Peter Mulvey has been a songwriter, road-dog, raconteur, and almost-poet since before he can remember. In 1989 he spent a year in Ireland, busking on the streets of Dublin and hitchhiking to whatever gigs he could find. Back stateside, he spent a couple years gigging through the bars of his native Midwest before taking off for Boston, where he returned to subway busking and coffeehouses. Small shows led to larger shows, which eventually led to regional and then national touring. The wheels have not stopped since.

Twenty albums, one illustrated book, thousands of live performances, a TEDx talk, a decades-long association with the National Youth Science Camp, opening tours and gigs for luminaries such as Ani DiFranco, Greg Brown, Emmylou Harris and Chuck Prophet, appearances on NPR, an annual autumn tour by bicycle, emceeing festivals, hosting his own Lamplighter Sessions for years in Boston and in Wisconsin... he has built his life's work on collaboration, on an instinct for the eclectic and the vital.
petermulvey.com

Ruth’s music reflects her naturally transient personality, actively avoiding being pinned down in all aspects of life from sexuality to physical location, Ruth’s compositions, like their creator, delve deep into various realms and genres whilst never lingering long enough to become entangled in the details. With this panoramic vista, Ruth creates and performs with a unique and instantly recognizable style that effortlessly pushes the boundaries of gender and genre, and defies the confines of the conventional "singer-songwriter" archetype. 

Ruth's life choices echo her nomadic spirit. Between her boat, nestled on squatted land in east london, the tour-van-come-self-built-writing-space, her ‘home’ recording studio balancing above a live music venue, and periods collaborating in the US - Ruth and her music are entities on the move, always developing something new and exciting. Her confidence has grown with each release and there is an unapologetic boldness to her latest work that demands she be taken seriously. 

As a highly skilled self taught instrumentalist, Ruth choses to compose her intricate music by ear. Her percussive guitar and experimental piano styles demonstrate Ruth’s abilities as a musician, and offer insight into her playful attitude to music. However, it is Ruth’s captivating vocal style with her poetic lyrical delivery that claim the forefront of her work. 

Thinking bigger than the average lyricist, Ruth’s intelligent and philosophical stories, crammed full of her vibrant personality, navigate intimate journeys of sexuality, mental and physical health, love and loss, whilst simultaneously hold a wider view of the world and its ever changing physical and social landscapes - often with emphasis on the fleeting nature of our existence within this vast expanse. This and her ambitious song structures and musical arrangements - tailor made for her full and diverse band - set Ruth apart from the crowd. 

Ruth’s original style have led her into impressive company. Performing and recording with top musicians across the pond. Notably Ruth has made two records alongside grammy and tony award winning US bassist/producer Todd Sickafoose (known for collaborations with Anais Mitchell including “Hadestown” / Ani DiFranco), and Swiss-American percussion virtuoso Mathias Kunzli (notable for work with Regina Spektor and Lauren Hill), engineered by US engineer Eli Crews (acclaimed for his work with Tune-Yards). 

Ruth's emotive, often political, but always playful stage show, radiates joy and energy, earning her the honor of appearing as special guest alongside US political folk icon Ani DiFranco, gracing iconic venues like Union Chapel and the illustrious London Palladium. Influential publications such as ‘The Guardian’ sing Ruth’s praises and editor and founder of long established music magazine ‘fRoots’ heralds Ruth as ‘one of the most innovative, original, exciting – and underrated – artists in the UK’. Her creative legacy is preserved within the sound archives of the British Library, celebrated for its ‘intriguing nature and originality.’

ruththeodore.com

TICKETS: $25

Charlie Parr is an incorruptible outsider who writes novelistic, multi-layered stories that shine a kaleidoscopic light on defiant, unseen characters thriving in the shadows all around us. Parr has a new record with only his name on it, and it isn’t shiny and perfect and commercial and catchy. It’s him. It’s pure Charlie Parr and that’s enough. He hasn’t moved to LA or Nashville; he’s stayed in the cold gray north of Minnesota, because that’s his home.

charlieparr.com

TICKETS: $30

The Steel Wheels have long been at home in the creative space between tradition and innovation, informed by the familiar sounds of the Virginia mountains where the band was formed, but always moving forward with insightful lyrics and an evolving sound. In 2005, Jay Lapp (vocals, guitars, mandolin) and Eric Brubaker (vocals, fiddle) joined lead singer Trent Wagler (guitar, banjo) in forming the band as a vehicle for Wagler’s songwriting. They released several albums under Wagler’s moniker, before officially adopting the The Steel Wheels name with the 2010 release of Red Wing. Quickly staking their claim as independent upstarts in the burgeoning Americana scene, The Steel Wheels followed up this release with three more self-produced albums in the next five years, before joining forces with producer Sam Kassirer for Wild As We Came Here (2017) and Over The Trees (2019). Kevin Garcia (drums, percussion, keys) joined in 2017, bringing a new level of sonic depth and polish to the outfit. Newest member Jeremy Darrow rounds out the rhythm section and grounds the band as they continue to explore deeply rooted yet fresh folk rock sounds.  Having gained the experience of thousands of shows, festivals and many miles on the road, the stubbornly independent band has formed deep bonds with each other and the audience that sustains them.

 The Steel Wheels have responded to this time of isolation and loss by seeking to connect with their audience in new ways. In 2020, unable to perform their rootsy brand of Americana for crowds in live settings, the musicians turned their creative powers to crafting songs for individuals. Produced in isolation in the band’s home studios, the Everyone a Song albums are part of an ongoing project to collect the personal experiences of fans and forge them into that most enduring, yet ephemeral, format we call “song.” An accompanying podcast, We Made You a Song, explores the stories behind these songs, and the songwriting process itself. While each song was commissioned to honor a specific relationship or event—a birth, a wedding, a memory of home—the emotions evoked are universal.

 Nowhere is this shared humanity more evident than at the band’s own Red Wing Roots Music Festival, a weekend-long celebration of music, community, and the beautiful Shenandoah Valley. Hosted by The Steel Wheels every summer, the festival provides a space for the band to shine, from their high energy Saturday night main stage set to their afternoon showcase with young Red Wing Academy students. At Sunday’s gospel hour you are as likely to hear Steel Wheels originals or Warren Zevon covers as you are traditional gospel fare. The weekend is rounded out by the beloved tribute set in which the band collaborates with a cadre of fellow artists to honor an influential figure in American music, with past tributes ranging from Dolly Parton to John Prine.

thesteelwheels.com

Greg Loftus: Calloused road-worn Americana from Southeast Massachusetts

“Loftus takes the stage and the listeners go silent. He sings with an intense passion and the crowd is hooked, moving to the high-energy. Greg’s got the voice of the traveling bard singing from experience, his voice flowing with the memories of the story behind the tunes.” - Max Bowen of Citywide Blackout 

“Loftus’ songwriting prowess has long since progressed past the point where cookie-cutter copies of other’s glories are in the cards. He has his own voice, it’s full of echoes listeners will recognize, but it’s ultimately his own. He has plenty of artistic forebears and antecedents, without a doubt, but there’s no question as well that ‘Western Medicine’ represents Greg Loftus’s writing, recording, and releasing his best songwriting yet. He sounds far from done. ” - Garth Thomas of The Hollywood Digest 

Greg Loftus has been writing songs since the second he picked up a guitar at 12 years old. During the fall of 2007, Greg started writing country-tinged acoustic tunes while living in Providence, RI. There, he was immersed and inspired by the DIY folk scene by watching local artists like Deer Tick and Brown Bird. This is also when he was exposed to the songwriting chops of traveling troubadours like Townes Van Zant,  John Prine, and Steve Earle. 

