{"slides":[{"media_title":"Indigo De Souza","media_tagline":"With moth\u00e9","event_body":"Indigo De Souza has partnered with PLUS1 so that $1 per ticket goes to support The Trevor Project, and their work providing crisis intervention and suicide prevention services for LGBTQ+ youth. TheTrevorProject.org\n\n \n\nThere are moments standing on a high ledge where wild space beckons. In that moment, instinct stirs: “What if I just jumped?” It’s been described as “the call of the void,” an experience somehow more primal than even feeling or urge. On her new album, Precipice (due July 25th via Loma Vista), Indigo De Souza looks over the creative and spiritual cliff and just leaps. The North Carolina native is a prolific, poetic singer-songwriter who already has three albums and four EPs in just seven years, with her most recent full-length (2023's All of This Wild End) earning rave reviews for her daring vocals and thrilling songwriting. But on her latest, De Souza hears the void calling and calls back, taking control of difficult memories and charged emotions via pop bombast and diaristic clarity, and finding a stronger self. “Life feels like always being on the edge of something without knowing what that something is,” the singer-songwriter says. "Music gives me ways to harness that feeling. Ways to push forward in new directions."\n\n \n\nOn the album’s title track, De Souza faces down the potential darkness of change, and finds hope in surrendering: "Coming to a precipice\/ Holding on for dear life\/ Looking out into the world\/ Everything has gone dark." That sort of emotional daredevilry is definitively not new for De Souza. Her catalog brims with unwavering honesty and unflinchingly personal songwriting, including most recently the familial excavation on the pained and mighty All of This Will End. “I feel constantly on the precipice, of something horrible, or something beautiful–something that will change my life for better or for worse,” De Souza muses. To that end, Precipice cracks De Souza’s world open. As a new challenge, the songwriter took on blind studio sessions in Los Angeles, reveling in the expanded pool of collaborators and ability to focus on music. “I’d been wanting to work on more pop-leaning music for a while, so when I came out to LA I made sure to meet with people that could help bring that to life,” she says. “I wanted to make music that could fill your heart with euphoria while you dance along.”\n\n \n\nIn those sessions, she made a quick and deep connection with producer Elliott Kozel—a musician who has produced and collaborated with the likes of SZA and Yves Tumor, not to mention scoring TV with FINNEAS. The two quickly got to work on album highlight “Not Afraid”, the track setting the tone for the album's bold defiance of the unknown. “What, what does it look like, when you are free?\/  When you are being true?\/ When you let go, the people you love are free when they’re with you too,” she sings. The track also signaled the start of a long and important collaboration. “Elliott is really good at allowing space for songs to reveal themselves, and I felt very seen and respected both musically and personally,” De Souza adds. “That song became a compass for what I wanted the album to be: pop songs with meaning and feeling, pop songs with lyrics that tap into raw humanity.”\n\n \n\nLead single “Heartthrob” exemplifies the ecstatic duality the pair found, a way to both bring immediate energy and thoughtful depth. The track is a fanged rebuke of those who exploit and prey on young people, delivered in panoramic indie rock glow. Multi-instrumentalist Jesse Schuster’s chugging guitar riff pushes De Souza’s delivery into a headrush, her voice wavering somewhere between pain and fury. "God, when I’m a grown up\/I wanna have a full cup\/A true heartthrob," she shakes, a satirical jab at the false safety that some adults can exude and an honest cry to inspire light and freedom in the people she loves. "I’ve lived through harmful experiences in my past that are helpful to process through music.” De Souza says. “A way to remind myself that I am still a full human being"\n\n \n\nAs with so much great pop, Precipice transcends the giddy highs of new attraction and the haunted lows of a broken heart. But true to her idiosyncratic approach, De Souza somehow manages to invert and subvert both, finding their points of connection rather than their differences. The thrumming synthpop of “Crying Over Nothing” exemplifies those new, glistening heights musically, even as the lyrics digest unimaginable heartbreak. De Souza skips over the coyly shuffling rhythm, her voice cracking into the upper register with a warm glow akin to the ‘80s synths. “There’s some pain that follows no matter where you go or how much you try to lose it, pain that comes from memories you can’t erase and love you can’t unfeel,” she says. "This song is about the one that got away. That feeling of being haunted by loss."\n\n \n\nThe Robyn-esque “Crush” follows, a sugar burst that subtly weaves its way across the dance floor. “Come up to get some air\/ It’s like you're playing solitaire\/ So good to see your face\/ I was missing you when you were down there,” she sways, the knowing grin practically beaming through the track. The embodiment of catching feelings, “Crush” rides a gritty snap-pop drum loop from percussionist Jonathan Smith and tingly synth prickles. “I remember thinking about how, in the same way that I sometimes have to talk new lovers through eating me out, I also have to help them understand how to care for me in ways that make me feel good and seen,” De Souza blushes. \n\n \n\nBut of course even the most hypercharged crushes can crumble—and the sighing “Heartbreaker” was written when the person she was falling for on “Crush” eventually broke her heart. While De Souza’s voice acrobatically flickers across the rest of the album, here she delivers this pained memory more simply, with her full throat: “When I wake up, still thinking that you’re there\/ And it all comes flooding back to me, I’m living in a nightmare,” she cries, churning piano and ghostly guitar floating in the edges. “I was broken up with, and I flew out to LA as quickly as possible so I could get to the studio to make a song instead of being at home, sad and lashing out,” De Souza recalls. “My heart was fully soaked in poisonous pain, and I am deeply grateful for the creative space to process what I was feeling.”\n\n \n\nOn album highlight “Be Like the Water”, there are times where you can practically feel the tears dripping on the microphone. But rather than mourning, these are tears of awe, a song of amazement at the possibility of living truly and on your own path. “It’s about being brave and protecting your energy, following your gut,” De Souza says. “It’s a reminder that you can always follow your heart and your spirit, but you can also make boundaries and choose your own direction.” To achieve that spiritual depth, Kozel’s production bends between mantric ethereality and golden Americana. Spectral synth tones and finger chimes play like a yogic drone, while gleaming organ puts a direct frame on De Souza’s verses. “I won't be sorry\/ And I won't be silent\/ I'm temporary\/ I am an island," she sings, her ownership of herself overcoming the pains that pervade the album.\n\n \n\nThere are points in life where the precipice feels furthest from our control—something De Souza faced in late 2024, as Hurricane Helene ravaged the East Coast of the United States. Though her recently finished album showed the buoyant joy of change, De Souza’s flooded home and destroyed belongings represent its potential tragic side. When not in the thick of clearing the mess and helping her community recover, she continued to return to music as a comfort, already having written another album worth of breathtaking songs. Even when the void seems darkest, De Souza leaps boldly—and on Precipice she soars through wild, uncharted territory with open eyes, a full heart, and gritted teeth, finding new beauty even further beyond.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/IDS-web-banner-5be19b8b7c.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/indigo-de-souza","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 30<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/id180-1cabeedbda.png","category":{"name":"Other","id":"0"}},{"media_title":"Penelope Road","media_tagline":"with Jack Stepanian","event_body":"Emerging from Atlanta’s thriving music scene, Penelope Road crafts a sound that’s as bold as it is soulful. With lush, layered vocals at the core of their music, this five-piece powerhouse seamlessly weaves ‘70s rock, funk, soul, and pop into a rich, rhythmic fusion that’s unmistakably their own.\n\nRooted in the timeless influence of legends like Stevie Wonder and Hall & Oates while channeling the modern energy of artists like Mk.gee, their music bridges eras with effortless groove and vibrant originality.  Their tight harmonies, masterful instrumentation, and infectious grooves come together in electrifying, feel-good performances—creating an experience that stays with you long after the final note.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/4CHARLO-PORT660-c9a64ec021.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/penelope-road","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 31<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/4CHARLO-PORT2180-f818b563de.png","category":{"name":"Other","id":"0"}},{"media_title":"PURITY RING - PLACE OF MY OWN TOUR","media_tagline":"with yuniVERSE ","event_body":"Purity Ring has partnered with PLUS1 so that $1 per ticket goes to support The Black Trans Prayer Book, and their work to celebrate and uplift Black Trans & Non-Binary people\n\nPurity Ring kindly requests that you wear a respirator (N95 or KN95) for the duration of the show. There will be free high-filtration masks at the door for those who don’t have them.\n\nWe want our shows to be a place where we take care of each other. wearing a high-filtration mask is an act of material care and a show of solidarity with disabled and immunocompromised people. It's a small thing we can do to keep each other safe.\n\nPurity Ring are a Canadian electronic music duo formed in 2010 and originally from Edmonton, Alberta. The band consists of Megan James (vocals) and Corin Roddick (instrumentals). Both grew up in Edmonton, Alberta. James played piano and Roddick played drums prior to the band’s inception, however neither currently play them as their primary instrument for Purity Ring.\n\n \n\nDuring live shows, Roddick uses a custom-built, tree-shaped instrument to drive both live sound and lighting. Additionally, during live appearances both wear clothes custom designed and sewn by James. James uses written work which she originally did not intend to release to the public for many of the band’s lyrics.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/whereforeartthou660-3c073921d3.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/purity-ring","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 1<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/whereforethourarttho180-2398b1e8a4.png","category":{"name":"Other","id":"0"}},{"media_title":"Matt Maeson - A Quiet & Harmless Living Tour","media_tagline":"with Joe P","event_body":"Think about some of the realest and most revealing conversations you've had. They might've taken place over a cup of coffee, a few cigarettes, or a couple of drinks. For Matt Maeson, these exchanges tend to begin behind a microphone. Standing alone under a solitary spotlight with a guitar in hand, he lays thoughts bare, discloses secrets, shares truths, and leaves every last emotion on the stage — as if he's speaking directly to each member of the audience.\n\nNow, the multiplatinum singer, songwriter, and multi-instrumentalist connects with unparalleled intimacy and stark honesty on his first-ever live record, That's My Cue: A Solo Experience.\n\n"When you strip back all of the production, you're listening to just the guitar and the lyrics," he says. "You can home in on what the songs are about more without any distractions. I love the full production, but I wanted to do this record so you could really hear my words."\n\nHis words have consistently resonated with audiences since his emergence out of Norfolk, VA in 2015. Following a quiet grind, he shined on 2019's history-making Bank on the Funeral. The album housed his platinum-certified singles "Cringe" and "Hallucinogenics" [feat. Lana Del Rey], which both reached #1 at Alternative and enshrined him as "the first ever male solo artist to log two #1 Alternative hits from a full-length debut LP." 2022 saw him maintain this momentum with Never Had To Leave. Garnering widespread acclaim, American Songwriter applauded the latter as "an eclectically powerful 12-track account of life as Maeson sees it." Meanwhile, he also asserted himself as a versatile presence, collaborating with everyone from Gryffin and Illenium to Chelsea Cutler and receiving an invite to open up Zach Bryan's massive arena tour.\n\nMatt always harbored a natural inclination for performing acoustic though. In high school, he took the stage for the first time during an open mic at Chic-Fil-A in Richmond, VA. "I won free Chic-Fil-A for a year, so big stakes," he laughs. Shortly after, he found himself playing for prison audiences as part of his parents' ministry Life On The Verge. He adds, "It's really how I cut my teeth. They're the hungriest crowds, because some of the inmates haven't seen live music in decades. Those gigs were always fun."\n\nIn this spirit, he opted to embark on a solo acoustic tour across Europe during 2022 under the moniker of That's My Cue. Galvanized by the response, he brought the tour to North America, selling out gigs coast-to-coast throughout 2023 and 2024.\n\nAlong the way, he decided to record thirty shows and assemble what would become That's My Cue: A Solo Experience.\n\n"The whole goal was to make a live record that really feels live," he goes on. "There's crowd noise, and there are little flaws. It feels like something you'd experience at a show. We wanted it to be real, and I think we accomplished that."\n\nYou can hear it in the simultaneously chilling and comforting live renditions of staples such as "Hallucinogenics," "Cringe," "Grave Digger," and "Cut Deep." Among many standouts, he opened the shows with the previously unreleased "That's My Cue." Matt's vulnerable delivery weights heavy on lightly strummed chords as he exhales, "At least I still got my wife, my dog, and my full head of hair." Reaching an inflection point met with cheers, feeling overflows on the proclamation, "I'm not the problem. No, the problem's you, and I look for your approval in every Goddamn thing I do… and that's my cue."\n\n"When I wrote it, I was having a lot of internal arguments about what I wanted my career to look like," he admits. "The song was born out of looking at how I had begun to base my self-worth on the impact of my music. I was so obsessed with success that it became a measurement of how I was living my life. On tour, I'd get this constant rush of validation. It stopped with the Pandemic, so I had to sit with myself and reevaluate things. I started every night with 'That's My Cue.' I'm basically saying, 'My career has changed me and how I view myself. However, I've still got to get up on stage and do my job, regardless. That's my cue.'"\n\nTracing an emotional arc through 20 live tracks, the record concludes with an upbeat and undeniable performance of "Legacy." He hollers, stomps, screams, and strums his guitar with gleeful abandon, going on to assure, "It's not too late to pick up the pieces."\n\n"I love finishing on a big note," he grins. "It follows on the heels of some very deep songs and stories. 'Legacy' gets the whole crowd singing, 'Whoop whoop!' It sends people out the door feeling victorious and hopeful."\n\nIn his music, Matt's carrying on the kind of conversation that inspires when you need it the most.\n\n"This record is definitely for the fans," he leaves off. "So many listeners have gravitated to the stripped-down versions of the songs, because they relate to the context and lyrics. I wanted to share this music in the most real and authentic way. I'm excited to see what happens next."\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1103-Matt-Maeson-WEB-BANNER-72e2100f09.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/matt-maeson-a-quiet-harmless-living-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 3<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1103-Matt-Maeson-WEB-TN-628be854e1.png","category":{"name":"Other","id":"0"}},{"media_title":"Nick Shoulders - Universe of Battle Tour","media_tagline":"with Chris Acker","event_body":"All Bad, the latest album from Nick Shoulders, released via Gar Hole Records (a label founded and co-owned by Shoulders), ultimately encapsulates everything that makes Shoulders’ inimitable form of country music so vital: a heady balance of dazzling musicianship and punk defiance, coupled with gritty eccentricity and a generational connection to the roots of the genre. The album emerged from the chaos of the post-pandemic world, and manages to be a plea for patience as much as a call to action. With a singing style deeply rooted in his family’s musical lineage and a heartfelt reverence for his lifelong home of mountainous Arkansas, the incisive yet wildly jubilant All Bad vocally objects to the reckless destruction of the natural landscape and ever-eroding line between church and state, while still offering plenty of joy and dance-ready rhythms. Having recently experienced their first years of rapid growth and relentless touring, Nick and his longtime band, the Okay Crawdad, wrote and recorded All Bad while confronting a nation profoundly changed by development and industrialization run rampant. Spanning a variety of early country styles, the album’s infectious rallying cry “Won’t Fence Us In” shines alongside everything from jangling cajun waltzes to surf-rock infused bluesy ballads–all tied together by a voice seemingly out of place in this century, yet ever ready to speak up about its problems.