Date(s) & Time(s)::
February 5, 2016
February 26, 2016
March 13, 2016
April 9, 2016
Location: Arts Place, Portland Center, 131 East Walnut Street in Portland, Indiana
Phone: (260) 726-4809
The Portland Center of Arts Place has four shows left from A Night on the Town performance Series. Tickets for the last four performances can be purchased as a package for $55 for adults or $27.50 for students. The offer is valid through January 16, 2016. The series package is available online at www.artsland.org or in person at the Portland Center, located at 131 East Walnut Street. For more information call 260-726-4809.
Hear the guitar on Friday, February 5th, 2015 with Loren and Mark Loren and Mark first met in 2005 when they spent a few days working with Tommy Emmanuel at Jorma Kaukonen’s Fur Peace Ranch guitar camp. Mark was a college kid, just completing his degree in classical guitar at the University of North Carolina; Loren was already a seasoned performer, but it was his first serious look at acoustic guitar. They kept in touch and met up again in Nashville, 2010 at the Chet Atkins Guitar Festival where they really first started playing together – in the hallways, in the kitchen, in the hotel rooms – wherever they could. Within a couple of days, the director of the festival had had so many complaints about Loren and Mark not being included in the scheduled concerts, that he added them to the final Chet Atkins tribute show on Saturday night. After a standing ovation, and several invitations to perform at various festivals, Loren and Mark decided to make a full time go of their dynamic act. Since the beginning of 2012, Loren and Mark have toured across the USA, Europe, Canada and New Zealand. Their world-class act is generating a rapidly growing fan base around the world. Barrigar and Mazengarb have received several awards for their music, and they have gained the respect and acclaim of several high profile musicians and producers including Tommy Emmanuel, Ray Benson and Lloyd Maines.
Red Priest will rock the stage Friday, February 26, 2015. Red Priest is the only early music group in the world to have been compared in the press to the Rolling Stones, Jackson Pollock, the Marx Brothers, Spike Jones and the Cirque du Soleil. This acoustic foursome has been described by music critics as ‘completely wild and deeply imaginative’, with a ‘red-hot wicked sense of humour’ and a ‘break-all-rules, rock-chamber concert approach to early music’.
On Sunday, March 13th, 2015, Mipso will take the stage. When Mipso’s 2013 debut, Dark Holler Pop, rose to #8 on Billboard’s Bluegrass charts, the success surprised a lot of people – Mipso’s four members included. “Well, we didn’t know so many people would buy it,” laughs mandolin player Jacob Sharp, “and we definitely didn’t know we were a bluegrass band.”
Since then, Mipso has performed over 300 shows and welcomed frequent collaborator Libby Rodenbough’s voice and fiddle to the fold – and has continued to grow as musicians and songwriters, while drawing continual inspiration from their rich North Carolina roots. Their new album, Old Time Reverie – produced by Mandolin Orange’s Andrew Marlin – is a reflection of that musical and personal growth: a gripping, mature sophomore release that finds the quartet expanding their sonic resources while doubling down on their experimentation with string band tradition.
On Saturday, April 9th, 2015 the series will close with Matuto’s combination of Brazilian forro and American bluegrass. Matuto are part of a broader, loosely defined movement of hard-to-define acoustic innovators, musicians savoring their own heritage as they commune across genre and cultural bounds. Hailing from different parts of the country, Ross and Curto first met in Brooklyn’s genre-defying music scene. After laying down tracks on each other’s albums, they headed to Recife together and became fast friends as they played music, listened to local ensembles, held workshops in favela community centers, and won over local fans. Friendship and co-creation honed the original Matuto idea. They turned what could have been little more than a wacky side gig into a serious musical venture, in which seemingly disparate threads and brainstorms are woven together organically. “Our sound has really gelled,” explains Curto, “and our style had become more codified, from a musical stand point, especially in the use of the accordion and fiddle.”
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