In 2008 he released his self-produced debut album “No Taking Prisoners Tonight” on the West Virginia-based independent label Big Bullet Records. 

During the next few years, Greg toured the east coast and parts of the Appalachian south while based out of Boston, MA. He started booking paying gigs and more importantly, benefiting from the kinship of fellow songwriters. Greg played every show he could and self-released a couple more EP’s while slowly building a local following. 

When the Boston music scene eventually grew repetitive, Greg sought greener pastures. In 2011, he packed up his things and moved to Austin, TX. There he spent the next six years playing in bands and honing his songwriting skills. He formed the alt-country outfit, Carpetbagger and shared the stage with admired heavyweights like Mike Cooley of Drive-By Truckers, Shakey Graves, Mike and the Moonpies, and Possessed by Paul James. 

In December 2015, Greg released his second full-length solo album, “Raise the Rent” and started Greg Loftus and The Ten Ninety-Nines. 

Austin is where Greg saw the most success as a songwriter and as a live performer. He spent his nights playing clubs and house shows, and his days building houses in the Texas heat. Naturally this found its way into his songwriting: 

The long days and longer nights started to take its toll so Greg decided to put his music career on hold. He moved back home to Cape Cod, MA, in 2017 and shifted his focus to his custom furniture and woodworking business: Narrowland Woodworks and Design. 

During the coronavirus pandemic, Greg inevitably started writing music again. He released the album: “The Soft Sound of Sundown: Carpetbagger Years (2011-2015)”; a collection of unreleased songs from his time in Austin, with songs such as ‘American Bruises’ and ‘Highway 59’. In December of 2020, he began working on his first record in five years at Underground Recording in Bourne, MA. "Western Medicine" was released in October 2021. 

Loftus released his 4th solo record with producer Eric Lichter at Dirt Floor Recording Studio in Haddam, CT. “No Kings in the Wild” is currently planned in the Summer of 2024. 

Greg resides in Southeast Massachusetts and when he is not making music he is walking his dogs and building things out of wood.

gregloftus.com

TICKETS: $35

“Sister Sadie is an inspiring musical collaboration bringing together some of the best women bluegrass music has ever claimed.” ~ Alison Krauss 

Sister Sadie is a force to be reckoned with in the bluegrass genre and beyond. Formed serendipitously during a one-off jam session at Nashville’s legendary Station Inn, the group’s undeniable chemistry transformed a casual collaboration into a full-time powerhouse.

Today, Sister Sadie is celebrated for their electrifying performances, stellar musicianship and the seamless blend of tradition and innovation they bring to bluegrass music. The band is composed of six supremely talented musicians, each with a rich history of individual achievements that elevate the collective magic of Sister Sadie.

Sister Sadie has released three critically acclaimed albums. Their debut, Sister Sadie (2016), introduced their masterful musicianship to the world, while Sister Sadie II (2018) solidified their reputation as one of the leading acts in bluegrass. That release, Sister Sadie II, was a watershed moment, earning a Grammy nomination for “Best Bluegrass Album.”

The band has also claimed the IBMA Vocal Group of the Year award three times, in 2019, 2020 and 2021, highlighting their exceptional harmonies and innovative arrangements, as well as Entertainer of the Year in 2020.

In 2024, Sister Sadie released their long-awaited third release, No Fear, marking a triumphant return for Sadie, blending their bold artistry with the energy and resilience that have defined the group through the years.

From “Diane,” a spirited country cover debuted at the IBMA Awards in 2023 to the chart-topping, Ashley McBryde-written “Willow,” No Fear has proven that Sister Sadie is stronger than ever, showcasing deep artistry and a fearless spirit that makes them a leading voice in bluegrass today - and ultimately presented the band with their second Grammy nomination, once again for “Best Bluegrass Album.”

Whether performing at the Grand Ole Opry, headlining major festivals or recording award-winning albums, Sister Sadie exemplifies the spirit of bluegrass while pushing its boundaries. Their commitment to storytelling, technical prowess and heartfelt performances ensures they remain at the forefront of the genre.

With a shared passion for their craft and a dedication to excellence, Sister Sadie is more than a band—they are a movement, carrying the torch for bluegrass music into the future while honoring its rich traditions.

sistersadieband.com

TICKETS: $35

Winner of the MAMA award for best cover band and Madison Magazine’s Best Cover Band, Steely Dane is dedicated to not only faithfully reproducing the Steely Dan and Donald Fagen songbook, but to bringing an energetic live-show experience to the crowd. Fifteen of Dane County’s best jazz and rock musicians have banded together around their passion for Steely Dan music, playing in the same configuration as the Steely Dan touring band including a four piece horn section and three background singers. Shows consist of hits and deep cuts and sometimes even complete albums and are sure to have you out of your seats singing along.

steelydane.com

TICKETS: $30

The Stoughton Festival Choir returns with a special Spring program.

Free-Will Donation

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

The Lilies of the Midwest are a trio of Irish traditional musicians in the Madison, WI area. Combining the unique sounds of concertina, mandolin, and fiddle, LotM inspire audiences with their infectious energy and joy.     

Charlene Adzima fiddle, voice, feet

Former step dancer Charlene delights audiences with her driving fiddle-playing, which is influenced by Grammy-nominated fiddler Liz Carroll. Charlene has toured nationwide and notably had a residency at Dollywood.

Kara Rogers concertina, accordion

 A student of ex-Solas accordionist John Williams, Kara is an exciting, up-and-coming squeezebox player. Winner of the 2019 Midwest Fleadh Cheoil on concertina, she has competed in Ireland twice. 

Jeanna Schultz mandolin, bouzouki, accordion

 Multi-instrumentalist Jeanna Schultz began her mandolin career in college and she hasn't looked back. She is currently honing her skills on accordion under the tutelage of box master David Munnelly.

Rick Nelson guitar

When available, Ohio-based guitarist Rick Nelson joins The Lilies of the Midwest as an honorary lily. His thoughtful approach to accompaniment derives from the playing of Mícheál Ó Domhnaill and Dáithí Sproule. 