\n\n \n\n“The idea of country music as our sacred inheritance as opposed to a marketing scheme has been central to my work for a while now,” says Shoulders. “It’s about finding collective liberation in our connection to the landscape, to ancient singing traditions, to a way of producing music that predates the industry built around it. This album came from tapping into what my band and I did as street performers and moldy little honky-tonkers: it’s continuing that dedication to making music that’s honest about the lives we’re actually living, rather than trying to create a more marketable reality.”\n\n \n\n“We wanted to make the record the only way we know how: straight to tape in a shotgun house with just a couple of microphones,” he says. “There were times when we had to pause because a barge went by and blew its air horn, or there were kids out on the levee playing music.” All Bad embodies an infectiously rhythmic sound partially informed by Shoulders’ pre-pandemic years living in New Orleans. “As someone who resided in their van and played banjo on the sidewalk for a while, I eventually found my way toward the magically vibrant South Louisiana dance culture that gave birth to what you’re hearing on this record,” he says. The band’s sound, a fusion of rural singing with the sweat soaked rhythms of New Orleans dancefloors, is influenced by the kinetic nature of the region’s rich musical history, as much as it is Shoulders’ own vocal pedigree.\n\n \n\nTaking a cue from some of his most formative influences (the likes of Hazel Dickens and Jimmy Driftwood), Shoulders created All Bad in an effort to “honestly interpret the grim political and social reality we exist in,” as he puts it. “Every one of these songs is carved from some of the hardest experiences we’ve ever had,” he says. “The hope is that people will recognize something of their own lives in those stories and feel understood and seen.” But even at its most sorrowful moments, All Bad sustains an unbridled exuberance, thanks largely to Shoulders’ riveting vocal work—an element indelibly shaped by the landscape that raised him. “My musical upbringing at home was mostly learning owl calls, whistling along with cardinals, whooping and hollering with all my little friends out in the woods,” he says. “All that primitive yodeling I did as a kid ended up turning into a physical skill set that became so important to my singing without me even realizing.”\n\n \n\nA prime example of All Bad’s multilayered emotionality, the album’s title track unfolds as both a painfully real piece of autobiography and an emphatic statement against despair (“We bury friends and try to share our pain\/November hurricanes and acid rain\/They built to burn but we will live to maintain\/Because it ain’t all bad”). One of All Bad’s most lighthearted offerings, “Appreciate’cha” arrives as a piano-laced and sweetly buoyant ode to the “subtle activism that exists in the very nature of Southernness,” in Shoulders’ words. “We in the South live in a stiff-upper-lip culture where so much is repressed, but the term ‘Appreciate you’ allows for a shockingly vulnerable moment of gratitude in the day-to-day,” he says. “I wanted to write a folk song showing gratitude for all the smaller moments of humanity that deserve recognition, whether it’s the miners who keep the lights on or the people sweeping the floors after our shows.”\n\n \n\nOver the course of All Bad’s 14 tracks, Shoulders imbues his songs with an elegantly offbeat musicality that echoes his complex relationship with country music. “My dad is a great whistler, and his folks apparently were too; essentially every person in my family belonged to some regional musical lineage: my grandparents on both sides had ways of singing to pass down to me, with incredible vibrato and richness to their voices,” he says. “Despite all that, I spent years reacting against the American traditional canon—partly due to overexposure, but also because of recognizing what people associated with that cultural construct. Instead I just wanted to make the loudest, scariest music possible.” At age 13, Shoulders got a Walmart drum set and spray-painted it pink, then spent much of his adolescence playing drums in metal and punk bands. But after discovering the original blues, folk and country recordings of the 1920’s and 30’s, he found his perception radically altered. “In those records I was hearing about a world with endless wars, bank failures, crops drying out in the fields—and that was the same world I lived in,” he recalls. “I felt something click, and it led me toward reclaiming these rural singing traditions from a space of commercial propaganda that’s intent on selling a lifestyle we don’t actually live.”\n\n \n\nWith his live experience including touring with the likes of Sierra Ferrell and performing at major festivals like Stagecoach, Shoulders makes a point of bringing an educational component to his exultant and deeply communal show. “As much as we’re throwing a party, it’s also a priority to be the teacher I never had, and share this vital information that’s done wonders to improve my understanding of history, and the present we’re left with,” he says. Both live and on record, Shoulders’ music achieves the rare feat of imparting difficult truths while inciting a certain joyful abandon. To that end, the dance-ready rhythms and heavenly melodies of All Bad stir up a potent contrast to the album’s thorny lyrical themes. The result: a body of work at turns sublimely freewheeling and profoundly illuminating, primed to permanently warp the listener’s perspective to glorious effect.\n\n \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1104-Nick-Shoulders-WEB-BANNER-1416815ba3.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/nick-shoulders","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 4<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/ns180-0903c1b142.png","category":{"name":"Other","id":"0"}},{"media_title":"The Disco Biscuits","media_tagline":"","event_body":"$1 per ticket sold will be donated to support the American Cancer Society's Rock the Pink initiative, supporting breast cancer research.\n\nThe Disco Biscuits (Marc Brownstein, Aron Magner, Jon Gutwillig, Allen Aucoin) are a band of transformation and invention. Now 3 decades after their first launch, the Philadelphia-based group remains the pioneers of “Trance-Fusion” - bridging the gap between electronic dance music and jam rock - while consistently looking for new sonic boundaries to break and avenues to tell stories within.\n\n \n\nIn the summer of 2025, The Biscuits will be celebrating their 30th Anniversary with an east coast and midwest tour surrounding four special Anniversary shows taking place over July 4th Weekend - almost exactly 30 years from their first ever show (July 5, 1995 at the University of Pennsylvania tavern, Smokey Joe's). TDB30 shines a light on the band’s storied and impactful past, and emphasizes their continued evolution into the modern era.\n\n \n\nWith two rock operas (1998’s Hot Air Balloon \/ 2000’s Chemical Warfare Brigade) and a space opera (2024’s Revolution In Motion) amongst the 9 full-length studio albums under their belt, The Biscuits are musical force of nature, having played thousands of shows and not showing signs of slowing down any time soon with even more new music on the horizon.\n\n \n\nWith a constant touring schedule and ever-transforming live shows, The Disco Biscuits’ soul belongs as much to marathon dance parties as it does to live improvisational journeys. They employ emerging technologies to help them create music that is 100% human although, perhaps, not entirely of this planet.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/110525-Disco-Biscuits-Website-Banner-f88aa75e4c.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-disco-biscuits-1","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 5<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/110525-Disco-Biscuits-Web-Thumbnail-b45d4fbc94.png","category":{"name":"Other","id":"0"}},{"media_title":"Dawes - 2 Night Ticket (11\/7 & 11\/8)","media_tagline":"","event_body":"This exclusive 2 Night  General Admission Ticket is good for admission to both nights of Dawes at The Jefferson!\n\nFor the first time in almost a decade, brothers Taylor and Griffin Goldsmith grace the cover of a Dawes record. It’s just the two of them this time, and as such, Oh Brother marks a distinctive new chapter for the California rock band — one that is both introspective and accessible, all while maintaining their beloved sense of sincerity.\n\n \n\nAfter the amicable departure of two bandmates last year, Taylor realized that the group’s natural evolution was nothing to hide from Dawes’ dedicated fans. He likens it to looking back on The Rolling Stones’ career — eras with Brian Jones versus Ronnie Wood — or Dire Straits’ lineup with and without brothers Mark and David Knopfler together, or The Cure’s fluctuating cast encircling Robert Smith. People change. Music evolves. But a band is still a band.\n\n \n\n“We’re not shying away from this information, because then it just seems cowardly or something,” Taylor says. “Rather than try to hide something, let’s celebrate it. Let’s call our record Oh Brother.” The title of Dawes’ ninth LP serves as a sort of double entendre too, an exasperated sigh acknowledging that change can still be challenging. “We’re gonna miss our dudes,” he says. “They’re still brothers.”\n\n \n\nStill, Oh Brother steers Dawes decidedly forward, honoring 15 years of Taylor and Griffin’s musical relationship, as well as the next era of their band. That spirit informed much of the album’s writing and recording, too. Each of the nine songs began with just Taylor on guitar and vocals and Griffin on drums. They initially tracked each one live together, before adding in additional instrumentation and collaborating with touring guitarist Trevor Menear in the studio. Additionally, Oh Brother is the first record the brothers have co-produced, working alongside longtime friend Mike Viola.\n\n \n\nLyrically, the songs on Oh Brother encompass personal moments in their lives and larger ideas of what consistency and stability mean. “House Parties,” a musical sibling to 2015’s “All Your Favorite Bands,” came toward the end of the recording process for 2022’s Misadventures of Doomscroller. Shortly thereafter, “The Game” and “Surprise!” — a six-and-a-half-minute not-quite-center, centerpiece about life not going as expected — came as Taylor was settling into fatherhood. Elsewhere, “King of the Never-Wills” subtly addresses addiction and “Mister Los Angeles” serves as a sardonically satirical commentary on their hometown.\n\n \n\nAt this point in the Goldsmiths’ career, Dawes has cemented itself as one of the most earnest, no-bullshit musical acts out there. To some degree, Taylor acquiesces, “I definitely choose to believe that definitive work can always be out in front of us instead of behind us, but it’s also a fact that we have established a personality.” They’re a band that can move seamlessly between folk rock, piano ballads, and sprawling jams while maintaining both an immediately recognizable sound and a freedom from expectations.\n\n \n\nAcross its heartfelt songs — sometimes silly and sometimes serious, and all filled with sing-along choruses, deeply felt poetic lyrics, and sterling musicianship — Oh Brother highlights the band’s independence. Even as the Goldsmith brothers navigate new chapters in their personal and professional lives, they remain creative, ambitious, and inspired. “All you can really do is find out what are the most essential, truest, and idiosyncratic parts of yourself,” Taylor says. “And I like the fact that Griffin and I are kind of clinging to each other and holding on to each other more than we ever have. We’re grateful for each other in a new way. But we’ve also been through a lot.\n\n \n\n“It feels like we’re reborn in a way, and I mean that with so, so much love and gratitude to everyone we’ve ever played with before! This is what it means to be a lifer, to have iterations. It means having phases and chapters, and this is a very clear delineation as to the beginning of a new one. So Oh Brother feels like a ninth record, but it also feels like a first record.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/dawes2n-162055510b.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/dawes-all-your-favorite-bands-10th-anniversary-shows-2nite","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 7 - 8<\/span>, 2025<\/span>","promos":"home featured just-announced","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/dawes1802n-26f52e3198.png","category":{"name":"Other","id":"0"}},{"media_title":"Dawes - All Your Favorite Bands 10th Anniversary Shows","media_tagline":"","event_body":"For the first time in almost a decade, brothers Taylor and Griffin Goldsmith grace the cover of a Dawes record. It’s just the two of them this time, and as such, Oh Brother marks a distinctive new chapter for the California rock band — one that is both introspective and accessible, all while maintaining their beloved sense of sincerity.\n\n \n\nAfter the amicable departure of two bandmates last year, Taylor realized that the group’s natural evolution was nothing to hide from Dawes’ dedicated fans. He likens it to looking back on The Rolling Stones’ career — eras with Brian Jones versus Ronnie Wood — or Dire Straits’ lineup with and without brothers Mark and David Knopfler together, or The Cure’s fluctuating cast encircling Robert Smith. People change. Music evolves. But a band is still a band.\n\n \n\n“We’re not shying away from this information, because then it just seems cowardly or something,” Taylor says. “Rather than try to hide something, let’s celebrate it. Let’s call our record Oh Brother.” The title of Dawes’ ninth LP serves as a sort of double entendre too, an exasperated sigh acknowledging that change can still be challenging. “We’re gonna miss our dudes,” he says. “They’re still brothers.”\n\n \n\nStill, Oh Brother steers Dawes decidedly forward, honoring 15 years of Taylor and Griffin’s musical relationship, as well as the next era of their band. That spirit informed much of the album’s writing and recording, too. Each of the nine songs began with just Taylor on guitar and vocals and Griffin on drums. They initially tracked each one live together, before adding in additional instrumentation and collaborating with touring guitarist Trevor Menear in the studio. Additionally, Oh Brother is the first record the brothers have co-produced, working alongside longtime friend Mike Viola.\n\n \n\nLyrically, the songs on Oh Brother encompass personal moments in their lives and larger ideas of what consistency and stability mean. “House Parties,” a musical sibling to 2015’s “All Your Favorite Bands,” came toward the end of the recording process for 2022’s Misadventures of Doomscroller. Shortly thereafter, “The Game” and “Surprise!” — a six-and-a-half-minute not-quite-center, centerpiece about life not going as expected — came as Taylor was settling into fatherhood. Elsewhere, “King of the Never-Wills” subtly addresses addiction and “Mister Los Angeles” serves as a sardonically satirical commentary on their hometown.\n\n \n\nAt this point in the Goldsmiths’ career, Dawes has cemented itself as one of the most earnest, no-bullshit musical acts out there. To some degree, Taylor acquiesces, “I definitely choose to believe that definitive work can always be out in front of us instead of behind us, but it’s also a fact that we have established a personality.” They’re a band that can move seamlessly between folk rock, piano ballads, and sprawling jams while maintaining both an immediately recognizable sound and a freedom from expectations.\n\n \n\nAcross its heartfelt songs — sometimes silly and sometimes serious, and all filled with sing-along choruses, deeply felt poetic lyrics, and sterling musicianship — Oh Brother highlights the band’s independence. Even as the Goldsmith brothers navigate new chapters in their personal and professional lives, they remain creative, ambitious, and inspired. “All you can really do is find out what are the most essential, truest, and idiosyncratic parts of yourself,” Taylor says. “And I like the fact that Griffin and I are kind of clinging to each other and holding on to each other more than we ever have. We’re grateful for each other in a new way. But we’ve also been through a lot.\n\n \n\n“It feels like we’re reborn in a way, and I mean that with so, so much love and gratitude to everyone we’ve ever played with before! This is what it means to be a lifer, to have iterations. It means having phases and chapters, and this is a very clear delineation as to the beginning of a new one. So Oh Brother feels like a ninth record, but it also feels like a first record.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/dawes78-1bbb5fb606.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/dawes-all-your-favorite-bands-10th-anniversary-shows","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 7<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/d180-24dc788a32.png","category":{"name":"Other","id":"0"}},{"media_title":"Dawes - All Your Favorite Bands 10th Anniversary Shows","media_tagline":"","event_body":"For the first time in almost a decade, brothers Taylor and Griffin Goldsmith grace the cover of a Dawes record. It’s just the two of them this time, and as such, Oh Brother marks a distinctive new chapter for the California rock band — one that is both introspective and accessible, all while maintaining their beloved sense of sincerity.\n\n \n\nAfter the amicable departure of two bandmates last year, Taylor realized that the group’s natural evolution was nothing to hide from Dawes’ dedicated fans. He likens it to looking back on The Rolling Stones’ career — eras with Brian Jones versus Ronnie Wood — or Dire Straits’ lineup with and without brothers Mark and David Knopfler together, or The Cure’s fluctuating cast encircling Robert Smith. People change. Music evolves. But a band is still a band.\n\n \n\n“We’re not shying away from this information, because then it just seems cowardly or something,” Taylor says. “Rather than try to hide something, let’s celebrate it. Let’s call our record Oh Brother.” The title of Dawes’ ninth LP serves as a sort of double entendre too, an exasperated sigh acknowledging that change can still be challenging. “We’re gonna miss our dudes,” he says. “They’re still brothers.”