars or strings, it’s really hard. I have a lot of support from the younger generation, because I help them out a lot. When I get back from tour, I give them gear that I bought while I was away so they can go out and form their own bands.” Says Coltun:&nbsp; “In Agadez the music and feeling at Tuareg weddings is exactly like the best of Western DIY/Punk shows. It’s loud, energetic and powerful. There is a sense of everyone helping out. Tuaregs are a tight community. If you’re Tuareg you’re considered family.”The music listeners are the beneficiaries of the staggeringly powerful do-it-yourself musical ethic of Mdou Moctar- the man and the band- who’ve worked so hard to bring the spirits of families and communities in Niger to the West. Afrique Victime sounds and feels like a Tuareg hand reaching down from the sky, and we are very lucky for this chance to get lifted.

Mdou Moctar

Paul McDonald and the Mourning Doves

Romantic Animal and Bridge to Nowhere

Skylar Gudasz

A band for 15 years now, with a half-dozen records to its canny name, Real Estate knows how the press cycle inevitably goes: Someone somewhere at last had a realization about what their songs needed to say and how they should sound, so (at least according to brief biographies like this one) they finally made the best album of their career. But here’s the thing: Real Estate has been so consistently compelling for those 15 years, with their coruscant indie rock shuffles perfectly reflecting the spellbinding glow of suburban ennui, that they know when they have done it. That is, they know when they have written songs that shimmer and fetch and radiate despite or because of the gloom lurking in their grooves. It is the gift and curse of self-awareness, of sticking together since childhood.&nbsp; So Real Estate, in turn, needs you to know that Daniel—their sixth full-length album, recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian—is quite possibly their best album. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood. What more could you need from Real Estate at 15? Martin Courtney knew he wanted to write a pop record, a set of instantly accessible songs where the chorus arrived in, say, the first 40 seconds. During the last decade, or essentially since making Atlas, Real Estate did what was only natural for any beloved and freshly aging indie rock institution: They gently pushed back against praise as an effortlessly melodic and quietly radiant band. Colors darkened. Textures curdled. Songs stretched toward the six- and even seven-minute mark. But what if, as Courtney and cofounder Alex Bleeker often say these days, they again just “Let Real Estate be Real Estate,” to shimmer and fetch and radiate without hesitation or second guesses? Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had never really worked with anyone who wasn’t already a bud. There in Dave Cobb’s famous Nashville lair, Tashian was not shy with his outsider advice about how to boost this song or that one, even playfully throwing the occasional candy bar to emphasize he wanted to hear more. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start. Daniel certainly sounds like classic Real Estate, simply leveled up with the subtle but unabashed touches of a producer who has actually lived inside pop powerhouses. The chiming guitars and plaintive verses of “Haunted World” summon the band that first emerged to acclaim in 2009, with Courtney doing his best to sing his way around existential confusion. But in the chorus, dexterous instrumental harmonies (that’s Nashville ace Justin Schipper on pedal steel) and faint backing vocals propel the song anew, its tight hook snagging in a second. Tashian suggested they fortify the refrain, and he was right.&nbsp; Or there’s the marvelous thrum of “Airdrop,” with Bleeker’s busy bass and Sammi Niss’ insistent drums pushing Courtney into the wistful chorus as if he’s riding a hang glider. “The sun went down/We let it,” he sings four times to end the song, the lines essentially built to be cooed back at him from a crowd. “Never been so contented/I won’t ever forget it.” That’s Real Estate’s long-relatable smiling sadness, lifted in proper Music City style. Listen, too, for Real Estate’s squiggly versions of classic Nashville licks during “Flowers,” where the mercury of pedal steel and the twinkle of a Wurlitzer illuminate acoustic strums like stars in the night sky. A song of dislocation and constancy, it’s a reminder of the common way we use music no matter the genre or scene—to find our way forward. Daniel is a complete string of these compulsive moments: the crisscrossed harmonies of “Water Underground,” the delightful sway and rise of “Market Street,” the enchanting but deceptive simplicity of “Interior.” Real Estate manages the rarest of pop tricks here—to sound effortless but be artful, with all the flourishes and tricks tucked so smartly into songs that you only spot them when you unpack what makes all the tunes so winning and sticky. But this, of course, is not the Real Estate of their MP3-blog salad days. Four members are married, with Niss in a long-term relationship. There are actual kids in the equation now. And the world outside has darkened considerably in 15 years, in all those ways that require no recounting here. Time and again, Daniel wrestles with that juxtaposition—external alienation and madness, internal responsibility and hope. These are songs of confusion, of trying to find a way to be present and better in broken times. “Now and then, I can pretend the sun is shining,” Courtney admits during “Freeze Brain,” the keys of Matthew Kallman and guitars of Julian Lynch framing a lambent haze around him. “Let’s let some light in.” Ain’t that the struggle, to find some joy despite all the forces that filch it from us?&nbsp; In Nashville, all five members of Real Estate shared a rental, cutting up in close quarters after the imposition of separation of these last few years. Several days into recording, they were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely.&nbsp; Daniel is a record of wonderful pop songs, its string of hooks and stream of worry irresistibly connected in the way few bands have ever done better than Real Estate. But perhaps just as important, it is an expression of the self-acceptance that can come with maturity, with realizing it’s enough to be who you want to be. “What is it that you want to hear? There’s only so much time,” Courtney croons during “You Are Here,” Daniel’s ingenious and strutting finale. “Best we can do is be happy here/Sing another line.” It is a mission statement for Real Estate at 15, a reminder that they are the band of their childhood dreams and that is cool. To that end, they’ve never been better at being Real Estate than they are right now, on Daniel, their new best album yet.

Haw River Ballroom

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