Free Will Donation

Sonny Landreth and Cindy Cashdollar return for a rare duo appearance. The Louisiana slide guitar wizard's trademark bottle-neck chops and Cashdollar’s dobro and steel string talents culminate in world renowned showcases of guitar virtuosity.  

Revered for his unique slide guitar technique, Sonny Landreth has collaborated with many legendary performers including John Hiatt, Jimmy Buffett, Mark Knopfler and Eric Clapton. Cindy Cashdollar's expertise is in great demand on both steel guitar and dobro. With the iconic western swing group Asleep At The Wheel, she garnered 5 Grammy awards and was the first woman to be inducted into the Texas Steel Guitar Hall of Fame in 2011. Performing a mix of original songs with contemporary and traditional blues and roots music, the show is electric, virtuosic, and tastefully delivered by these two great instrumental masters.

sonnylandreth.com

cindycashdollar.com

TICKETS: $35

Country Music Hall of Famer, five-time Grammy-winner, and AMA Lifetime Achievement honoree Marty Stuart picks up where he left off on Altitude, his first new album in five years, exploring a cosmic country landscape populated by dreamers and drifters, misfits and angels, honky-tonk heroes and lonesome lovers. There’s a desert flare to the music here, a sweeping, spacious feel that conjures up wide-open horizons and endless stretches of two-lane highway, and the production is raw and cinematic to match, tipping its cap both to Bakersfield and Laurel Canyon as it balances jangle and twang in equal measure. While it would be easy for an artist as accomplished as Stuart to rest on his laurels, Altitude instead showcases the work of a searcher with an insatiable appetite for growth and reflection, one whose ambition, much like his keen wit and rich imagination, only seems to grow with each and every release.

Born and raised in Philadelphia, MS, Stuart got his start in bluegrass legend Lester Flatts’ band at the tender age of thirteen, and by twenty-one, he was working in the studio and on the road with Johnny Cash. Though Stuart built his early reputation backing up royalty, it wasn’t long before Nashville recognized him as a star in his own right, and over the course of forty-plus years as a solo artist, he would go on to release more than twenty major label albums, scoring platinum sales, hit singles, and just about every honor the industry could bestow along the way. 

martystuart.net

TICKETS: $45

Country Music Hall of Famer, five-time Grammy-winner, and AMA Lifetime Achievement honoree Marty Stuart picks up where he left off on Altitude, his first new album in five years, exploring a cosmic country landscape populated by dreamers and drifters, misfits and angels, honky-tonk heroes and lonesome lovers. There’s a desert flare to the music here, a sweeping, spacious feel that conjures up wide-open horizons and endless stretches of two-lane highway, and the production is raw and cinematic to match, tipping its cap both to Bakersfield and Laurel Canyon as it balances jangle and twang in equal measure. While it would be easy for an artist as accomplished as Stuart to rest on his laurels, Altitude instead showcases the work of a searcher with an insatiable appetite for growth and reflection, one whose ambition, much like his keen wit and rich imagination, only seems to grow with each and every release.

Born and raised in Philadelphia, MS, Stuart got his start in bluegrass legend Lester Flatts’ band at the tender age of thirteen, and by twenty-one, he was working in the studio and on the road with Johnny Cash. Though Stuart built his early reputation backing up royalty, it wasn’t long before Nashville recognized him as a star in his own right, and over the course of forty-plus years as a solo artist, he would go on to release more than twenty major label albums, scoring platinum sales, hit singles, and just about every honor the industry could bestow along the way. 

martystuart.net

TICKETS: $45

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

Nick Hull is a graduate of Stoughton High School and is currently a Piano Major at the Lawrence Conservatory of Music in Appleton, Wisconsin. As he prepares for a recital, Hull will share some selections on the Opera House stage.

TICKETS: General Admission. Free-Will Donation

Hailing from both the Appalachian and Piedmont regions of North Carolina, the Rangers have long held traditional bluegrass paramount, while possessing an exceptional ability to bring it down the mountain, and to incorporate accessible influence from all walks of the region. With the band’s last few albums, they have gained recognition from well beyond the world of bluegrass, earning a reputation as some of the most influential songwriters in Americana today.

Newcomer to this ship, Aaron Burdett, brings a soul-stirring element to the Rangers’ mastery of mountain music. Burdett is an award-winning singer-songwriter, and a student of folk tradition. He provides a fresh, emotional context to the songbook, which “can reach out and touch your heart or slap you in the face,” to use the praise of drummer and multi-instrumentalist, Mike Ashworth.

Steep Canyon Rangers is made up of Graham Sharp on banjo and vocals, Mike Guggino on mandolin/mandola and vocals, Aaron Burdett on guitar and vocals, Nicky Sanders on fiddle and vocals, Mike Ashworth on drums and vocals, and Barrett Smith on bass, guitar, and vocals.

Over the band’s esteemed career, the three-time Grammy nominees have released 14 studio albums, three collaborative albums with actor and banjoist Steve Martin, been inducted into the North Carolina Music Hall of Fame, and appeared on some of music’s biggest stages. In 2013, Nobody Knows You won the GRAMMY Award for Best Bluegrass Album, while 2012’s Rare Bird and 2020’s North Carolina Songbook garnered nominations in the same category.

steepcanyon.com

TICKETS: $50

Shakey is a Neil Young tribute band that captures the essence of Neil Young's music and style. With their authentic sound and passionate performances, Shakey pays tribute to one of the greatest musicians of our time. Whether you're a die-hard Neil Young fan or just love great music, Shakey is a must-see live experience.

TICKETS: $20

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

Stoughton Violist and Violinist Madlen Breckbill presents a program for viola.

Madlen H. Breckbill, viola and violin, recently returned from living in Berlin (Germany) where she worked as an orchestral trainee with Konzerthaus Berlin, as the violist of the TAÏGA String Quartet in Denmark and as a chamber music trainee for Villa-Musica in Rheinland Pfalz. As a chamber musician, Madlen has performed across Europe and North America with world-class musicians such as violinists Ernst Kovacik, Jorja Fleezanis, Gregory Ahs, and Martin Beaver; violist Steven Dann; and cellist Richard Lester. In recent years, Madlen performed at Midsummer Music, with the Happenstancers in Toronto, and at Token Creek with Prof. Chisholm. In 2019, Madlen founded the Stoughton Chamber Music Festival, bringing young professional musicians together for innovative and meaningful summer chamber music experiences in Stoughton, WI. Madlen is a graduate of UW-Madison and the Glenn Gould School in Toronto, where she studied with David Perry, Paul Kantor, Barry Shiffman, Erica Raum and Steven Dann. Madlen is currently a Collins Fellow at UW- Madison, pursuing a Masters in Viola performance with Prof. Chisholm.