\n\n \n\nStill, Oh Brother steers Dawes decidedly forward, honoring 15 years of Taylor and Griffin’s musical relationship, as well as the next era of their band. That spirit informed much of the album’s writing and recording, too. Each of the nine songs began with just Taylor on guitar and vocals and Griffin on drums. They initially tracked each one live together, before adding in additional instrumentation and collaborating with touring guitarist Trevor Menear in the studio. Additionally, Oh Brother is the first record the brothers have co-produced, working alongside longtime friend Mike Viola.\n\n \n\nLyrically, the songs on Oh Brother encompass personal moments in their lives and larger ideas of what consistency and stability mean. “House Parties,” a musical sibling to 2015’s “All Your Favorite Bands,” came toward the end of the recording process for 2022’s Misadventures of Doomscroller. Shortly thereafter, “The Game” and “Surprise!” — a six-and-a-half-minute not-quite-center, centerpiece about life not going as expected — came as Taylor was settling into fatherhood. Elsewhere, “King of the Never-Wills” subtly addresses addiction and “Mister Los Angeles” serves as a sardonically satirical commentary on their hometown.\n\n \n\nAt this point in the Goldsmiths’ career, Dawes has cemented itself as one of the most earnest, no-bullshit musical acts out there. To some degree, Taylor acquiesces, “I definitely choose to believe that definitive work can always be out in front of us instead of behind us, but it’s also a fact that we have established a personality.” They’re a band that can move seamlessly between folk rock, piano ballads, and sprawling jams while maintaining both an immediately recognizable sound and a freedom from expectations.\n\n \n\nAcross its heartfelt songs — sometimes silly and sometimes serious, and all filled with sing-along choruses, deeply felt poetic lyrics, and sterling musicianship — Oh Brother highlights the band’s independence. Even as the Goldsmith brothers navigate new chapters in their personal and professional lives, they remain creative, ambitious, and inspired. “All you can really do is find out what are the most essential, truest, and idiosyncratic parts of yourself,” Taylor says. “And I like the fact that Griffin and I are kind of clinging to each other and holding on to each other more than we ever have. We’re grateful for each other in a new way. But we’ve also been through a lot.\n\n \n\n“It feels like we’re reborn in a way, and I mean that with so, so much love and gratitude to everyone we’ve ever played with before! This is what it means to be a lifer, to have iterations. It means having phases and chapters, and this is a very clear delineation as to the beginning of a new one. So Oh Brother feels like a ninth record, but it also feels like a first record.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/dawes78-1bbb5fb606.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/dawes-all-your-favorite-bands-10th-anniversary-shows-n2","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 8<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/d180-24dc788a32.png","category":{"name":"Other","id":"0"}},{"media_title":"Trampled By Turtles ","media_tagline":"with Wild Horses","event_body":"Trampled by Turtles are from Duluth, Minnesota, where frontman Dave Simonett initially formed the group as a side project in 2003. At the time, Simonett had lost most of his music gear, thanks to a group of enterprising car thieves who'd ransacked his vehicle while he played a show with his previous band. Left with nothing more than an acoustic guitar, he began piecing together a new band, this time taking inspiration from bluegrass, folk, and other genres that didn't rely on amplification. Simonett hadn't played any bluegrass music before, and he filled his lineup with other newcomers to the genre, including fiddler Ryan Young (who'd previously played drums in a speed metal act) and bassist Tim Saxhaug. Along with mandolinist Erik Berry and banjo player Dave Carroll, the group began carving out a fast, frenetic sound that owed as much to rock & roll as bluegrass.\n\nTrampled by Turtles released their first record, Songs from a Ghost Town, in 2004. In a genre steeped in tradition, the album stood out for its contemporary sound, essentially bridging the gap between the bandmates' background in rock music and their new acoustic leanings. Blue Sky and the Devil (2005) and Trouble (2007) explored a similar sound, but it wasn't until 2008 and the band's fourth release, Duluth, that Trampled by Turtles received recognition by the bluegrass community. Duluth peaked at number eight on the Billboard bluegrass chart and paved the way for a number of festival appearances. When Palomino arrived in 2010, it was met with an even greater response, debuting at the top of the bluegrass chart and remaining in the Top Ten for more than a year. Two years later, their crossover appeal landed them at number 32 on the Billboard 200 pop charts upon the release of their sixth album, Stars and Satellites. In addition to major bluegrass and folk festivals, they began showing up at Coachella, ACL Fest, and Lollapalooza. The official concert album, Live at First Avenue, followed in 2013, recorded at Minnesota's most famous venue. A year later, the band returned with the darker-toned Wild Animals, which bettered its studio predecessor on the album charts, reaching number 29 on Billboard. Countless tours with bands like Lord Huron, Wilco, Caamp, Mt Joy and Deer Tick to name a few have followed. 2022 will see the release of the band's latest body of work called Alpenglow which was produced by Jeff Tweedy of Wilco.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/tbt660-4cf6165599.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/trampled-by-turtles-2","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 9<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:30pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/tbt180-79ce536564.png","category":{"name":"Other","id":"0"}},{"media_title":"East Nash Grass + AJ Lee & Blue Summit","media_tagline":"","event_body":"AJ LEE & BLUE SUMMIT\n\nAJ Lee & Blue Summit are an award-winning, energetic, charming, and technically jaw-dropping band — and one of the most exciting and fast-rising Bluegrass \/ Americana bands on the scene today. Based in the California Bay Area, the group met as teenagers, picking and jamming together as kids at local bluegrass festivals. Currently made up of AJ Lee on mandolin, fiddler Jan Purat, guitarists Scott Gates and Sullivan Tuttle (younger brother of Molly Tuttle), and bassist Sean Newman, the band still carries that youthful, festival-parking-lot energy with them, yet there’s a genuine ease and confidence to their music making. A breakout year for the band, 2024 saw them release their critically acclaimed album, "City of Glass," their first label release on Signature Sounds recordings, combined with becoming one of the most in-demand bands in the Bluegrass scene. In 2025, the band continues to pack major venues around the country, along with major festival plays, and the release of "Cover to Cover V1," an EP of cover songs being released throughout the year.\n\n \n\nEAST NASH GRASS \n\nEast Nash Grass exemplifies the best of what bluegrass has to offer — as being named the 2024 IBMA (International Bluegrass Music Association) New Artist of the Year would suggest. But their talent as singers, instrumentalists, and composers is just the beginning. The secret to East Nash Grass lies in their unflinching ability to be themselves. It certainly helps that they are a veritable supergroup of award-winners who have been performing longer than some might guess they’ve been alive, with experience working with Dan Tyminski, Tim O’Brien, Sierra Hull, and Rhonda Vincent, as just a start. After hundreds of sets (and countless late-night jams) in Nashville, East Nash Grass has coalesced into the hair-raising ensemble of Harry Clark (mandolin), Cory Walker (banjo), James Kee (guitar), Maddie Denton (fiddle), and Jeff Partin (bass\/dobro). Their love of both bluegrass and the absurd can be felt in both their live shows and on their new album "All God’s Children" (Mountain Fever, 2025), which keep listeners on the edge of their seats, marveling at irrefutable mastery and wondering just what might come next.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/111325-660x340-7ddd03177f.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/east-nash-grass-aj-lee-blue-summit","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 13<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/111325-180x180-1d8ca327de.png","category":{"name":"Other","id":"0"}},{"media_title":"Can't Feel My Face 2010s Dance Party (18+)","media_tagline":"","event_body":"This event is 18 & Over only. No exceptions.\n\nLimited Early Bird tickets available while supplies last. \n\nCan't Feel My Face, the biggest 2010s dance party in the country! \n\nCan’t Feel My Face features fire DJs and 2010s visuals that will transport you back to the decade defined by memes and selfies… a time only 4 to 14 years gone but feels like 40 years ago.\n\nAt Can't Feel My Face you can expect to dance all night to the biggest bangers from artists like The Weeknd (duh), Beyoncé, Kesha, Taylor Swift, Justin Bieber, Ariana Grande, Katy Perry, Cardi B, Harry Styles, Bruno Mars, Lady Gaga, Dua Lipa, Kendrick Lamar, Rihanna, Avicii, Nicki Minaj, Calvin Harris, and more. \n\n** Wear your best 2010s ‘fit! Dig through your closet and find those skinny jeans, athleisure sets, chunky necklaces, and deeeep V-necks **\n\nWe’re taking song requests all night, too. Come prepared with your banger playlist!\n\nYOLO\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/yeahyeah660-846cfac34c.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/cant-feel-my-face-2010s-dance-party-5","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 14<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/yeahyeah10-34951f6c41.png","category":{"name":"Other","id":"0"}},{"media_title":"Gimme Gimme Disco: A Dance Party Inspired by ABBA (18+)","media_tagline":"","event_body":"This event is 18 & Over Only.  No exceptions.\n\nIf you can’t get enough of ABBA, boy do we have THE dance party for you! We are a DJ based dance party playing all your favorite ABBA tracks, plus plenty of other disco hits from the 70s & 80's like The Bee Gees, Donna Summer, Cher, & so much more. So honey honey, take-a-chance and you’ll be dancing all night long. Grab tickets, put on your best disco attire, bring your friends, and have the best night of your life!\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/WEB-BANNER-GGD-0950988c77.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/gimme-gimme-disco-7","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 21<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/WEB-TN-GGD-16154a16be.png","category":{"name":"Other","id":"0"}},{"media_title":"Carbon Leaf: I Want To Be Leaf Tour 2025","media_tagline":"with Villages","event_body":"Carbon Leaf’s fifteenth studio album, Time is the Playground is both a call to action and an embrace of the moment. Marrying nostalgic storytelling to nuanced, folk-infused indie rock, the Richmond, Virginia band embroiders heartfelt melody and harmony with acoustic and electric instrumentation to create a 12-song rumination on time, love and personal growth that’s equal parts urgent epiphany and contented exhalation. \n\n“Everybody says people don’t listen to albums anymore,” mulled Carbon Leaf frontman Barry Privett, holed up in a coastal cottage. “So, the challenge for us was to make something that felt good to get through from beginning to end … to listen to like a story.”\n\nOriginally formed as a college cover band in 1992 and with over 3,500 famously enthused live shows together, Carbon Leaf helped to define the aughts indie rock that they ultimately outgrew and outlasted. They first earned national recognition with “The Boxer,” a song that won the American Music Awards 2002 New Music Award and made Carbon Leaf the first unsigned band to perform before millions on the AMAs. \n\n“The Boxer” entered regular radio rotation, Carbon Leaf’s tours grew bigger and better, and within a couple of years they quit their day jobs and inked a record deal. The band’s fanbase snowballed, drawn to their infectious spirit of commitment, empathy, communion, and self-reliance – not to mention supremely crafted songs with ultra-relatable, thought-provoking lyrics.\n\nAfter a trio of charting albums for Vanguard Records, multiple songwriting awards and headlining shows, Carbon Leaf opted to return to the complete creative control of their indie roots. Guitarist Terry Clark, who co-founded the band with Privett and multi-instrumentalist Carter Gravatt, converted his garage into the band’s Two-Car Studio, where they’ve recorded releases for their own Constant Ivy imprint ever since. Carbon Leaf’s DIY spirit even extended to re-recording their three Vanguard albums in order to regain the rights.\n\nDue in September, Time is the Playground is Carbon Leaf’s first full-length album in a decade, during which they released two EPS and a 27-song live performance album and Blu-ray. Time is the Playground gathers the best of songs written, in fits and starts, over 15 years, alongside brand new ideas. Privett dusted off old demos and shut himself away for months to finish their stories, while also honing recent compositions. With Clark engineering, Carbon Leaf – completed by longtime bassist Jon Markel and drummer Jesse Humphrey – spent a year and a half recording and mixing the resulting songs.\n\n“Thinking about these disparate pieces of music, I began ruminating on time itself,” Privett recalled. “The band’s been together a long time. You mature a bit and see yourself in place on the timeline … rolling around the scenes of love and growth.”\n\nMasterfully melding saturated AC\/DC guitar and squelchy Cars synth, “Backmask 1983” is a fun flipbook of evocative era emblems – Farah Fawcett, “Satanic Panic,” Time Life Books, Bigfoot and more – that traverses the simultaneous nexus of Privett’s childhood\/adolescence and the world’s analog\/digital ages. It’s about morphing into a new person and a new planet with wide-eyed wonder and a longing to believe. “Without a whole lot of information, the mystery of things felt so heightened,” recalled Privett of growing up pre-Internet. “I wanted to capture some of that but also have fun with it.”\n\n“I want what we create to resonate with ourselves, to the level that we want to play it for a long time to come, and where we want others to hear it and experience it,” Privett concluded. “Hopefully, listeners can glean the pieces from it that they identify with.”\n\nTime is the Playground will be accompanied by the tireless touring almost synonymous with Carbon Leaf, who’ve become a model for self-managing bands in the digital landscape.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1122-CL-WEB-BANNER-a9d0137d6c.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/carbon-leaf-i-want-to-be-leaf-tour-2025","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 22<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/leaf180-8d1e7640c4.png","category":{"name":"Other","id":"0"}},{"media_title":"\"Thankful Dead\" with Sisters & Brothers and Mama Tried","media_tagline":"plus Andy Tichenor's Almost Acoustic","event_body":"About Sisters & Brothers:\nSisters & Brothers is a collection of polished, driven, and adventurous musicians focused on creating the musically unique experience found within the catalogue of the Jerry Garcia Band. Creating excitedly smooth grooves and rhythmic sensation, the band cruises through classic JGB material with the genuine feeling for the music that famously defined Jerry Garcia and the spirit that he brought aside from The Grateful Dead. Their ability to touch upon the deepest emotion brings in many to experience what we've come to know as "Psychadelic Church.\n\nAbout Mama Tried:\nMama Tried is a 5-piece band from Charlottesville, Va., with Susan Munson on guitar and vocals, Charlie Pastorfield on guitar and vocals, Stuart Holme on bass, Kent Raine on drums, and Sam Johnston on keys, vocals and harmonica. These five play high-energy versions of early Grateful Dead songs, plus their own impressive material, with a heavy accent on improvisation. Even though their name is taken from a Merle Haggard tune, they are definitely a “jam band," with the ability to go out exploring while remaining cohesive, then get back smoothly to the original song, and make it all sound good. Members in Mama Tried also perform with some of Charlottesville's favorite bands, including Alligator, Mojo Pie, The Cows, and the Skip Castro Band. These seasoned musicians will not disappoint!\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/Thankful-Dead-WEB-Banner-4d1140e6f4.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/thankful-dead-with-sisters-brothers-and-mama-tried-1","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 26<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:30pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/TD180-28c33c7ae0.png","category":{"name":"Other","id":"0"}},{"media_title":"Gasolina Reggaet\u00f3n Party (18+)","media_tagline":"","event_body":"This event is 18 & Over Only. No Exceptions.\n\nGasolina is dedicated to creating a community within the reggaetón and latin-music scene across the United States through exciting and innovative events. From throwing shows at small clubs in Los Angeles to large-scale events in New York & beyond, Gasolina is bringing together the reggaetón community from coast-to-coast. Serving as both a legendary perreo and a platform to showcase up-and-coming talent in the reggaetón and Latinx scenes, the collective is determined to break the boundaries of latin music and push the culture forward.\n\nGasolina has held events with artists such as Nina Sky, DannyLux, Tornillo, Vice Menta, Izzy La Reina, BRRAY, Tomasa Del Real, Ir-Sais, ECKO, Jen Morell, Fuego and beyond in venues such as Avalon Hollywood, House of Blues, and more.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/gaso660-63c9aa1cab.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/gasolina-reggaeton-dance-party-18-up-3","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 28<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/gaso180-42422780d3.png","category":{"name":"Other","id":"0"}},{"media_title":"Friendsgiving: Chamomile & Whiskey","media_tagline":"with Wilson Springs Hotel","event_body":"For over a decade now, Blue Ridge Mountain Rock and Rollers - Chamomile and Whiskey have called Charlottesville and Nelson County home. Although years of touring have taken them around the country, the mountains of central Virginia have always called them back and shown them love. Their deep roots in the area have grown many friendships within the musical community and the band decided Thanksgiving weekend would be the perfect time to invite a number of these great artists to join them on stage. \n\n\nHomegrown in the rich music scene of Virginia, Wilson Springs Hotel is a band brought together under a genreless flag;  A folk band committed to rock and roll, and a rock band committed to classic country.  After forming in 2021, Jacob Ritter (guitar\/songwriter\/lead vocals), Victor McManus (lead guitar), Brendan Boylan (fiddle), Sebastien Richard (drums) and Andrew Carper  (bass), released two albums in quick succession and are once again releasing new music in 2024.  Their first single “Pulling Weeds”, available now, explores the struggle with repetitive mental loops, like attempting to get nutrients out of the same spent garden.  Their new songs are a split between a classic country, and a more rock influenced sound, finding the band still unwilling to conform to a single genre, and instead celebrating the many influences that brought them to where they are today. \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1129-Friendsgiving-WEB-BANNER-56a08f6624.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/chamomile-whiskeys-friendsgiving","ticket_link":"Buy Tickets<\/a>","event_date":"Nov<\/span> 29<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/FG180-80878fffa6.png","category":{"name":"Other","id":"0"}},{"media_title":"The JOHNNYSWIM Christmas Show","media_tagline":"","event_body":"JOHNNYSWIM, composed of the magnetic duo Abner Ramirez and Amanda Sudano Ramirez, effortlessly enthralls audiences with their heartfelt melodies, intertwining personal experiences and imaginative tales. Their music is a vibrant tapestry woven with memories, emotions, and dreams, blending singer-songwriter tradition with alternative flair, rock vigor, and pop ambition. Through extensive touring, they've cultivated a devoted fanbase worldwide, connecting deeply with listeners.\n\n \n\nCritics from NPR, The New York Times, Huffington Post, Nylon, and Rolling Stone have hailed JOHNNYSWIM's blend of Folk, Pop, and Blues as "captivating and unforgettable." Their electrifying performances on shows like The Today Show and Jimmy Kimmel Live have enchanted audiences, reinforcing their dynamic presence in the music realm.\n\n \n\nIn their new album When The War Is Over, the band captures a profound journey through personal upheaval and resilience. Inspired by a season marked by intense challenges, Abner and Amanda vulnerably explore themes of physical and mental health, and self-realization through 11 deeply personal tracks. It symbolizes their journey toward healing, serving as a declaration of moving forward. Arriving amidst uncertain times, When The War Is Over is more than a collection of songs—it stands defiantly as a testimony of resilience, vulnerability, and the unbreakable bond between two people navigating life’s storms together.\n\n \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1204-Johnnyswim-Web-Banner-778e762d16.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-johnnyswim-christmas-show","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 4<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1204-Johnnyswim-thumbnail-36edc1c9a4.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Atlanta Rhythm Section","media_tagline":"","event_body":"The story of the Atlanta Rhythm Section began in Doraville, GA, a small town northeast of Atlanta, in 1970. Local Atlanta engineer Rodney Mills built a new studio in Doraville with the support of music publisher Bill Lowery,  producer\/songwriter\/manager Buddy Buie, and songwriter\/guitarist J.R. Cobb. The studio was dubbed Studio One and would become one of the preeminent studios in the Atlanta area. Over the years, artists who recorded there included Al Kooper, Lynyrd Skynyrd, Joe South, Bonnie Bramlett, Dickey Betts, B.J. Thomas and Billy Joe Royal.\n\nThe Atlanta Rhythm Section originally came together as the house band at Studio One. Buie and Cobb had been part of the group the Classics IV - remembered for hits including "Spooky," "Stormy" and "Traces." Buie recruited three musicians he had worked with previously in the Candymen, a group that backed Roy Orbison-singer Rodney Justo, keyboardist Dean Daughtry and drummer Robert Nix. Two talented local session players also joined in-guitarist Barry Bailey and bassist Paul Goddard. These musicians played on a number of other artist's records and the decision was made to make an album on their own.\n\nBuie wanted the best players doing his songs as a guitar based band, and he wrote, produced and managed ARS from the start. Buie, Daughtry and Nix did a lot of the songwriting together. The Rhythm Section would play on other's albums 3-4 days a week and then work on their own material. They recorded a demo featuring instrumentals and over a couple of years pulled together material for an album. The demo got them a two record deal with MCA\/Decca, and so ARS officially began.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/ARS-Web-Banner-426b814b46.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/atlanta-rhythm-section","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 5<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/ARS-Thumbnail-6afc5898ac.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Tab Benoit","media_tagline":"with Jesse Dayton","event_body":"I Hear Thunder marks the long-awaited return of four-time Grammy-nominated artist Tab Benoit. Renowned for his distinctive guitar tone and Otis-Redding-esque voice, Benoit has been a captivating figure in the roots music world for over thirty years.\n\n \n\nTab's personal growth and advancement as a songwriter and musician have culminated in a benchmark recording. His new self-produced album, I Hear Thunder, for his imprint, Whiskey Bayou Records, is a testament to his fiery exuberance that first marked his career in 1992. The record not only showcases his artistic brilliance but also his profound commitment to environmental advocacy, a legacy that extends beyond the stage into the heart of the land that inspires his bluesy soul. \n\n \n\nOn Benoit's forthcoming national tour, fans will be delighted to hear the new songs and selected tracks from his vast catalog. Benoit does more than play the blues; he defines its future while paying homage to its rich past.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/120625-Tab-Benoit-660x340-46518b9f8d.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/tab-benoit","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 6<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/120625-Tab-Benoit-180x180-a2c150542e.png","category":{"name":"Other","id":"0"}},{"media_title":"Robert Earl Keen","media_tagline":"with John R. Miller","event_body":"Post-retirement life looks a little different for every person lucky enough to reach the sunset of their careers with some time and energy to spare. For singer-songwriter (and poet, podcast host, amateur historian, good-time curator, guitar collector) Robert Earl Keen, it took under a year of retirement to say “screw it,” and kick off a return to work unrivaled since Michael Jordan hit the court in a Wizards jersey. After 21 albums full of songs like “Gringo Honeymoon,” “Feelin’ Good Again,” and “Corpus Christi Bay,” thousands of shows, songs cut by artists including George Strait and The Highwaymen, and many well-deserved accolades like the BMI Troubadour Award, the Texas Heritage Songwriter Hall of Fame, and the Texas A&M Distinguished Alumni Award—of which only 300 or so have been awarded from more than half-a-million graduates—it would be hard to find anybody in the same shoes who would willingly give it all up for a quiet life at home. As Keen projects from the stage every night, along with the help of every set of lungs in the room, “The road goes on forever, and the party never ends!”\n\n \n\nThose words have never seemed more true for the Americana pioneer, and in Keen’s late-career renaissance, his party doesn’t just “never end,” it keeps growing. Just this year, Keen made an iconic, late-career debut on the Grand Ole Opry, was invited to join Tyler Childers for a sold out show at the world-famous Hollywood Bowl, and helped his old friends Turnpike Troubadours rattle Colorado’s Red Rocks Amphitheater, all while continuing to headline his own shows in iconic venues, host his Americana Podcast: The 51st State, putting together a new book, and recording yet another new album.\n\n \n\nBut like any good Texan renaissance man, Keen keeps a lot of skillets on a lot of fires; not just looking towards the future, but keeping an eye on the present and what (and who) got him here today. This year, Keen has expanded his Annual Homecoming Weekend, a friends and family shindig for the ages, which culminates in the free Robert Earl Keen Fan Appreciation Day concert at John T. Floore’s Country Store. And when Texas needed him the most, Keen spearheaded a benefit concert, Applause for the Cause, raising three million dollars for flood relief in the Hill Country.\n\n \n\nKeen and his band are tighter than ever. Having just recorded and released a collaborative multi-media project and album, Western Chill, the roving quintet has settled into a sustainable, enjoyable program of touring and recording. If retirement means living every day on your own terms, Keen’s un-retirement reads less like another chapter and more like a whole new book.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/web-banner-daff80da8d.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/robert-earl-keen-4","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 10<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1210-REK-thumbnail-9a8c1c768f.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Robert Earl Keen","media_tagline":"with William Matheny","event_body":"This second night performance has been added due to popular demand!\n\nPost-retirement life looks a little different for every person lucky enough to reach the sunset of their careers with some time and energy to spare. For singer-songwriter (and poet, podcast host, amateur historian, good-time curator, guitar collector) Robert Earl Keen, it took under a year of retirement to say “screw it,” and kick off a return to work unrivaled since Michael Jordan hit the court in a Wizards jersey. After 21 albums full of songs like “Gringo Honeymoon,” “Feelin’ Good Again,” and “Corpus Christi Bay,” thousands of shows, songs cut by artists including George Strait and The Highwaymen, and many well-deserved accolades like the BMI Troubadour Award, the Texas Heritage Songwriter Hall of Fame, and the Texas A&M Distinguished Alumni Award—of which only 300 or so have been awarded from more than half-a-million graduates—it would be hard to find anybody in the same shoes who would willingly give it all up for a quiet life at home. As Keen projects from the stage every night, along with the help of every set of lungs in the room, “The road goes on forever, and the party never ends!”\n\n \n\nThose words have never seemed more true for the Americana pioneer, and in Keen’s late-career renaissance, his party doesn’t just “never end,” it keeps growing. Just this year, Keen made an iconic, late-career debut on the Grand Ole Opry, was invited to join Tyler Childers for a sold out show at the world-famous Hollywood Bowl, and helped his old friends Turnpike Troubadours rattle Colorado’s Red Rocks Amphitheater, all while continuing to headline his own shows in iconic venues, host his Americana Podcast: The 51st State, putting together a new book, and recording yet another new album.\n\n \n\nBut like any good Texan renaissance man, Keen keeps a lot of skillets on a lot of fires; not just looking towards the future, but keeping an eye on the present and what (and who) got him here today. This year, Keen has expanded his Annual Homecoming Weekend, a friends and family shindig for the ages, which culminates in the free Robert Earl Keen Fan Appreciation Day concert at John T. Floore’s Country Store. And when Texas needed him the most, Keen spearheaded a benefit concert, Applause for the Cause, raising three million dollars for flood relief in the Hill Country.\n\n \n\nKeen and his band are tighter than ever. Having just recorded and released a collaborative multi-media project and album, Western Chill, the roving quintet has settled into a sustainable, enjoyable program of touring and recording. If retirement means living every day on your own terms, Keen’s un-retirement reads less like another chapter and more like a whole new book.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/web-banner-daff80da8d.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/robert-earl-keen-5","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 11<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1210-REK-thumbnail-9a8c1c768f.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Hot In Herre: 2000s Dance Party (18+)","media_tagline":"","event_body":"This event is 18 & over only! No exceptions.\n\nHot in Herre, the biggest 2000s\/Y2K party in the country!\n\n \n\nHot In Herre features dope DJs behind the decks and 00s visuals that will transport you back to the days of blinged-out flip phones and trucker hats!\n\n \n\nAt Hot In Herre, you'll hear your favorite hits and guilty pleasures from the first decade of the millennium from artists like Nelly (duh), Beyoncé, Usher, Rihanna, Britney Spears, Pitbull, 50 Cent, Shakira, Snoop Dogg, Flo Rida, Fergie, T-Pain, Amy Winehouse, Outkast, Eminem, Pink, Black Eyed Peas, Jay-Z, Sean Paul, Avril Lavigne and so many more. \n\n \n\n** Wear your best 2000s-era gear at Hot In Herre! We're talkin' fuzzy pink Juicy Couture sweats, bling, Ed Hardy shirts, loooow-rise jeans, UGG boots, crop tops… you name it, just wear it! **\n\n \n\nWe’re taking song requests all night, too. Pull out your old iPod playlists and have your favs ready to go! \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/DABASEMENT660-ad76fadc5d.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/hot-in-herre-2000s-dance-party-12","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 13<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1213-Hot-in-Herre-thumbnail-c799087fe0.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Thievery Corporation","media_tagline":"with City of The Sun","event_body":"Exclusive 2 Night GA Tickets available here.\n\nTwenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation's music and message is more relevant and important now than ever.\n\nThat lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. "We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out — it's far easier to stay in one lane than to genre hop!" laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second hand record stores for LP's from Brazil, India, Iran, Jamaica, jazz records…..we wanted to make music where you didn't know whether it was recorded today or a decade ago." Thievery Corporation's music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996's "Sounds From The Thievery Hi-Fi," which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.\n\nThe band's legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz," says Garza. "We'd run into people from all over the world and invite them to play with us — so Thievery became an extension of that, both on our records and in our live performances." Indeed, Hilton and Garza's "Outernational" approach created a world reflected by the artist's ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up," Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity…it's so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we've tried to do." People don't refer to Thievery Corporation as "World Music," but it's safe to say that their music and ethos is global in its scope and ahead of its time at every turn.\n\nIn a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you'll dance, sweat and put your hands in the air….but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the com-bination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages — it's a multicultural experience, people connect to the band and to each other, it's beautiful." With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We're all craving that."\n\nEric Hilton's presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures," he says. "For me, touring was tourism. The creative process of making music is more my thing." And Thievery Corporation have brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014's Saudade is my favorite record that we've done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible." Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity."\n\nLooking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does," the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most." By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.\n\n"Over 25 years, we've left nothing undone. We far exceeded what we thought we would do," Hilton and Garza agree. And Thievery Corporation's music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/night-1-banner-135daa71fa.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/thievery-corp-night1","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 15<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/night-1-thumbnail-832e84d531.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Thievery Corporation - 2 Night Ticket (12\/15 & 12\/16)","media_tagline":"","event_body":"This exclusive 2 Night  General Admission Ticket is good for admission to both nights of Thievery Corporation at The Jefferson!\n\nTwenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation's music and message is more relevant and important now than ever.\n\nThat lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. "We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out — it's far easier to stay in one lane than to genre hop!" laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second hand record stores for LP's from Brazil, India, Iran, Jamaica, jazz records…..we wanted to make music where you didn't know whether it was recorded today or a decade ago." Thievery Corporation's music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996's "Sounds From The Thievery Hi-Fi," which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.