Free Will Donation

During his years as lead singer and main songwriter of Toad the Wet Sprocket, Glen Phillips helped to create the band’s elegant folk/pop sound with honest, introspective lyrics that forged a close bond with their fans. When Toad went on hiatus, Glen launched a solo career with his album Abulum, and stayed busy collaborating with other artists on various projects including Mutual Admiration Society, with members of Nickel Creek and Remote Tree Children, an experimental outing with John Morgan Askew.

“Until recently, I’ve seldom stayed in one place for very long,” Phillips says, explaining the genesis of his new album, THERE IS SO MUCH HERE. “I was lucky during the COVID lockdown to move in with my girlfriend, now wife, and to be home for the longest stretch I’ve had since the birth of my daughter, 20 years ago. I began noticing the little things. After a life of travel and seeking out peak experiences, I began to appreciate sitting still, watching the paint dry and loving it.

“I’ve been playing a songwriting game with Texas folk singer Matt The Electrician, for about ten years. Every Friday, he sends out a title. We have a week to write a song that includes it. The process allows me to write songs I wouldn’t write on my own. I’m always surprised at what comes out.”

“When my friend John [Morgan Askew] invited me to come up to his studio and make music, I said, ‘Yes’, as I collected a bunch of the new songs and headed up to Bocce Studios, in Vancouver, WA. John invited drummer Ji Tanzer and bass player/multi-instrumentalist Dave Depper along. When we started playing, I wasn’t sure what we were aiming for, but as the process unfolded, the songs began to make sense together.”

Phillips’ previous solo record, SWALLOWED BY THE NEW, was about grief, a post-divorce outing while THERE IS SO MUCH HERE finds Phillips writing love songs again focusing on gratitude, beauty and staying present. “With this batch of songs, I noticed I was writing hopeful music again. I’d turned the corner and was more interested in curiosity and play than I was in gazing at my navel. I was finally in a state of being that wasn’t about grief and loss. Things felt doable and even exciting again.”

“As I sat still during the lockdown, I realized how much is always here – in the space around me, in the sensations of my body, in the sounds and smells and tastes and thoughts that emerge and drift away. It’s not a new concept, but it is a novel experience when you’ve spent your life running from one thing to another.”

Ultimately, as Phillips reflects on the album, he shares: “This is an album about showing up for what is and letting it be enough.”

glenphillips.com

The miles we travel make up the stories we tell.

 The soles of your favorite boots or the tread on your prized car’s tires soak up the experiences and wisdom of the road under your feet. Born in New England, based in Bozeman Montana, singer, songwriter, and multi-instrumentalist Madeline Hawthorne pens the kind of tunes you listen to on a cross-country trek to start anew or in the dead of night when you just need a reminder that somebody’s listening.

 In this respect, her 2024 independent album, Tales From Late Nights & Long Drives, serves as a fitting soundtrack to life’s trip.

 “It’s the perfect road trip record,” she affirms. “It was mostly written while I was on tour. If the songs were written at home in Montana, I took inspiration from journal entries and memories of my travels. This is me stepping onto the stage with more miles under my boots. I’m giving into the moment and the melody to tell a story. It’s like eleven different versions of me—a woman I could have been, a woman I perhaps thought I was, and a woman I hope to be someday.”

madelinehawthorne.com

TICKETS: $35

NORA O’CONNOR , SIMA CUNNINGHAM and KELLY HOGAN

present

ROSES for THE ROCHES

a tribute to Maggie, Terre, and Suzzy Roche

with special guest host

Alex Grelle

Unapologetic harmony nerds Nora O’Connor, Sima Cunningham, and Kelly Hogan are banding together to perform a loving tribute to the original New Jersey “nurds” - the legendary sister trio, The Roches. The quirky-brainy left-of-center songwriting and laser beam harmony vocals of Maggie, Terre, and Suzzy Roche have influenced countless musicians since their debut in the mid-70s - including rabid devotees O’Connor, Cunningham, and Hogan. They’ll present a bouquet of a dozen Roches classics in a very special show as a stripped-down trio, featuring guest host, Chicago multimedia star, Alex Grelle. 

NORA O’CONNOR has been an in-demand back-up singer/multi-instrumentalist for decades, performing around the world with Iron and Wine, The Decemberists, Andrew Bird, Robbie Fulks, Neko Case, The New Pornographers, and Chicago supergroup, The Flat Five. She is currently working on her fourth solo album.  

SIMA CUNNINGHAM is one of Chicago's most versatile music makers and organizers. She cofounded the art-rock band Finom and has toured and recorded extensively with Jeff Tweedy, Iron & Wine, Twin Peaks, and many more. Her debut solo record, High Roller, was released in August 2024 on Ruination Records. 

Equally comfortable with indie rock, traditional country, jazz, and pop - singer KELLY HOGAN has explored all those directions and more in her four-decade career as a solo artist and backing vocalist for acts such as Neko Case, The Decemberists, Jakob Dylan, Andrew Bird, and Alejandro Escovedo. She’s also a prolific session musician - adding vocals to recordings for Drive-By Truckers, The New Pornographers, The Mekons, Amy Ray, Tortoise, Silkworm, The Minus 5 and others. She has released four solo albums, including 2012’s I Like to Keep Myself in Pain- featuring songs written for her by a star-studded roster including Robyn Hitchcock, The Handsome Family, and Vic Chesnutt and recorded with icon Booker T. Jones and hall-of-fame funky drummer James Gadson. These days you can find Hogan living out of a well-worn suitcase as a grateful member of gospel/soul icon Mavis Staples’ band.

ALEX GRELLE is a gay Chicago-based performer. His heartfelt, comedic spectacles gallivant through a wide range of media, including - but never limited to - live music, dance, sketch comedy, acting, puppetry, Shelley Duvall’s late-career television exploits, and video. Grelle's shows are carefully curated to showcase performances and artists that have impacted his life in a profound way. Recent productions include his monthly variety show Ordinary Peepholes, The Grelley Duvall Show 4, STEPMOM At The Old Ethan Allen Space (Steppenwolf), his critically-acclaimed David Bowie spectacle Floor Show, his multi-media collaborative homage to Kate Bush Full Bush with band Finom - and, most recently, Nosferatu at the Color Club.

TICKETS: $25

Step into the enchanting world of Mozart’s beloved opera with Opera for the Young. Follow Prince Tamino as he embarks on a daring quest to find the heroic Princess Pamina aided by the delightful birdman, Papageno, and a chorus of sixteen local elementary students. Transformed into whimsical space creatures, the students play Sarastro and his “Alien Council of Wisdom” in a fantastical interplanetary adaptation. (But beware the sinister Queen of the Night and her assistant, the Three-headed Lady, who stand in their way!)

  Beautiful melodies and comical characters delight youngsters, while themes of resilience and forgiveness generate thoughtful discussion. Don’t miss this magical journey filled with music, laughter, and valuable life lessons!

www.operafortheyoung.org

Free-will Donation

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

Middleton Jazz was started in 2009 as a semi-monthly jam session at the Middleton Senior Center. As players became more familiar with one another and with the music, the jam developed into a weekly band rehearsal. Middleton Jazz plays traditional jazz tunes, mostly in the ‘Dixieland’ style, with an emphasis on instrumental solos. While traditional jazz provides the primary foundation, the band plays a variety of styles. Audiences are likely to hear songs from the Big Band era, Blues, Dixieland and ’50s Rock and Roll, performed by good ensemble work and fine soloists. For more information, our schedule, and video samples, please check out our website at: middletonjazz.com.

Free-will Donation

Andy Dunnigan: dobro, vocals
The Reverend Matthew Rieger: guitar, vocals
Jake Simpson: fiddle, guitar, vocals
Jean Luc Davis: bass
Sam Armstrong Zickefoose: banjo

“Under Big Sky/Big Mountain stand/Keep watchful eye/On my Montana Flower”

Even though often called a “newgrass” or jam band, the Lil Smokies’ high-energy acoustic music has evolved into its own distinctive sound on their fourth and latest studio album, Break of the Tide, which finds them emerging from the Covid lockdown stronger than ever.

“Sort of a fusion of lyric-driven folk music, pop harmonies and bluegrass instruments” is the way Montana native and band founder Andy Dunnigan describes the Lil Smokies music, which also evokes contemporary country-folk-rock groups like Mumford & Sons and the Avett Brothers.

With a nearly five-year gap from their last album, 2020’s Tornillo, the band has added two new members in bassist Jean Luc Davis and banjo player Sam Armstrong Zickefoose to the core trio of dobro player Dunnigan, Seattle-based lead guitarist Matthew Rieger and fiddler Jake Simpson, now dividing his time between Montana and Oklahoma.

Dunnigan was a creative writing and poetry student at the University of Montana in Missoula (birthplace of the late film auteur David Lynch) back in 2009 when he stumbled on a campus bluegrass jam, joining in on his dobro, which he learned to play from his father, a professional guitarist. 

Returning to Texas (where they recorded Tornillo), the Lil Smokies cut Break of the Tide at a Dallas-Fort Worth studio with local producer Robert Ellis, the album title representing, according to Andy, “a turning point, a pivot… the old world vs. the new world. It’s about having to get a fresh start after Covid. It’s like a bug set in amber, an artifact from that period of time. We didn’t drown under the tide.”

“One of the biggest differences between this album and Tornillo is we hadn’t played these songs live before we recorded them,” added Jake. “These tracks really took shape in the studio. For the most part, we used whole takes, rather than overdubs and edits.  It’s a vibey record.”

The album finds the band expanding beyond the bluegrass genre with a spacious, airy, contemplative set of “more introspective, nuanced” songs which slow down to reflect the wide-open spaces and natural beauty of the state where they first took shape. The first single, “Montana Flower,” according to Simpson, is a love song to a local Whitefish girl, comparing her beauty to the geographical marvels of the area, including Big Mountain.

“That’s the imagery that was going through my head when I wrote the song,” acknowledged Jake. “There’s a lot of mystery in Whitefish.  It’s an interesting mix of people there from all over the world alongside the locals who have been there forever. Lots of cosmic energy keeping an eye out for my love when I’m not there.”

Another Simpson-penned track, “Keep Me Down” offers the touring musician’s lament of choosing between what you left at home and the call of the road. “It’s a real love-hate relationship,” laughed Jake. “I’ve been doing a lot of therapy on this issue, and I think I’m improving in that area.”

Rev’s “Sycamore Dreams” is “a break-up song about sometimes love alone isn’t enough” to keep a relationship together (“It shines on paper/Torn from the start/Frayed at the seams”). “There are divine forces that are sometimes out of our control,” said Rev. “And sometimes you have to trust and surrender to them.” 

“Fire in the Rain” is a Dunnigan-penned folk song that offers a vocal homage to one of his favorite singer/songwriters in James Taylor, evoking his similarly titled “Fire and Rain.”

“My father played his records for me when I was just three years old,” said Andy.  

Break of the Tide marks a turning point for the Lil Smokies, who are ready to hit the road running this year, reinventing themselves for the long haul.

“This is a more pensive, delicate record than we’ve done in the past,” explained Rev. “It’s about being able to turn to art to deal with hardship, the encouragement to know we’re not alone in this. It’s about looking to the future, figuring out a way to move ahead.”

Added Andy, “We’re just more confident in ourselves as songwriters now. We don’t have anything to prove at this point. We’re comfortable where we are as a band.”

“We’re older, but maybe not wiser,” joked Rev. “This is who we are right now.”

From their humble beginnings playing the “holy trinity” of Missoula, Whitefish and Bozeman in Montana, the Lil Smokies have toured all over the U.S. and abroad in Iceland, Mexico and Canada, performing at such prestigious venues as Red Rocks and festivals like Telluride, High Sierra, LOCKN’, Freshgrass and FloydFest. The group earned top prize at the Northwest String Summit outside of Portland in 2013 and the Telluride Bluegrass Festival in Colorado in 2015, which proved the catalyst for more touring success through the end of the decade.

www.thelilsmokies.net

www.dannosimpson.com

TICKETS: $25

With countless tunes you know from the first note, rip-roaring gigs you can count on, and a whole lot of energy you’ll take home with you, BoDeans continue to contribute to the American songbook as a tried-and-true institution. Founded and led by original frontman, songwriter, multi-instrumentalist, and producer Kurt Neumann, the band’s catalog consists of generational anthems such as “Good Things,” You Don’t Get Much,” “Idaho,” and “Closer To Free,” just to name a few. However, they still reflect the soul and spirit of the modern American experience on their fourteenth full-length offering,  4 The Last Time.

“The music of BoDeans has defined much of my life,” muses Kurt. “I consider myself fortunate to be able to do what I enjoy. I wanted to creatively do something positive for the world instead of just taking from it. So, this is what I’ve chosen to do with my life. The music was always about the blue-collar dream of a better life, and it still is.”

www.bodeans.com

TICKETS: $55

Della Mae is a GRAMMY-nominated all-woman string band founded by lead vocalist/guitarist Celia Woodsmith and 2-time Grand National champion fiddle player Kimber Ludiker. Rounding out the current touring lineup are guitarist Avril Smith, and bassist Vickie Vaughn. Hailing from across North America, and reared in diverse musical styles, Della Mae is one of the most charismatic and engaging roots bands touring today. They have traveled to over 30 countries spreading peace and understanding through music. Their mission as a band is to showcase top female musicians, and to improve opportunities for women and girls through advocacy, mentorship, programming, and performance.

Following up 2020’s Headlight, their new album Family Reunion features founding members Celia Woodsmith, and Kimber Ludiker as well as Avril Smith, Maddie Witler and Vickie Vaughn. The recording captures the joy of the band reuniting after more than a year of virtual collaboration, Zooms and group texts.

dellamae.com

TICKETS: $35

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

These outstanding SHS instrumental and vocal music students have received starred firsts in Class A at the district music festival and have qualified for the Wisconsin School Music Association State Music Festival.