\n\nThe band's legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz," says Garza. "We'd run into people from all over the world and invite them to play with us — so Thievery became an extension of that, both on our records and in our live performances." Indeed, Hilton and Garza's "Outernational" approach created a world reflected by the artist's ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up," Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity…it's so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we've tried to do." People don't refer to Thievery Corporation as "World Music," but it's safe to say that their music and ethos is global in its scope and ahead of its time at every turn.\n\nIn a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you'll dance, sweat and put your hands in the air….but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the com-bination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages — it's a multicultural experience, people connect to the band and to each other, it's beautiful." With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We're all craving that."\n\nEric Hilton's presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures," he says. "For me, touring was tourism. The creative process of making music is more my thing." And Thievery Corporation have brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014's Saudade is my favorite record that we've done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible." Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity."\n\nLooking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does," the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most." By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.\n\n"Over 25 years, we've left nothing undone. We far exceeded what we thought we would do," Hilton and Garza agree. And Thievery Corporation's music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/2-day-ticket-banner-fff48cd017.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/thievery-corp-2night","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 15 - 16<\/span>, 2025<\/span>","promos":"home featured just-announced","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1215-TC-WEB-TN-451b817010.png","category":{"name":"Other","id":"0"}},{"media_title":"Thievery Corporation","media_tagline":"with City of The Sun","event_body":"Exclusive 2 Night GA Tickets available here.\n\nTwenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation's music and message is more relevant and important now than ever.\n\nThat lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. "We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out — it's far easier to stay in one lane than to genre hop!" laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second hand record stores for LP's from Brazil, India, Iran, Jamaica, jazz records…..we wanted to make music where you didn't know whether it was recorded today or a decade ago." Thievery Corporation's music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996's "Sounds From The Thievery Hi-Fi," which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.\n\nThe band's legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz," says Garza. "We'd run into people from all over the world and invite them to play with us — so Thievery became an extension of that, both on our records and in our live performances." Indeed, Hilton and Garza's "Outernational" approach created a world reflected by the artist's ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up," Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity…it's so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we've tried to do." People don't refer to Thievery Corporation as "World Music," but it's safe to say that their music and ethos is global in its scope and ahead of its time at every turn.\n\nIn a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you'll dance, sweat and put your hands in the air….but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the com-bination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages — it's a multicultural experience, people connect to the band and to each other, it's beautiful." With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We're all craving that."\n\nEric Hilton's presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures," he says. "For me, touring was tourism. The creative process of making music is more my thing." And Thievery Corporation have brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014's Saudade is my favorite record that we've done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible." Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity."\n\nLooking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does," the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most." By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.\n\n"Over 25 years, we've left nothing undone. We far exceeded what we thought we would do," Hilton and Garza agree. And Thievery Corporation's music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/night-2-banner-4de0cb078a.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/thievery-corp-night2","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 16<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/night-2-thumbnail-ba9be2102e.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Charlottesville Music Showcase presents 18th Annual Xmas Jam","media_tagline":"Hosted By Tucker Rogers and BJ Pendleton","event_body":" \n\nCharlottesville Music Showcase Presents \n\nThe 18 Annual Xmas Jam @ The Jefferson Theater \n\nHosted By Tucker Rogers and BJ Pendleton \n\nThursday, December 18th, 2025 \n\n \n\nA portion of the this years proceeds will be donated to The Jefferson School African American Heritage Center. \n\n18+ years ago Charlottesville Music Showcase was born out of a desire to be a part of Cultivating this city's Musical Mojo and for well over a decade that weekly series culminated in a "one night only" jam made up of a who's who in the local music scene every Holiday Season. This year longtime co-conspirators Tucker Rogers and BJ Pendleton continue to bring the annual XMAS JAM to its newest home at the Jefferson Theater in Downtown Charlottesville!\n\nStarting at 8 PM on Thursday, December 18th, this show will feature some of Charlottesville’s most active local musicians laying down the groove with many special guest announcements popping up closer to the show, there’s lots of reason to grab tickets and get dialed in early. Even as you read this phenomenal guests including Jen Tal, Josh Mayo, Travis Elliott, Gina Sobel, Andy Waldeck (The Long Way), Ryan Calonder (Disco Risque), Ivan Orr (Ebony Groove), James McLaughlin, Andrew Hollifield and Mark Coffman (Ark of Mark) are already tuning up to deliver a one of a kind feast for the ears.\n\nA portion of this year's proceeds will be donated to The Jefferson School African American Heritage Center. \n\nAbout the The Jefferson School: \n\nLocated in the historic Jefferson School City Center, the Jefferson School African American Heritage Center’s mission is to honor and preserve the rich heritage and legacy of the African American community of Charlottesville\/Albemarle, Virginia and to promote a greater appreciation for and understanding of, the contributions of African Americans and peoples of the Diaspora. \n\n \n\nThe Jefferson School African American Heritage Center (JSAAHC) strives to build a culture where diversity of all kinds, including diversity in race, ethnicity, gender, gender identity, sexual orientation, nationality, religion, veteran status, physical and mental abilities, political philosophy, socio-economic status and intellectual focus, is viewed as a strategic imperative. The JSAAHC is committed to developing people and ideas that will solve humanity’s toughest challenges. We are called not just to observe, but to participate in the change we wish to see. In confronting issues of racial justice and equity, we aspire to bring forward the very best thinking of our colleagues, our policy and action practitioners. We are eager to contribute meaningfully to this national dialogue, with courage, ambition, humility, and hope. \n\n \n\nFor more information:  \n\n https:\/\/jeffschoolheritagecenter.org\/about-us\/ \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/660X340-website-banner-3657b39e8c.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/charlottesville-music-showcase-presents-the-annual-xmas-jam-1","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 18<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/xmj180-5bb8eda8e1.png","category":{"name":"Other","id":"0"}},{"media_title":"Love Canon","media_tagline":"","event_body":"About Love Canon:\nLove Canon doesn't cover the music of the '80s as much as kidnap it and take it on a bluegrass-tinged joyride. It's a general rule of American culture that it takes 20-40 years for a decade to shed its stale stench and get its groove back. There's no shortage of clever musical re-enactors giving the first generation of MTV an ironic makeover: a fool's errand, given that the music already was soaked in postmodern irony. \n\nThe musicians, led by guitarist Jesse Harper, are seasoned virtuoso string players of which Style Weekly says, “LOVE CANON doesn’t cover the music of the ’80s as much as kidnap it and take it on a bluegrass-tinged joyride. It’s a general rule of American culture that it takes 20-40 years for a decade to shed its stale stench and get its groove back… LOVE CANON refreshes and extends the originals with affectionate humor and effortless virtuosity. The players… add layers of depth to the still-appealing pop hooks.” \n\nLOVE CANON has been touring the mid-Atlantic since 2010 bringing their own raucous blend of bluegrass to the masses. The band’s diehard fans are music lovers first and foremost, drawn to the beautiful high-lonesome stylings of Jesse Harper’s guitar and vocals paired with banjo master Adam Larrabee, mandolin pickin’ by Andy Thacker with Darrell Muller holding down the low-end on standup bass. The band is augmented with the sweet sounds of resonator guitar king Jay Starling on the Beard MA-6. \n\nLOVE CANON and its individual members have shared the stage and studio with many notable acts over the years. Harper and Muller were members of acoustic supergroup Old School Freight Train and they performed shows with David Grisman (who also produced one of their albums), Ricky Skaggs, and Merle Haggard. As a band, LOVE CANON was the backing band for Keb Mo and Jason Mraz at SPARC performance LIVE ART event in Richmond and they also performed as the house band at the Warren Haynes Christmas Jam a couple of years in a row with sits in from Bruce Hornsby and Warren Haynes among others. They’ve toured with Josh Ritter, Keller Williams, and The Infamous Stringdusters and have played festivals around the country including LOCKN’, Jam Cruise, FloydFest, Bourbon and Beyond (as part of Bluegrass Situation Stage) and Gathering of the Vibes as well as having performed live on the BBC (British Broadcasting Corporation) and RTE radio (Raidió Teilifís Éirean – Irish Public-service Broadcasting). Individual members have made their rounds on the music scene and have performed with KD Lang, Emmylou Harris, Sara Bareilles, John C. Reilly, Madeleine Peyroux, Colbie Caillat, among others. \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/Web-banner-33b239fd26.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/love-canon-6","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 19<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/olc180-84143168a1.png","category":{"name":"Other","id":"0"}},{"media_title":"Shakey Graves \/ Solo Show","media_tagline":"","event_body":"Shakey Graves has partnered with PLUS1 so that $1 per ticket goes to supporting Sweet Relief Musicians Fund and their work providing emergency financial assistance and other forms of support to career musicians, road crew and anyone who makes the majority of their income in the music business.\n\nAcross his career, Shakey Graves—a.k.a. the performance moniker of Austin, Texas-born Alejandro Rose-Garcia—has intentionally created thrilling musical adventures tailored to each fan: burning CDs and putting them in personalized decorated bags; building intricate scavenger hunts that send fans in search of unique tapes; and Bandcamp-exclusive releases.\n\n \n\n"The fans and musicians that really resonate with me—and the inexplicable ways that I find things that I like—are usually entirely through randomness and chaos and accident," Rose-Garcia says. "I've always been on this quest to make people feel like my own music is a choose your own adventure." \n\n \n\nIn 2024 Rose-Garcia celebrated the ten year anniversary of his And The War Came album with a special 10 Year Anniversary Edition release featuring never before heard demos and b-sides from the recording process and inviting fans to enter the long-since abandoned Music House. \n\n \n\nHis story continues to unfold, but Shakey Graves Is Still A Gentleman From Texas.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1220-Shakey-Graves-Web-Banner-6a7c22a9f8.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/shakey-graves-solo-show","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 20<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/sg180-b67c02a6fe.png","category":{"name":"Other","id":"0"}},{"media_title":"The Skip Castro Band","media_tagline":"","event_body":"This balcony for this show is Reserved seating and the floor is General Admission Standing.\n\nIt began a long time ago. 1978 to be exact. Four musicians, out of work at the same time got together because honestly, they liked to play music. Thus, the Skip Castro Band was born. A mutual love of rhythm 'n blues, swing, boogie woogie and rock 'n roll became the foundation.\n\n \n\nOver the next ten years, Skip Castro would become staples on the East Coast between Boston and Atlanta playing every bar, club, music hall, and college in between. All the while having a great time. Called one of the best party bands ever, Skip Castro brings the party every time they take the stage.\n\n \n\nAnd who haven’t they played with? Muddy Waters, Big Joe Turner, Bo Diddley, James Brown, Chuck Berry, Buddy Guy, James Cotton, Albert Collins, Stevie Ray Vaughan, the Yardbirds, The Fabulous Thunderbirds, George Thorogood and the Destroyers, the Nighthawks, the Kinks, Kenny Loggins and a host of others....\n\n \n\nFast forward 45 years and the same four guys are still playing together. Why? Because even though they stopped playing full time a while back, there's a unique groove and spirit that exists when Skip plays. They've played with other musicians, but the greatest satisfaction comes when these four get together.\n\n \n\nWho are these guys anyhow? Undoubtedly, you've been asked that countless times. Well, here's everything you ever wanted to know about them!\n\n \n\nDanny Beirne, Vocals\/Keyboards: Was born in East Orange, New Jersey, and raised to the sounds of the Four Seasons and other Jersey bands. He migrated to Charlottesville at age 17 to play bass with his brother’s band and has played music professionally since that day. His machine gun piano attack and manic stage personality always kicks things into overdrive. His favorite movie is Goodfellas.\n\n \n\nCharlie Pastorfield, Vocals\/Bass: Came to the University of Virginia from the U.S. Virgin Islands, and has played guitar and bass in a long list of Charlottesville bands including The Believers, Mama Tried, Alligator, and The Gladstones. His favorite movie is Ikiru.\n\n \n\nCorky Schoonover, Drums: Started a band with Charlie when they both arrived at UVa . He spent some time at the Berklee School of Music, returned to Cville to join The AllStars, and then started the Skip Castro Band. He is a successful fantasy football league owner, and his favorite movie is The Godfather\n\n \n\nBo Randall, Vocals\/Guitar: Chose the University of Virginia for a great education, but fate had something different in mind. He joined local legends Captain Tunes and his Fabulous Noteguns in 1974, immediately blowing away audiences with his incendiary guitar playing. He loves playing golf, and his favorite movie is Almost Famous.\n\n \n\nWhat else is there to say?\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/Castro_660x340-b4408287fb.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-skip-castro-band-3","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 27<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"7:30pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/Castro_180x180-694837efa6.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Railroad Earth - 2 Night Ticket","media_tagline":"","event_body":"This exclusive 2 Night Ticket is good for admission to both nights of Railroad Earth at The Jefferson!\n\n12-30-25 - Doors: 7:00pm \/ Show 8:00pm \n\n(Get 1-Night Tickets Here)\n\n12-31-25 - Doors: 8:00pm \/ Show 9:00pm \n\n(Get 1-Night Tickets Here)\n\nA brother leaves this world too soon. A trip down U.S. Highway 61 ends in a deluge of biblical proportions. A retreat to the Big Easy results in its own flood of inspiration. A new chapter begins. These moments and many more fade in and out of focus on Railroad Earth’s seventh full-length album, All For The Song. \n\n \n\nThe celebrated New Jersey septet — Todd Sheaffer [lead vocals, acoustic guitar], Tim Carbone [violins, electric guitar, vocals], John Skehan [mandolin, bouzouki, piano, vocals], Carey Harmon [drums, percussion, vocals], Dave Speranza[upright & electric bass], Matt Slocum (organ and piano), and Mike Robinson (banjo, guitar, steel) chronicle the twists and turns of this journey through eloquent songcraft, bluegrass soul, and rock ‘n’ roll spirit.\n\n \n\n“Perhaps, it represents the journey we’ve been on for twenty years as a band and as a family,” observes Carey.\n\n \n\n“What threads the record together?” ponders Todd. “Nostalgia, sadness, and a lot of great moments to sing along to.”\n\n \n\nFor over two decades, Railroad Earth has captivated audiences with gleefully unpredictable live shows and eloquent and elevated studio output. The group introduced its signature sound on 2001’s The Black Bear Sessions. Between selling out hallowed venues such as Red Rocks Amphitheatre in Morrison, CO, they’ve launched the longstanding annual Hangtown Music Festival in Placerville, CA and Hillberry: The Harvest Moon Festival in Ozark, AR—both running for a decade-plus. Sought after by legends, the John Denver Estate tapped them to put lyrics penned by the late John Denver to music on the 2019 vinyl EP, Railroad Earth: The John Denver Letters. Beyond tallying tens of millions of streams, the collective have earned widespread critical acclaim from David Fricke of Rolling Stone, American Songwriter, Glide Magazine, and NPR who assured, “Well-versed in rambling around, as you might expect from a band named after a Jack Kerouac poem, the New Jersey-built jam-grass engine Railroad Earth has let no moss grow under its rustic wheels.” \n\n \n\nIn 2018, Railroad Earth bid farewell to founding member Andy Goessling who passed away from cancer.  His shadow loomed over the process as the guys retreated to New Orleans for the first time to record.\n\n“From the beginning, the vision was more than just the music,” states Todd. “We looked at this like a ‘destination’ record. Our past records were all made close to home or, in fact, at home. Andy’s passing was very much in the center of our thoughts and our hearts in the writing and recording of this album. Things were so shaken up that we thought it’d be a benefit to go away from all of the distractions and be together. In New Orleans, there is great food and there are great spirits to be shared. I’ll leave the music part of the equation for others to judge, but we surely succeeded in making the bonding part of the vision come to fruition!”\n\n \n\nAnother first, they recorded with Anders Osborne behind the board as producer. It might’ve been the gumbo, but the guys seamlessly absorbed the homegrown flavors of the Big Easy by osmosis, incorporating horns, blues harmonica, and the producer’s own perspective and guitar playing.\n\n \n\n“His enthusiasm is contagious,” exclaims Carey. “There are five producers in this band, so a strong-willed voice from the outside is usually pretty essential. Anders was the voice.”\n\n \n\nTodd agrees, “He brought a pure and striving soul, unforgettable laugh, rich palette of emotion, a great stash of guitars and amps, philosophical driftings, freedom, unguarded honesty, warmth, and love.”\n\n \n\nThe band paved the way for the album with “The Great Divide,” “It’s So Good,” and “Runnin’ Wild.” Beyond those initial singles, the record picks up steam on “Blues Highway.” Over dusty acoustic guitar, hummable fiddle, and a banjo pluck, Todd recounts a particular road trip down Rte. 61, which ended in “the most downpour of rain I’ve ever experienced.”\n\n \n\n“We had a show in Natchez, so I decided to make my own adventure out of the trip,” he recalls. “I flew to New Orleans, rented a car, and drove up the Blues Highway like a tourist, stopping and touring the old plantations and blues honky-tonks. I was smelling the river and the refineries. On my return to New Orleans, I drove into what might’ve been a hurricane with intense and terrifying lightning to boot. In the dead of night, I gave up trying to inch down the road, pulled over, and waited it out. The trip seemed like a parallel for my life at the time and inspired the song.”\n\n \n\nThe epic “Driftin’ The Bardo” hinges on one of the final recordings of Andy on ukulele and high-strung guitar. It slips into a poignant piano-driven crescendo punctuated by cinematic strings.\n\n \n\n“As we were recording it, ‘The Bardo’ came to represent Andy’s transition,” reveals Tim. “It was an emotional experience.”\n\n \n\nClocking over eight minutes, “Showers of Rain” unfurls as a “psychedelic excursion” complete with an improvised jam, guitar solo by Anders, a dreamy string section, and imagery “inspired by a strange 19th century novel called Green Mansions.”\n\n \n\n“We all have those moments when we feel visitations and remember loved ones we’ve lost,” Todd observes. “In New Orleans, Andrew shared with us the night previous he’d had a visit from Andy in his sleep. At my house, we have a cardinal who taps on the window, and my wife think It’s her mom. These are the thoughts in the middle of the song where I ask, ‘Was that really you?’”\n\n \n\nThe album culminates on the wistful “All For The Song” as the final refrain, “All of the heartache, all that’s gone wrong, all for the moment, all for the song,” rings out before a harmonica passage.\n\n \n\n“It’s a bit painful to contemplate or talk about, to be honest—as are a couple other tunes on this record,” confesses Todd. “The song says way more than enough, I believe.”\n\n \n\nIn the end, Railroad Earth brings listeners closer than ever on All For The Song.\n\n \n\n“We want audiences to connect to the album,” Carey leaves off. “We hope they’re as moved by the music as we were making it.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1230-1231-RRE-banner-eda5a2e93b.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/railroad-earth-2-night-ticket-1","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 30 - 31<\/span>, 2025<\/span>","promos":"home featured just-announced","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/12310-1231-RRE-thumbnail-a8017a5450.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Railroad Earth - Night 1","media_tagline":"","event_body":"Exclusive 2 Night Tickets available here.\n\nA brother leaves this world too soon. A trip down U.S. Highway 61 ends in a deluge of biblical proportions. A retreat to the Big Easy results in its own flood of inspiration. A new chapter begins. These moments and many more fade in and out of focus on Railroad Earth’s seventh full-length album, All For The Song. \n\n \n\nThe celebrated New Jersey septet — Todd Sheaffer [lead vocals, acoustic guitar], Tim Carbone [violins, electric guitar, vocals], John Skehan [mandolin, bouzouki, piano, vocals], Carey Harmon [drums, percussion, vocals], Dave Speranza[upright & electric bass], Matt Slocum (organ and piano), and Mike Robinson (banjo, guitar, steel) chronicle the twists and turns of this journey through eloquent songcraft, bluegrass soul, and rock ‘n’ roll spirit.\n\n \n\n“Perhaps, it represents the journey we’ve been on for twenty years as a band and as a family,” observes Carey.\n\n \n\n“What threads the record together?” ponders Todd. “Nostalgia, sadness, and a lot of great moments to sing along to.”\n\n \n\nFor over two decades, Railroad Earth has captivated audiences with gleefully unpredictable live shows and eloquent and elevated studio output. The group introduced its signature sound on 2001’s The Black Bear Sessions. Between selling out hallowed venues such as Red Rocks Amphitheatre in Morrison, CO, they’ve launched the longstanding annual Hangtown Music Festival in Placerville, CA and Hillberry: The Harvest Moon Festival in Ozark, AR—both running for a decade-plus. Sought after by legends, the John Denver Estate tapped them to put lyrics penned by the late John Denver to music on the 2019 vinyl EP, Railroad Earth: The John Denver Letters. Beyond tallying tens of millions of streams, the collective have earned widespread critical acclaim from David Fricke of Rolling Stone, American Songwriter, Glide Magazine, and NPR who assured, “Well-versed in rambling around, as you might expect from a band named after a Jack Kerouac poem, the New Jersey-built jam-grass engine Railroad Earth has let no moss grow under its rustic wheels.” \n\n \n\nIn 2018, Railroad Earth bid farewell to founding member Andy Goessling who passed away from cancer.  His shadow loomed over the process as the guys retreated to New Orleans for the first time to record.\n\n“From the beginning, the vision was more than just the music,” states Todd. “We looked at this like a ‘destination’ record. Our past records were all made close to home or, in fact, at home. Andy’s passing was very much in the center of our thoughts and our hearts in the writing and recording of this album. Things were so shaken up that we thought it’d be a benefit to go away from all of the distractions and be together. In New Orleans, there is great food and there are great spirits to be shared. I’ll leave the music part of the equation for others to judge, but we surely succeeded in making the bonding part of the vision come to fruition!”\n\n \n\nAnother first, they recorded with Anders Osborne behind the board as producer. It might’ve been the gumbo, but the guys seamlessly absorbed the homegrown flavors of the Big Easy by osmosis, incorporating horns, blues harmonica, and the producer’s own perspective and guitar playing.\n\n \n\n“His enthusiasm is contagious,” exclaims Carey. “There are five producers in this band, so a strong-willed voice from the outside is usually pretty essential. Anders was the voice.”\n\n \n\nTodd agrees, “He brought a pure and striving soul, unforgettable laugh, rich palette of emotion, a great stash of guitars and amps, philosophical driftings, freedom, unguarded honesty, warmth, and love.”\n\n \n\nThe band paved the way for the album with “The Great Divide,” “It’s So Good,” and “Runnin’ Wild.” Beyond those initial singles, the record picks up steam on “Blues Highway.” Over dusty acoustic guitar, hummable fiddle, and a banjo pluck, Todd recounts a particular road trip down Rte. 61, which ended in “the most downpour of rain I’ve ever experienced.”\n\n \n\n“We had a show in Natchez, so I decided to make my own adventure out of the trip,” he recalls. “I flew to New Orleans, rented a car, and drove up the Blues Highway like a tourist, stopping and touring the old plantations and blues honky-tonks. I was smelling the river and the refineries. On my return to New Orleans, I drove into what might’ve been a hurricane with intense and terrifying lightning to boot. In the dead of night, I gave up trying to inch down the road, pulled over, and waited it out. The trip seemed like a parallel for my life at the time and inspired the song.”\n\n \n\nThe epic “Driftin’ The Bardo” hinges on one of the final recordings of Andy on ukulele and high-strung guitar. It slips into a poignant piano-driven crescendo punctuated by cinematic strings.\n\n \n\n“As we were recording it, ‘The Bardo’ came to represent Andy’s transition,” reveals Tim. “It was an emotional experience.”\n\n \n\nClocking over eight minutes, “Showers of Rain” unfurls as a “psychedelic excursion” complete with an improvised jam, guitar solo by Anders, a dreamy string section, and imagery “inspired by a strange 19th century novel called Green Mansions.”\n\n \n\n“We all have those moments when we feel visitations and remember loved ones we’ve lost,” Todd observes. “In New Orleans, Andrew shared with us the night previous he’d had a visit from Andy in his sleep. At my house, we have a cardinal who taps on the window, and my wife think It’s her mom. These are the thoughts in the middle of the song where I ask, ‘Was that really you?’”\n\n \n\nThe album culminates on the wistful “All For The Song” as the final refrain, “All of the heartache, all that’s gone wrong, all for the moment, all for the song,” rings out before a harmonica passage.\n\n \n\n“It’s a bit painful to contemplate or talk about, to be honest—as are a couple other tunes on this record,” confesses Todd. “The song says way more than enough, I believe.”\n\n \n\nIn the end, Railroad Earth brings listeners closer than ever on All For The Song.\n\n \n\n“We want audiences to connect to the album,” Carey leaves off. “We hope they’re as moved by the music as we were making it.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1230-1231-RRE-banner-eda5a2e93b.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/railroad-earth-night1","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 30<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/n1180-d711495753.png","category":{"name":"Other","id":"0"}},{"media_title":"Railroad Earth - Night 2","media_tagline":"","event_body":"Exclusive 2 Night Tickets available here.\n\nA brother leaves this world too soon. A trip down U.S. Highway 61 ends in a deluge of biblical proportions. A retreat to the Big Easy results in its own flood of inspiration. A new chapter begins. These moments and many more fade in and out of focus on Railroad Earth’s seventh full-length album, All For The Song. \n\n \n\nThe celebrated New Jersey septet — Todd Sheaffer [lead vocals, acoustic guitar], Tim Carbone [violins, electric guitar, vocals], John Skehan [mandolin, bouzouki, piano, vocals], Carey Harmon [drums, percussion, vocals], Dave Speranza[upright & electric bass], Matt Slocum (organ and piano), and Mike Robinson (banjo, guitar, steel) chronicle the twists and turns of this journey through eloquent songcraft, bluegrass soul, and rock ‘n’ roll spirit.\n\n \n\n“Perhaps, it represents the journey we’ve been on for twenty years as a band and as a family,” observes Carey.\n\n \n\n“What threads the record together?” ponders Todd. “Nostalgia, sadness, and a lot of great moments to sing along to.”\n\n \n\nFor over two decades, Railroad Earth has captivated audiences with gleefully unpredictable live shows and eloquent and elevated studio output. The group introduced its signature sound on 2001’s The Black Bear Sessions. Between selling out hallowed venues such as Red Rocks Amphitheatre in Morrison, CO, they’ve launched the longstanding annual Hangtown Music Festival in Placerville, CA and Hillberry: The Harvest Moon Festival in Ozark, AR—both running for a decade-plus. Sought after by legends, the John Denver Estate tapped them to put lyrics penned by the late John Denver to music on the 2019 vinyl EP, Railroad Earth: The John Denver Letters. Beyond tallying tens of millions of streams, the collective have earned widespread critical acclaim from David Fricke of Rolling Stone, American Songwriter, Glide Magazine, and NPR who assured, “Well-versed in rambling around, as you might expect from a band named after a Jack Kerouac poem, the New Jersey-built jam-grass engine Railroad Earth has let no moss grow under its rustic wheels.” \n\n \n\nIn 2018, Railroad Earth bid farewell to founding member Andy Goessling who passed away from cancer.  His shadow loomed over the process as the guys retreated to New Orleans for the first time to record.\n\n“From the beginning, the vision was more than just the music,” states Todd. “We looked at this like a ‘destination’ record. Our past records were all made close to home or, in fact, at home. Andy’s passing was very much in the center of our thoughts and our hearts in the writing and recording of this album. Things were so shaken up that we thought it’d be a benefit to go away from all of the distractions and be together. In New Orleans, there is great food and there are great spirits to be shared. I’ll leave the music part of the equation for others to judge, but we surely succeeded in making the bonding part of the vision come to fruition!”\n\n \n\nAnother first, they recorded with Anders Osborne behind the board as producer. It might’ve been the gumbo, but the guys seamlessly absorbed the homegrown flavors of the Big Easy by osmosis, incorporating horns, blues harmonica, and the producer’s own perspective and guitar playing.\n\n \n\n“His enthusiasm is contagious,” exclaims Carey. “There are five producers in this band, so a strong-willed voice from the outside is usually pretty essential. Anders was the voice.”\n\n \n\nTodd agrees, “He brought a pure and striving soul, unforgettable laugh, rich palette of emotion, a great stash of guitars and amps, philosophical driftings, freedom, unguarded honesty, warmth, and love.”\n\n \n\nThe band paved the way for the album with “The Great Divide,” “It’s So Good,” and “Runnin’ Wild.” Beyond those initial singles, the record picks up steam on “Blues Highway.” Over dusty acoustic guitar, hummable fiddle, and a banjo pluck, Todd recounts a particular road trip down Rte. 61, which ended in “the most downpour of rain I’ve ever experienced.”\n\n \n\n“We had a show in Natchez, so I decided to make my own adventure out of the trip,” he recalls. “I flew to New Orleans, rented a car, and drove up the Blues Highway like a tourist, stopping and touring the old plantations and blues honky-tonks. I was smelling the river and the refineries. On my return to New Orleans, I drove into what might’ve been a hurricane with intense and terrifying lightning to boot. In the dead of night, I gave up trying to inch down the road, pulled over, and waited it out. The trip seemed like a parallel for my life at the time and inspired the song.”\n\n \n\nThe epic “Driftin’ The Bardo” hinges on one of the final recordings of Andy on ukulele and high-strung guitar. It slips into a poignant piano-driven crescendo punctuated by cinematic strings.\n\n \n\n“As we were recording it, ‘The Bardo’ came to represent Andy’s transition,” reveals Tim. “It was an emotional experience.”\n\n \n\nClocking over eight minutes, “Showers of Rain” unfurls as a “psychedelic excursion” complete with an improvised jam, guitar solo by Anders, a dreamy string section, and imagery “inspired by a strange 19th century novel called Green Mansions.”\n\n \n\n“We all have those moments when we feel visitations and remember loved ones we’ve lost,” Todd observes. “In New Orleans, Andrew shared with us the night previous he’d had a visit from Andy in his sleep. At my house, we have a cardinal who taps on the window, and my wife think It’s her mom. These are the thoughts in the middle of the song where I ask, ‘Was that really you?’”\n\n \n\nThe album culminates on the wistful “All For The Song” as the final refrain, “All of the heartache, all that’s gone wrong, all for the moment, all for the song,” rings out before a harmonica passage.\n\n \n\n“It’s a bit painful to contemplate or talk about, to be honest—as are a couple other tunes on this record,” confesses Todd. “The song says way more than enough, I believe.”\n\n \n\nIn the end, Railroad Earth brings listeners closer than ever on All For The Song.\n\n \n\n“We want audiences to connect to the album,” Carey leaves off. “We hope they’re as moved by the music as we were making it.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1230-1231-RRE-banner-eda5a2e93b.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/railroad-earth-night2-1","ticket_link":"Buy Tickets<\/a>","event_date":"Dec<\/span> 31<\/span>, 2025<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/n2180-0b11a791ae.png","category":{"name":"Other","id":"0"}},{"media_title":"Loudon Wainwright III & Chris Smither","media_tagline":"","event_body":"Loudon Wainwright III and Chris Smither. In concert. Here's a rare chance to see two venerable musicians. \n\n \n\nIt was the late 1960's on Charles Street in Boston, outside one of the legendary clubs during the folk revival era, these two new-to-the-scene young musicians first met. They've stayed friends ever since with their paths crossing at folk festivals and concert halls and folk clubs.  