TICKETS: General Admission. Free-Will Donation

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

Hailing from the University of Wisconsin Mead Witter School of Music, the Pro Arte String Quartet captivates audiences with the elegance and passion of one of the world's most storied string quartets. With over a century of history and a legacy that includes performances at the most prestigious venues worldwide, they’re bringing unparalleled artistry and tradition to the Opera House stage. From the timeless works of Haydn and Beethoven to exciting contemporary commissions, their concerts are thoughtfully curated to engage, inform, and inspire a wide range of listeners.

This year’s quartet features cellist Parry Karp, violinist David Perry, violinist Suzanne Beia, and violist Sally Chisholm.

Cellist Parry Karp is Artist-in Residence and the Graebner Professor of Chamber Music and Cello, at the University of Wisconsin-Madison, where he is director of the string chamber music program. He has been cellist of the Pro Arte Quartet for the past 48 years, the longest tenure of any member in the quartet's over 100 year history. 

Violinist David Perry enjoys an international career as chamber musician, soloist, and teacher. Mr. Perry has performed in Carnegie Hall, most of the major cultural centers of North and South America, Europe, and the Far East. Mr. Perry joined the Pro Arte Quartet and the UW-Madison faculty in 1995, and was granted a Paul Collins Endowed Professorship in 2003. The Pro Arte celebrated its Centennial Anniversary in 2011-2012. Composers commissioned for the celebration include William Bolcom, John Harbison, Pierre Jalbert, Walter Mays, Benoit Mernier and Paul Schoenfield.

Suzanne Beia is second violinist of the Pro Arte Quartet, artist in residence, and chamber music coach for both the School of Music and the Wisconsin Youth Symphony at the University of Wisconsin-Madison.
Sally Chisholm, violist of the Pro Arte Quartet, and Professor of Viola at the University of Wisconsin-Madison, has had an extensive career in chamber music. She was a founding member of the Thouvenel String Quartet who won first prize at the Weiner International Chamber Music Competition, was a finalist of New York's Naumburg Competition, performed on NBC's TODAY Show, and toured China and Tibet.

Free-will Donation

Few bands stick around for thirty years. Even fewer bands leave a legacy during that time that marks them as a truly special, once-in-lifetime type band. And no band has done all that and had as much fun as Leftover Salmon. Since their earliest days as a forward thinking, progressive bluegrass band who had the guts to add drums to the mix and who was unafraid to stir in any number of highly combustible styles into their ever evolving sound, to their role as a pioneer of the modern jamband scene, to their current status as elder-statesmen of the scene who cast a huge influential shadow over every festival they play, Leftover Salmon has been a crucial link in keeping alive the traditional music of the past while at the same time pushing that sound forward with their own weirdly, unique style.

In their fourth decade as a band, Leftover Salmon is showing no signs of slowing down, continuing to create new music in the studio, including the most recent release Brand New Good Old Days (Compass Records 2021). The latest album shows that Leftover Salmon is still proving it possible to recreate themselves without changing who they are. The band now features a lineup that has been together longer than any other in Salmon history and is one of the strongest the legendary band has ever assembled. Built around the core of founding members Drew Emmitt and Vince Herman, the band is now powered by banjo-wiz Andy Thorn, and driven by the steady rhythm section of bassist Greg Garrison, drummer Alwyn Robinson, and dobro player & keyboardist Jay Starling. The current lineup is continuing the long, storied history of Salmon which found them first emerging from the progressive bluegrass world and coming of age as one the original jam bands, before rising to become architects of what has become known as Jamgrass and helping to create a landscape where bands schooled in the traditional rules of bluegrass can break free of those bonds through nontraditional instrumentation and an innate ability to push songs in new psychedelic directions live.

Salmon is a band who for more than thirty years has never stood still; they are constantly changing, evolving, and inspiring. If someone wanted to understand what Americana music is they could do no better than to go to a Leftover Salmon show, where they effortlessly glide from a bluegrass number born on the front porch, to the down-and-dirty Cajun swamps with a stop on Bourbon Street in New Orleans, to the hallowed halls of the Ryman in Nashville, before firing one up in the mountains of Colorado.

leftoversalmon.com

TICKETS: $50

Virginian, Keller Williams, released his first album in 1994, FREEK, and has since given each of his albums a single syllable title: BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, LIVE, ODD, THIEF, KIDS, BASS, PICK, FUNK, VAPE, SYNC, RAW, SANS, ADD, SPEED, CELL and DROLL. Un-beholden to conventionalism, he seamlessly crosses genre boundaries. The end product is music that encompasses rock, jazz, funk and bluegrass, and keeps the audience on their feet. Keller built his reputation on his unique engaging live performances.

His stage shows are rooted around Keller singing his compositions and choice cover songs, while accompanying himself on acoustic guitar, bass, guitar synthesizer and drum samples; a technique called live phrase sampling or "looping." The end result leans toward a hybrid of alternative folk and groovy electronica, a genre Keller jokingly calls "acoustic dance music" or ADM." Keller's constant evolution has led to numerous band projects; Keller & The Keels, Grateful Grass, KWahtro, Keller and the Travelin' McCourys, Grateful Gospel and More Than A Little to name a few.

kellerwilliams.net

TICKETS: $35

“The Jimmys are excellent musicians, wildly fun entertainers and perform a slew of strong, original songs. They’re a treat for any fans of roots rock, old school R&B and straight-up blues. And every performance is like a party!”  –Bruce Iglauer, Alligator Records

“Some bands grab the crowd on the first number. Such a band is The Jimmys. They are incredibly tight for a seven piece and have an infectious enthusiasm. They quickly became a crowd favorite.” –Dennis Massingill, Kalamazoo Blues Festival

The Jimmys are an award winning, high energy 7-piece blues band featuring Jimmy Voegeli on keyboard and organ, Perry Weber on guitar, Chris Sandoval on drums, John Wartenweiler on bass and an amazing 3-piece horn section. They are sure to get you dancing!!

thejimmys.net

TICKETS: $25

With fiddles in hand, Madison's premiere youth violin ensemble, MadFiddle, gears up for its annual Stoughton Opera House performance. Drawing on music extracted from Scandinavian folk, bluegrass, Celtic songs, Eastern and blues folk tunes, Appalachian, Brazilian, ragtime, as well as modern acoustic artists, MadFiddle brings students between the ages of six and seventeen together for a romping, stomping, good time. MadFiddle is directed by the Madison Area Music Association's 2016 "Teacher of the Year," Shauncey Ali, and accompanied by the energetic adult backing band, Highway 151 which consists of Chris Powers on mandolin and bouzouki, Pat Spaay on upright bass, and Bruce Anderson on guitar. Thriving on its mad enthusiasm for the instrument, MadFiddle shows up with that blast of inherent joy that comes along with playing music with friends.

Madfiddle.shutterfly.com

TICKETS: $15

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

The Marvin Rabin Quartet is the Graduate String Quartet at UW-Madison's Mead Witter School of Music. Its members are working towards master's and doctoral degrees and serve as teaching assistants, leading orchestral sectionals, teaching string fundamentals to music education students, and performing as representatives of UW-Madison. The group is funded by generous donors and named in honor of Dr. Marvin Rabin. Dr. Rabin was an internationally acclaimed music educator and Professor Emeritus at UW-Madison who inspired thousands of string educators nationwide. As the father of the youth orchestra movement in the US, his work continues to positively impact countless young musicians to this day.

www.music.wisc.edu/events/rabin-string-quartet

TICKETS: General Admission. Free-Will Donation

Dave & Dave

Dave Simonett and Dave Carroll, of Trampled by Turtles, are playing a rare duo show. Simonett is TBT’s lead vocalist/guitarist, while Dave Carroll accompanies him on banjo and harmony vocals. The duo plays an assortment of songs spanning Trampled By Turtles, Dave Simonett’s solo work, some choice cover songs and more.

Oliver Wood

Whenever Oliver Wood isn't touring with The Wood Brothers — the Grammy-nominated roots trio that he co-founded in 2006 — he typically begins his mornings the same way: in Nashville, at home, with a coffee cup in his hand and a notebook in his lap. "There's a chair in my living room, right in front of a window," he says. "Every morning, I go down there to drink my coffee, meditate, and write. It's like a therapy session for me, because I can write without any specific goal in mind. I can be creative without being self-judgmental.” Many of the songs from Fat Cat Silhouette, Wood's second solo record, began taking shape in that chair. Produced by his Wood Brothers’ bandmate Jano Rix, it's an album of unexpected twists and turns. Longtime fans will recognize the earnest, elastic voice that has always anchored the Wood Brothers' mix of forward-looking folk and southern country-funk, but Fat Cat Silhouette doesn't spend much time looking backward.

Instead, it abandons convention, breaks a few rules, and positions Oliver Wood as a roots-music innovator who's every bit as interested in the process as the product. "I wanted to get outside my box and embrace the uncertainty of what's out there," he explains. "I wanted weird guitar tones. The song 'Yo I Surrender' has the worst guitar sound I've ever heard in my life, and I just love it. I wanted more percussion and less drums. Once we began experimenting and doing whatever we wanted, the pressure melted away and I felt liberated.”

On the album's opener, "Light and Sweet," Wood matches an imaginative storyline with a melody that leaps from ground level into the stratosphere. Eight songs later, he brings things to a close with "Fortune Drives the Bus," which he recorded on an iPhone in his own backyard. While tracking the rest of Fat Cat Silhouette to analog tape, Wood pushed himself to keep things weird. This is an album that finds the art in the unexpected, and Oliver Wood — whose songwriting and vocal chops remain as sharp as ever — at his most adventurous.

Seth Walker

Among the most prolific artists on the Americana scene today, Seth Walker is a multi-dimensional talent who combines a gift for melody and lyric alongside a rich, Gospel-drenched, Southern-inflected voice with a true blue knack for getting around on the guitar. With his 12th studio album Why The Worry, Walker further builds upon this reputation. 

Set straight by the title’s mantra, Why The Worry finds the veteran singer-songwriter letting go of the worry about perception, the worry of over-preparation, and the worry that seeps in constantly from the news and noise of everyday life. Taking a page from Willie Nelson, Walker embraced the country music legend's sage wisdom, “I’ve never seen worry accomplish anything, so I decided not to do it.” Indeed, the album was just about finished when Hurricane Helene hit Walker where he lives in the mountains around Asheville, and as a result, the record almost didn’t see light.  As catastrophe took shape, the album’s importance wavered in his mind until the central theme came back into view. The worry wouldn’t undo any damage, and there was still service in song. 

Growing up on a commune in rural North Carolina, the son of classically trained musicians, Walker played cello long before discovering the guitar in his 20s. When his introduction to the blues came via his Uncle Landon Walker, who was both a musician and disc jockey, his fate was forever sealed. Instantaneously, Seth was looking to artists like T-Bone Walker, Snooks Eaglin, and B.B. King as a wellspring of endless inspiration. The rest is history. He's released twelve albums, broken into the Top 20 of the Americana Radio Charts, reached No. 2 on the Billboard Blues Album Chart and received praise from NPR, American Songwriter, No Depression and Relix, among others.

Alongside his extensive songwriting and recording pursuits, Walker is consistently touring and performing at venues and festivals around the world. Along with headline shows, he's been invited to open for The Mavericks, Marc Broussard, The Wood Brothers, Raul Malo, Paul Thorn and Ruthie Foster, among others. 

Prior to relocating to Asheville in 2020, Walker did stints residing in Austin, New Orleans and Nashville. He’s used those experiences wisely, soaking up the sounds and absorbing the musical lineage of these varied places. With a bluesman’s respect for roots and tradition, coupled with an appreciation for—and successful melding of—contemporary songwriting, Walker sublimely incorporates a range of styles with warmth and grace. Perhaps Country Standard Time said it best: “If you subscribe to the Big Tent theory of Americana, then Seth Walker—with his blend of blues, gospel, pop, R&B, rock, and a dash country—just might be your poster boy.

deadmanwinter.com

oliverwoodmusic.com

sethwalker.com

TICKETS: $35

The Arcadian Wild is a four-piece indie folk/pop group from Nashville, TN. Led by songwriters Isaac Horn and Lincoln Mick with Bailey Warren on fiddle, The Arcadian Wild confidently inhabits and explores an intersection of genre, blending the traditional with the contemporary. Combining elements of progressive bluegrass, folk, and formal vocal music, The Arcadian Wild offer up songs of invitation; calls to come and see, to find refuge and rest, to journey and wonder, to laugh and cry, to share joy and community and sing along.

The band’s 2023 album Welcome marks the start of a captivating new chapter for the genre-bending trio, who returned to the studio with renewed purpose and insight after devoting the last few years to a series of critically acclaimed singles and EPs. Like much of the band’s catalog, the album blurs the lines between chamber folk and progressive bluegrass, drawing on everything from country and classical to pop and choral music with lush harmonies and dazzling fretwork, but this time around there’s a rawness to the writing, an embrace of candor and simplicity that cuts straight to the heart of things like never before. The result is perhaps the most arresting collection yet from a band known for its ability to stop listeners dead in their tracks, an exquisitely beautiful celebration of community, connection, and the power of belonging that feels tailor-made for these challenging times.

thearcadianwild.com

Grace and Alex Fincher wed in 2021, moving to Nashville, TN and establishing Indie Folk/New Bluegrass duo, “River & Rail.” They have since developed a mature and unique act, performing over 100 shows- opening for acts such as Willi Carlisle, Esme Patterson, and Dawson Hollow.