Over the years, the two have guest-appeared on each other's record, Chris sang on "Somebody Else" for Loudon's Older Than My Old Man Now record. Then Loudon lent a hand on Chris' 50-year career retrospective recording Still on the Levee (singing on "What They Say").  Throughout the decades, they each have made their own individual and indelible mark on the contemporary singer-songwriter scene with Wainwright, known for his "Dead Skunk" song and Smither, known for "Love You Like A Man". They have both recorded numerous albums and continue to tour as journeymen. Acting is also a common thread they share with Wainwright having been in many plays, TV shows, and movies including the hit TV show M.A.S.H and on Broadway Pump Boys and Dinettes. Smither recently made his acting debut in the short film The Singers. Their most recent recordings are Wainwright's Lifetime Achievement (2022) and Smither's  All About the Bones (2024). Don't miss this special set of dates with these two special guys. \n\n \n\nwww.smither.com\n\nwww.lw3.com\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0130-LWIII-Smither-WEB-BANNER-b05155c673.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/chris-smither-loudon-wainwright-iii","ticket_link":"Buy Tickets<\/a>","event_date":"Jan<\/span> 30<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0130-LWIII-Smither-WEB-TN-48dfdc957b.png","category":{"name":"Other","id":"0"}},{"media_title":"Phil Hanley","media_tagline":"","event_body":"Originally from Oshawa in Ont, Canada, Phil Hanley started performing stand-up in Vancouver. He’s a stand-up, actor, and writer who is a staple of the NYC comedy scene and a regular at the Comedy cellar. A favorite on the late night TV circuit, he has appeared on The Tonight Show Starring Jimmy Fallon, Late Night with Seth Meyers, The Late Late Show with Craig Ferguson, and Comedy Central’s John Oliver's New York Stand-Up Show.\n\n \n\n \n\nPhil self-released his recent stand-up special Ooh La La on his YouTube channel. Phil is also currently writing a memoir titled Spellbound, in which he recounts his lifelong struggle with dyslexia and how comedy became his saving grace. The book will be released by Henry Holt – Macmillan next year.\n\n \n\nPhil was featured in the hit feature film I Feel Pretty and the Comedy Central sketch series Inside Amy Schumer, both alongside fellow comic Amy Schumer, as well as in the film Sundowners alongside Tim Heidecker. His half-hour stand-up special can be seen on Comedy Central and iTunes, and his cult favorite comedy album Please Don’t Chit Chat While I’m Pursuing My Dream was released in 2018.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/ph660-bed30e3956.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/phil-hanley","ticket_link":"Buy Tickets<\/a>","event_date":"Jan<\/span> 31<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/PH180-5b7d9a5f0e.png","category":{"name":"Other","id":"0"}},{"media_title":"Lettuce","media_tagline":"","event_body":"LETTUCE\n\nAdam Deitch: drums, percussion\nAdam “Shmeeans” Smirnoff: guitar\nErick “Jesus” Coomes: bass\nRyan “Zoid” Zoidis: alto, baritone and tenor sax, synths\nEric “Benny” Bloom: trumpet, horns\nNigel Hall: vocals, Hammond B-3, Rhodes, clavinet, keyboards\n\nThe album, Cook, isn’t just a nod to Lettuce’s musical heat; it’s an invitation to join the band at the table, where funk, soul, jazz, rock, and hip-hop come together in one rich, flavorful dish.\n\nReleased on their own Lettuce Records label, the band’s next studio album offers a menu of delights that marks a band exploring new sonic territory. For these six life-long partners, the new songs feel like a nourishing meal that entices all of your senses.\n\nLike 2019’s Elevate, 2020’s Resonate and 2022’s Unify, before it, Cook was recorded at Colorado Sound just outside East Coast transplants Deitch, Smirnoff, and Bloom’s adopted home of Denver, where they gathered in one room to work on the new material.  Ryan Zoidis did a masterful job mixing the final results with longtime Grammy-nominated engineer Jesse O’Brien. \n\nOn the new album, Lettuce has expanded its ever-widening musical palette again. Coming off  tours with both rap icon GZA of Wu-Tang Clan and and reggae legend Ziggy Marley while earlier in this year releasing the live album and concert film 'Lettuce with the Colorado Symphony' capturing over 90 minutes of collaborative symphonic arrangements with the Colorado Symphony\n\n“This record is a little more three-dimensional than our past albums,” added Deitch. “It shows a lot more sides to the band, exploring further depths of production and arrangements.”\n\nOne can hear the Wu-Tang Clan vibe on “Storm’s Coming,” which could well be a lost track from (36 Chambers), while working with an orchestra can be traced in the epic cinematic score of the closing “Ghost of Yest,” which Deitch terms, “a cool tune that has symphonic influences.” \n\nListening to hard-to-categorize, multi-genre bands from around the world also impacted the sessions for Cook, which reflects the global outreach that led Lettuce to put out the recently re-released Live in Tokyo back in 2004. Touring plans for Cook include a return trip to Japan as well as dates in Europe and Australia. “Hearing music from different countries has broadened our creative outlook,” admitted Deitch.\n\nStill, there’s a generous dose of Lettuce’s patented funk, paying tribute to the great James Brown and his JB’s on the slow-heater groove, “Clav It Your Way,” marked by composer Ryan “Zoid” Zoidis’ cool, laid-back but funky saxophone, the classic Lettuce tune of “Gold Tooth” and a pair of spirited homages to mentors like Tower of Power (“Keep On,” with a co-writing credit for the band leader and original member of TOP, Emilio Castillo). On “The Mac,” the band pays tribute to the great JB sax player Maceo Parker, with whom the band had the honor of collaborating with several years back.\n\nAce bassist Erick “Jesus” Coomes describes the theme of his opening, “fresh, super-vibey” “Grewt Up” as “Now is the time to be good to each other without the need to be recognized for it.” New York Knicks fan Adam “Shmeeans” Smirnoff’s dramatic,  “The Matador” combines the drama of the bullring with legendary announcer Walt Frazier’s patented call of “Matador defense” – letting someone attack the hoop with no resistance – boasting an urban feel harking back to Creed Taylor’s CTI and the ‘70s New York-based salsa label Fania. \n\n“It’s like something that should be the soundtrack to a ‘70s cop show,” says Nigel Hall, who takes center stage with vocals and organ on the band’s cover of one-time Five Stairsteps member Keni Burke’s 1982 R&B hit, “Risin’ to the Top.” \n\n“I first heard that song as a kid,” explained Hall. “I learned about the original through hip-hop.  I always wanted to sing it, and now I get the chance.”\n\n“Breathe” is described by Deitch as “a chill, hip-hop-flavored joint,” which begins with the sound of crickets, while horn player Eric “Benny” Bloom credited the song for allowing him “to think of all the possibilities my future holds if I just listen to myself and... BREATHE.” The title track is “a wild and crazy funk tune written at a party in Denver,” according to Deitch, while Bloom called it, “a hip little banger of a song to put a stank face on.”\n\nThe band also recently announced the launch of Lettuce Red Crush and Orange Crush wine brands with Aquila Cellars, as well as a recipe book of pairings to be included with the vinyl album and in digital form. The wine was brought to life by Bloom and Zoidis’ wine distribution company, Benny & Zoid Selections who made it accessible to purchase nationwide online.\n\n“Music and food are very related,” said Deitch. “Use the wrong ingredients in either and you can ruin the sound and the meal.”\n\nWith Cook, it appears Lettuce has the right recipe for success... both musically and organizationally.\n\n“This is the best team we’ve ever had,” said Deitch of his current management. “We feel like the world is our oyster. Our concepts and ideas can really come to fruition now with our infrastructure. It’s beautiful to be in a headspace of feeling this fresh. It’s the start of a brand-new era for us.” \n\n                                                                        # # # #\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/LETTUCE-020326-Web-Banner-c3f4d9e8b7.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/lettuce-1","ticket_link":"Buy Tickets<\/a>","event_date":"Feb<\/span> 3<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/LETTUCE-020326-thumbnail-332efec716.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Zoso - The Ultimate Led Zeppelin Experience","media_tagline":"","event_body":"ZOSO Celebrates 30 Years as America’s Premier Led Zeppelin Tribute Band\n\n Over the 30 years and over 4500 shows since ZOSO came together as a group in the mid-‘90s, the seemingly tireless quartet continues to earn its well-deserved reputation as being, in the words of The L.A. Times, “head and shoulders above all other Led Zeppelin tributes.”\n\nThe reasons for that are manifest. For starters, surely no singer has ever captured the distinctive timbre, range, power, and seductive force of Robert Plant’s vocal delivery as adroitly as ZOSO’s lead vocalist and founder, Matt Jernigan, whose flowing, corkscrew blonde locks and leonine stage moves evoke the Plant persona perfectly.\n\nZOSO co-founder Adam Sandling, the band’s multi-instrumental master of electric bass, keyboards, and mandolin, likewise echoes John Paul Jones’ myriad gifts to a tee, allowing the four-piece ZOSO to perform fully fleshed-out versions of classics like “Kashmir,” “Trampled Under Foot,” and “Stairway to Heaven” that demand up to six members or more to execute in other Zep-inspired ensembles.\n\nThat’s not the ZOSO way; instead, the band draws liberally and meticulously from Led Zeppelin’s recorded live output to present a vivid performance picture of the classic live Zeppelin of 1970-1977. No wonder the St. Petersburg Times noted that, in addition to their virtuosity and spot-on visual presentation, ZOSO was also “the most exacting of all the Led Zeppelin tributes.”\n\nMeanwhile, the band’s new blood has turbo-charged the ZOSO formula even more. Drummer Bevan Davies, the band’s burly, black-haired batteur since 2015, flattens the band’s fans nightly with his Bonham-approved triplet blasts, tympani thunder, and fat, lumbering grooves. Davies boasts an impressive pedigree that includes touring tenures with the likes of Danzig, Jerry Cantrell of Alice In Chains, Static X, and regular gigs with The Cult’s Billy Duffy.\n\nTaking on the demanding Jimmy Page chair for ZOSO in May of 2021, new lead guitarist James Volpe Rotondi (aka “Jimmy”) brings an equally high-level CV to the table, as a former member of Humble Pie, Mike Patton’s Mr. Bungle, and French superstars AIR. Decked out in Page’s iconic dragon matador jacket, two-tone shoes, and cascading black hair, Rotondi wields his Gibson Les Paul and double-neck guitars like he was born to it, with a huge, crafted tone and a stunning technique that weaves together Page’s roots in blues, country, funk, and fingerstyle.\n\nStill, while the players’ provenance, and the band’s deep history, speak for themselves, it’s that high-wire musicianship combined with ZOSO’s spot-on recreation of the mythic presence of Led Zeppelin onstage that keeps their dedicated longtime fans coming back for more year after year. What’s more, new generations of ZOSO devotees in their teens and Twenties are likewise lining up to experience for themselves the power and majesty—and yes, the alluring combination of danger, spontaneity, skill, and sexuality—that define a world-class Led Zeppelin concert.\n\n“[ZOSO is] the closest to the original of any Led Zeppelin tribute,” proclaims the Chicago Sun-Times, and they are not wrong. ZOSO’s ongoing invitation to all generations, all ages, all backgrounds of Led Zeppelin fans, then, is a very simple one: Relive it . . . LIVE.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/zoso660-c8434903e5.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/zoso-the-ultimate-led-zeppelin-experience-5","ticket_link":"Buy Tickets<\/a>","event_date":"Feb<\/span> 7<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/zoso180-a8ceba1e9e.png","category":{"name":"Other","id":"0"}},{"media_title":"Margo Price - Wild At Heart Tour","media_tagline":"","event_body":"Nearly a decade ago, Margo Price turned Nashville on its head with her breakthrough, beloved debut solo album, Midwest Farmer’s Daughter. Released in the throes of bro-country and before pop stars were crossing over into the genre left and right, it showcased an artist completely unafraid to double down not only on herself, but what she’d always loved: classic country songs written from the intellect and the gut, hell-bent on truth-telling and both timeless and urgent all at once. Respected by her peers, praised by critics and beloved by her fans, Price created a lane where independent-minded, insurgent country music can exist and thrive alongside the mainstream, and became an ardent fighter for her beliefs in a genre where the norm is to shut up and sing. A trailblazer and a champion for the craft, Price redefined what it meant to be a modern country artist.\n\nAnd now she’s back with an exquisite, truly timeless album that reconnects with her roots and pays tribute to the art of the country song, inspired in part by the legends whom she now calls colleagues and friends. Hard Headed Woman is both a look forward and a look back: a way to march forward while staying true to yourself when the path of less resistance is right there in front of us, and shortcuts are around every corner. And a way to look back when we need to trim what is no longer working, and to stay connected with where we’re from. It is a promise and a manifesto, a love song to both a city and a genre, and a defiant cry for individuality.\n\nIn creating Hard Headed Woman, Price brought all of her power as one of our most beloved and respected songwriters to craft a deep exploration of love and America in a time of unprecedented uncertainty. Featuring appearances from Tyler Childers, co-writes with Rodney Crowell and a Waylon Jennings song that his widow, Jessi Colter, urged her to sing, it is country music as only Price can make it: free of rules, cherishing tradition, hard-headed to the core but with a delicate, beating heart.\n\nSince releasing Midwest Farmer’s Daughter, Price has barely slowed down. She’s made four records, played Saturday Night Live, been nominated for a Grammy, toured the world alongside artists like Chris Stapleton and Willie Nelson, released a lauded memoir (Maybe We’ll Make It, due on paperback September 2nd), became an in-demand producer and was appointed as the first female board member of Nelson’s Farm Aid. And she’s been fearless when it came to genre, venturing into psychedelic rock on her most recent, Jonathan Wilson-produced record, Strays. It would have been easiest to just stay that course and keep running. But Price doesn’t follow success or comfort. She follows the art.\n\nIt took a whole lot of hard work and honesty with herself and others to get there, but that’s never stopped Price before. “I made the decision that I had to rebuild everything from the ground up,” Price says. “There’s all this pressure to be pumping out content, and I felt the opposite in the way I wanted to approach this record and my life in general.”\n\nPrice had also established herself as one of the most passionate, vocal artists in country music and beyond when it came to standing up for political and personal causes—from the presidential election to abortion to gun control—happily hard-headed when it came to the fight for equality and justice, especially for the working class and underserved in our society. Price has always brilliantly woven her activism into her songs, but her role as a spokesperson had started to overtake, on occasion, her role as a songwriter. She wanted to focus on using her written word to deliver the most potent punch of all.\n\n“I always hope to do like Johnny Cash did,” Price says, “which is speak up for the common man and woman. But there have been so many threats and anger and vitriol over the years, when I am only coming from a place of love.”\n\nPrice realized she just needed a break from everything outside of the bubble of family life and her art. She started spending more time at home, writing songs alone and with her husband, Jeremey Ivey. She started popping up in the dive bars and tiny venues around Nashville where she got her start, sometimes just to play a country cover or two or dance with the crowd. She refused guidance to write for pop stars or compromise her values for a quick buck. Most of all, she turned the emphasis in her music back to songwriting—exactly where she began.\n\n“So much of Strays was leaning into this psychedelic, textural territory,” says Price. The music lent itself to vibrant, heavy stage jams, with Price often hopping behind the drumkit and bruising her thigh from a tambourine beat. She found herself longing for the days when it was just her and her guitar, playing at an East Nashville dive bar. “I always knew,” she adds, “I would come back to this more rooted sound.”\n\nHard Headed Woman is rooted to its core. Rooted in Price’s history and struggle to make it as a musician for so many years in a town that prizes uniformity and the bottom line, rooted in the country and folk sounds that have become her signature, rooted in the simplicity of a few key collaborators instead of songs-by-committee. At the heart of Price’s work is her creative partnership with Ivey, with whom she describes as having a “soul connection.” “I'm a songwriter,” Price says. “I'm not somebody who goes out and needs five people to craft a song, and then tack my name on it. That’s never been my style. I have something to say.”\n\nSomething to say, nothing to prove. The first song they wrote for the album that would become Hard Headed Woman was “Close to You,” a simple, pining call for a lover that is infused with the sounds of the desert. It’s unfettered and truth-telling, accented by some flamenco guitar and Price’s gorgeous, urgent vocals. “We played the jukebox while democracy fell,” Price sings, never letting her songs fall out of the context in which they exist. It’s the kind of thing that only she could write, carrying both love and fear in one single line.\n\nAs more songs started to form, an early boost of confidence came from her friends Rodney Crowell and Emmylou Harris, who heard some of the work at a political fundraiser and encouraged Price to keep going. “I have both of them to thank for building me up and making me believe in the songs I am writing in this season of my life,” Price says. Crowell remained not only an inspiration and supporter of the album but a contributor: he co-wrote two songs with Price and Ivey.\n\nThe album that unfolded from there is drenched in Price’s unique story and unshakeable instincts: while Midwest Farmer’s Daughter was about her journey from childhood to Nashville, Hard Headed Woman is very much her battle since—from dive bars to tour buses, through parenthood and marriage, through scrutiny and sacrifice—all while fighting constantly for what she believes in and the music she loves. It begins with a proclamation on the prelude, which serves as the album’s mission statement—or, as Price puts it, “a disclaimer and reminder that I don't owe you fucking shit.”\n\nSongs like the album’s lead single, “Don’t Let the Bastards Get You Down,” speak for the downtrodden and the forgotten, an “anthem for people who are being overlooked in society and need to be lifted up,” Price says, “because we are up against so much right now.” As so many of Price’s songs do, it speaks both for the personal and the political all at once. Price was inspired by the message Kris Kristofferson whispered to Sinéad O’Connor when she was booed on stage at a Bob Dylan 30th Anniversary show, and even got Kristofferson’s widow’s blessing to include his name on the credits. “I always admired Kris for how he stood by her in that moment, instead of pulling her off the stage like they told him,” Price says. It serves as a reminder to anyone who encounters resistance in the face of fighting for justice to keep going, especially when it would be so much easier to capitulate and cower.\n\n“The song was originally written for a movie that never happened, but it feels so timely with everything that’s going on in the world,” Price explains. “The phrase, ‘Don’t Let The Bastards Get You Down,’ originates from Margaret Atwood’s brilliant 1985 piece of literature, The Handmaid’s Tale. It’s referred to in Latin and used as a rallying cry for resistance against the oppressive regime that symbolizes resilience and hope in the face of adversity. Nolite te Bastardes Carborundorum.”\n\nThat spirit resonates all across the songs of Hard Headed Woman. The blistering “Don’t Wake Me Up” was based around some writings that Ivey stumbled upon in one of Price’s notebooks, inspired in part by her deep readings of Frank Stanford, one of her favorite poets due to his freewheeling work free of boundaries. They spun it all into song in minutes that chugs with the essence of Dylan’s “Subterranean Homesick Blues”: “The way this world is going, ain’t where I’m at,” Price howls in her powerful, unmistakable voice. “Nowhere is Where” turns slow and contemplative, road-worn but never broken, the call of someone who has been to the mountain but never forgets the prairie below. And “Losing Streak” whirls in with an organ and out with a weary, world-worn defiance: our worst times don’t define us, but they’re always part of who we are.\n\nThere are songs that go back to the beginning of Price’s early grind, like the western-tinged “Wild at Heart,” reflecting on how much her life and the city of Nashville has changed over the years—and how important it is to stay true to exactly who you are despite it all. Another, called “Red Eye Flight,” is about both leaving a lover and also leaving her longtime band, the Pricetags. “I’ve been with those players for ten, thirteen years,” she says. “But I could feel that I needed to make a change, and to change texturally what’s going on with the band. But it’s a familial bond, different than a friendship.”\n\nThere are a few choice covers and cuts, too: “Love Me Like You Used To Do” is by Price’s friend Steven Knudson, an unsung Nashville writer on whom she hopes to shine a spotlight (helping to elevate the town’s incredibly talented but buried voices is one of Price’s favorite pastimes). Friend Tyler Childers joins Price on that waltzing country ballad, while “I Just Don’t Give a Damn” is Price’s “Jolene goes to Memphis” take on the Jimmy Peppers and George Jones classic. And showcasing how Price has been trusted by the greats to lead the next generation of country music renegades, “Kissin You Goodbye” was given to Price by Jessi Colter, Waylon Jennings’ widow, when Price was producing her record. They’re songs chosen to appreciate the past and the present as she sees it—not as Music Row or the algorithm might dictate—and place Price squarely amongst her heroes as a living and breathing part of the new country tradition.\n\nWhen it came time to record Hard Headed Woman, it was important for Price to keep that ethos alive, decamping to Nashville’s RCA Studio A and reuniting with producer Matt Ross-Spang, with whom she made her first two solo albums. Though she has worked with everyone from Sturgill Simpson to Jonathan Wilson since, it was Spang’s vocal rebuke of easy studio shortcuts that made her eager to reunite again. “He’s so unpretentious,” Price says. “He fully believes in me, he fully believes in my songs. He got us back to feeling it in your gut and not needing everything to be so perfect.”\n\nIt felt truly significant for Price to make the album in Nashville, a city where she’s lived for over two decades and played a seminal role in its transformation, yet somehow never recorded an album in the place she’s called home. The historic RCA Studio A helped connect Price even closer to the legacy of songwriting she holds so dear, a place where everyone from Dolly Parton to John Prine to Loretta Lynn have made albums. “It felt like there were ghosts and spirits just hanging out,” Price says. In perfect kismet, she also launched her own signature Gibson J-45 guitar, inspired by her 1960s Gibson she’s had by her side for years as her career took off. It’s all part of the continuity that she wishes to create with her art—not just with timeless songs but inspiring future generations of women, mothers and artists in general who don’t want to sacrifice their vision, moral compass or family life in favor of mainstream success.\n\nAt its core, Hard Headed Woman is about that furious instinct to never waver, especially when ourselves, our values and our future are so clearly on the line. As she sings on the title track, “I ain’t ashamed, I just am what I am.”\n\n“I hope this album inspires people to be fearless and take chances and just be unabashedly themselves,” Price says, “in a culture that tries as hard as it can to beat us into all being the same.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/WEB-BANNER-aee54ac669.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/margo-price-wild-at-heart-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Feb<\/span> 16<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/thumbnail-1f06ef4ff2.jpg","category":{"name":"Other","id":"0"}},{"media_title":"The Runarounds - THE MINIVAN TOUR","media_tagline":"","event_body":"Known for turning every stage into a wild, full-throttle rock show, The Runarounds are afive-piece alt-rock band—Axel Ellis (guitar\/vocals), Jesse Golliher (bass\/vocals), JeremyYun (lead guitar), William Lipton (guitar\/vocals), and Zende Murdock (drums).Startingwith a weekly residency at a beach bar in Wilmington, the band grew up on the road,playing college campuses, festivals, and venues across the country, including a packednight at the legendary Troubadour in Los Angeles.Their songs channel therestless spirit of youth—equal parts frenetic, heartfelt, andunfiltered—balancing punchy guitar riffs with anthems about friendship, escape, andfinding your place in the world. That raw, high-energy spirit is captured on TheRunarounds Live at USC (produced by Jerry Harrison of Talking Heads), but it’sonstage where they truly shine—loud, sweaty, and unapologetically fun. That sameenergy is now reaching screens worldwide through their Amazon Prime series,TheRunarounds, with their latest album servingas the official soundtrack to the show.After a completely sold out headlining tour inthefall of 2025 andstreaming numbersexploding into the millions,The Runarounds are back on tourby popular demand—ready to bring fans into their world, one chaotic, unforgettable night at a time.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/660already-a6a45e1d1e.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-runarounds-the-minivan-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Feb<\/span> 23<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/sigh180-acfc06fe43.png","category":{"name":"Other","id":"0"}},{"media_title":"Rumours ATL: A Fleetwood Mac Tribute","media_tagline":"","event_body":"For over a decade, Rumours ATL has proven to be the most authentic live recreation of Fleetwood Mac’s golden era.\n\nWith a reverence for the legendary group's rich history, Rumours ATL masterfully captures the magic of Fleetwood Mac’s iconic sound. From the hauntingly beautiful melodies of "Rhiannon" and “Songbird” to the electrifying energy of "Go Your Own Way," every performance is a journey through the timeless classics that defined a generation and continues to influence pop and rock music today.\n\nEach member of Rumours ATL brings a unique touch to their role, immersing themselves in the essence of their iconic counterparts. Their attention to musical detail ensures that every show resonates with the essence of Fleetwood Mac’s original spirit. Yet, beyond the impeccable recreations, there is an enigmatic quality to their performances that keeps audiences guessing and longing for more.\n\nThe band’s allure lies not just in their exceptional musicianship, but in their ability to evoke the mystical charm of Fleetwood Mac. They weave an experience that transcends mere imitation, offering a glimpse into the soul of the legendary band’s performances. Their intricate harmonies and evocative stage presence creates an atmosphere where each concert feels both familiar yet enchantingly new.\n\nRumours ATL invites you to step into a world where the legend of Fleetwood Mac comes alive once more. With a blend of nostalgia and intrigue, their shows promise a unique adventure that longtime fans and newcomers alike will cherish.\n\n—-------------\n\n\n“Rumours ATL is a pleasure to work with and extremely dedicated to bringing a Fleetwood Mac experience to our audiences at every show. Which they sell out each time.” Peter Moshay, Grammy Winner and sound engineer for Daryl Hall and John Oates, Live from Daryl’s House\n\n“We love having Rumours ATL play our venue. They’re always so fun and get along with the staff great! They also sell a lot of tickets and their shows are awesome.” Jason Westbrook, Production Manager Iron City, Birmingham Alabama\n\n“We love having Rumours ATL and I love lighting their shows. They always make it magical.” Farrell Roberts, Variety Playhouse Atlanta GA\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/Rumours-web-banner-5b5090206a.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/rumours-atl-a-fleetwood-mac-tribute","ticket_link":"Buy Tickets<\/a>","event_date":"Feb<\/span> 26<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/rumours-thumbnail-671f4bb82c.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Rory Scovel: Know Your Enemy Tour","media_tagline":"","event_body":"This is a reserved seated show.\n\nRory Scovel is an actor, comedian, and writer. His latest comedy special RORY SCOVEL: RELIGION, SEX, AND A FEW THINGS IN BETWEEN released in February, 2024 on Max.\n\nHe will next be seen starring alongside Reese Witherspoon and Will Ferrell in the Amazon romantic comedy YOU’RE CORDIALLY INVITED. Most recently, he starred in the Apple TV+ series PHYSICAL opposite Rose Byrne which ran for three seasons, and appeared in Paramount’s BABYLON directed by Damien Chazelle, which garnered the cast a Screen Actors Guild nomination for Outstanding Performanceby a Cast in a Motion Picture.\n\nAdditional acting credits include Voltage Pictures’ I FEEL PRETTY opposite Amy Schumer; Netflix’s OLD DADS alongside Bill Burr, Bobby Cannavale, and Bokeem Woodbine; New Line’s THE HOUSE alongside Will Ferrell and Amy Poehler; THE LEGACY OF A WHITETAIL DEER HUNTER alongside Danny McBride and Josh Brolin; Demetri Martin’s directorial debut DEAN which premiered at the Tribeca Film Festival; NBC’s SUPERSTORE and UNDATEABLE; ABC’s MODERN FAMILY; FX’s THE COMEDIANS; TBS’s GROUND FLOOR and WRECKED; and the TruTv series THOSE WHO CAN’T.\n\nRory’s stand up has been featured on Comedy Central, CONAN, and Late Night with Jimmy Fallon. His second album, RORY SCOVEL LIVE AT THIRD MAN RECORDS, was released in 2013 and was recorded live at their studios in Nashville. In 2015 he released RORY SCOVEL: THE CHARLESTON SPECIAL, followed by his Netflix special RORY SCOVEL TRIES STAND-UP FOR THE FIRST TIME in 2017.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0304-Rory-Scovel-Web-Banner-3f32f25318.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/rory-scovel-know-your-enemy-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Mar<\/span> 4<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0304-Rory-Scovel-thumbnail-769e5ca832.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Louisiana Calling ft. Sonny Landreth Band and The Iguanas","media_tagline":"","event_body":"Following up on last year’s sold-out shows and standing ovations across the country, the deep roots caravan of Cajun slide guitar wiz Sonny Landreth and New Orleans Latin-Americana rockers The Iguanas advances into the new year. This perfect pairing is irresistible, and both bands are firing on all cylinders. \n\nWith Louisiana calling, you have to answer.\n\nNew frontiers fit nicely atop the boundary breaking career of singer songwriter and slide guitar icon Sonny Landreth. From performing live with Buddy Guy and John Hiatt in theaters and arenas around the United States, to post New Orleans Jazz Fest jamming on bayou rhythms with Oteil Burbridge and Johnny Vidacovich, to recording and playing live with ukulele phenom Jake Shimabukuro at The Blue Note in Hawaii, it has been a noteworthy couple of years for the two time Grammy nominee. And those are just his side projects.\n\nOne of the things I love about collaborations with other artists is the element of surprise, Landreth says of his continually expanding musical horizons. When the chemistry is there, it is always inspiring to find new twists and turns that up the game creatively.\n\n\nA fixture of the New Orleans music scene for over two decades, The Iguanas' music is an infectious mix of America's musical heritage - Tejano and Conjunto sounds from the Texas\/Mexico border region, as best exemplified by the accordion and bajo sexto, the American South's Blues, Jazz and New Orleans R&B, and the fiery passion of the music of the Caribbean and Mexico. Taking their cues from all of these influences and then some, The Iguanas redefine the notion of Americana, crossing cultures, styles, eras... and even languages. It's as if Rue Bourbon, Muscle Shoals and Plaza de Mexico were all within earshot of each other and The Iguanas were the musical conduit between them. It is not surpising then that the members of The Iguanas have (collectively or individually) played or recorded with everyone from Charlie Rich, Alex Chilton, and Willy DeVille to Emmylou Harris, Allen Toussaint, and Pretty Lights.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/LC-banner-8b71d7722b.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/louisiana-calling-ft-sonny-landreth-band-and-the-iguanas","ticket_link":"Buy Tickets<\/a>","event_date":"Mar<\/span> 6<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/LC-thumbnail-ae3702bbd1.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Penny & Sparrow","media_tagline":"","event_body":"A wise wizard once said: “when in doubt, always follow your nose.”\n\nThe last album from Penny and Sparrow, Olly Olly, was a work of revelation and liberation.\n\nA search for and an embrace of the self. I imagine they were left with a headscratcher of a question: well, shit. Where do you go from there?\n\nFortunately, they listened to the wizard and followed their noses backwards to find their way forward. \n\nAiming to strip away pretense and invite experimentation, they commandeered a garden shed from a friend and retrofitted it to make a twenty-track album that is vast, weird, and wholly unexpected. \n\nIf Lefty is anything, it is the journal of Penny and Sparrow’s inner child. Dog-eared, lock busted open. On its pages the sketches of dreams, nightmares, erotica, and literary fan fiction graffiti the margins of poetry, elegies, and love letters in the wild colors of saxophone blue, electronic pink, and blood harmony red.\n\nBeautifully varied and richly rendered, it is an album that wanders from theme to theme, style to style, exultation to tragedy. Yet it is never lost. If anything, it is at play.\n\nUnited by its intimate vocals and aching harmonies, its acoustic laments trickle into ethereal pop only to surge into whimsical ballads and crest into grand hooligan anthems that sway gently down to familiar shores where melancholic ballads tell of love lost, found, forgotten, and remembered. \n\nAndy and Kyle have written some albums in blood. Others they’ve whispered to the sea. This one they danced in the sky with smiles on their faces. Lefty feels like not just a celebration of their journey beyond the bounds of their traditional genre, but as if they have rediscovered the joy in music by honoring the sounds that inspired two boys growing up in Texas to one day make the damn stuff themselves.\n\n- Pierce Brown, author and friend\n\n\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/PS660-34a9f3e932.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/penny-sparrow-1","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 7<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/ps180-2348309667.png","category":{"name":"Other","id":"0"}}]}