Possessing a voice that is equal parts haunting and agile, Grace’s songwriting quickly captivates the audience. Alex’s textural, melodic acoustic guitar and mandolin weaves in between as he adds plaintive supporting vocals. The two have crafted a rich yet close acoustic sound

that leans into dynamics, nuanced embellishment, and out-of-the box musical changes.

R&R is influenced by folk pioneers Watchouse, The Milk Carton Kids, Aoife O’Donovan, and Madison Cunningham- and hearkens back to the 70’s acoustic music of Bread and Joni Mitchell.

In Nov 2023, the duo released their debut EP “Trees and other Relatives” a collection of stories mined from Grace’s lineage. Produced by Alex, the project features upright bassist Eli Broxham, (Dallas Ugly/The Arcadian Wild) fiddler Bailey Warren, (Downriver Collective/The Arcadian Wild), and drummer Riley O’Donnell (Halleway/Hello Darling). Standout track “Around the Corner” has

amassed over 35,000 streams across platforms.

River & Rail is recording their debut full-length album at the Sound Emporium, to be released Fall 2024 under Vere Music.

riverandrailmusic.com

TICKETS: $25

The sound and imagery of the 20th release by Chris Smither, All About the Bones, on Signature Sounds/Mighty Albert, distributed by Redeye) is as elemental as the inky black shadows cast by a shockingly bright moon. The listener is welcomed into some gothic mansion on an imaginary New Orleans street, and there in the lamplit parlor confronts the band, a minimalist skeleton crew: Smither’s inimitable propulsive guitar and rumbling baritone are joined seamlessly to producer David Goodrich’s carpetbag of instruments, Zak Trojano’s rock-steady, primal drumming, BettySoo’s diaphanous harmony vocals, and the flat, mournful flood of Jazz legend Chris Cheek’s saxophone.

Recorded at Sonelab Studios in Easthampton MA by Justin Pizzoferrato (Sonic Youth, Dinosaur Jr., the Hold Steady) All About the Bones has a feel that is somehow baroque and austere at once. Smither and his longtime producer David Goodrich have been refining their musical conversation for decades, both in the studio and onstage, and by now, their bond verges on the telepathic. Goodrich plays on nearly every track. His sound is by now so translucent that it seems to function as a swath of silence, allowing the songs to burn like ciphers in the crackling air.

And oh, the songs on All About the Bones. Chris Smither, after six decades of sharpening his knife as a songwriter, can at this point open damn near anything with a flick of his wrist. God and the Devil are opened here. Mortality is too. Politics, consciousness, renewal, family, vulnerability, surrender… Smither has sat with these topics like so many Zen koans, for so long, that every line is a pearl. The title track, “All About the Bones,” kicks the record off with “Consider your high station/ think about your fame. All of your creation depended on your frame.” Irony, wit, the double meaning of “depended”… each verse is a master class in songwriting.

Yet the stark, elemental sage always has a twinkle in his eye, a light touch at your elbow as he guides you along. From the wickedly funny defense of the Adversary in “If Not for the Devil” to the unsentimental open-heartedness of “Still Believe in You,” he is as human as we all long to be. The disjointed imagery of “In the Bardo” and the dystopian mirror of “Close the Deal” find Smither unflinchingly staring down the mortality of both individuals and republics, and yet he is at peace, among loved ones in his cover of Eliza Gilkyson’s “Calm Before the Storm,” and turning his gaze to the future in “Completion”. He sends us on our merry way, startled, dazzled, unsettled and then comforted, with Tom Petty’s “Time to Move On.”

As noted by the New York Times, Rolling Stone, MOJO, NPR, and others, in the decades of travels to All About the Bones, Chris Smither has gone from up-and-comer to journeyman to veteran to icon, and yet the whole time his path has more closely resembled Joseph Campbell’s “Hero with a Thousand Faces”- an unblinking, fearless trek into the depths of struggle and revelation, and a return back to the land of the living, to share the hard-won treasures found along the way. His restlessness is long gone, and his eyes are fixed “where the moonlight falls on some never-to-be-seen horizon” (“Still Believe in You”). The light given off from his music casts our own lives into a sublime and welcome clarity.

smither.com

TICKETS: $35

Them Coulee Boys: With four full-length albums and an EP behind them, including 2019’s Die Happy (produced by Trampled By Turtles’ Dave Simonett on Lo-Hi Records) and 2021’s Namesake (produced by Grammy winner Brian Joseph), the band has garnered international attention and earned press in American Songwriter, Ditty TV, Folk Alley, and The Bluegrass Situation, as well as tours with Trampled By Turtles and a spot on the songwriter’s Cayamo Cruise. In 2020, they were named Milwaukee Journal Sentinel’s Band to Watch. In 2021, they won Bluegrass/Americana Band of the Year by the Wisconsin Area Music Industry. 

For all things Them Coulee Boys, please visit themcouleeboys.com.

TICKETS: $25

For 50 years, this Canadian musical legend has been capturing in song the essence of human experience – while fiercely striving to make it better.

One of Canada’s finest artists, Bruce Cockburn has enjoyed an illustrious career shaped by politics, spirituality, and musical diversity. His remarkable journey has seen him embrace folk, jazz, rock, and worldbeat styles while travelling to such far-flung places as Guatemala, Mali, Mozambique, and Nepal, and writing memorable songs about his ever-expanding world of wonders. “My job,” he explains, “is to try and trap the spirit of things in the scratches of pen on paper and the pulling of notes out of metal.”

That scratching and pulling has earned Cockburn high praise as an exceptional songwriter and a revered guitarist. His songs of romance, protest, and spiritual discovery are among the best to have emerged from Canada over the last 50 years. His guitar playing, both acoustic and electric, has placed him in the company of the world’s top instrumentalists. And he remains deeply respected for his activism on issues from native rights and land mines to the environment and Third World debt, working for organizations such as Oxfam, Amnesty International, Doctors Without Borders, and Friends of the Earth.

Throughout his career, Cockburn has deftly captured the joy, pain, fear, and faith of human experience in song. Whether singing about retreating to the country or going up against chaos, tackling imperialist lies or embracing ecclesiastical truths, he has always expressed a tough yet hopeful stance: to kick at the darkness till it bleeds daylight. “We can’t settle for things as they are,” he once warned. “If you don’t tackle the problems, they’re going to get worse.”

For his many achievements, the Ottawa-born artist has been honored with 13 Juno Awards, an induction into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame, as well as the Governor General’s Performing Arts Award, and has been made an Officer of the Order of Canada. But he never rests on his laurels. “I’d rather think about what I’m going to do next,” says Cockburn. “My models for graceful aging are guys like John Lee Hooker and Mississippi John Hurt, who never stop working till they drop, as I fully expect to be doing, and just getting better as musicians and as human beings.”

His commitment to growth has made Bruce Cockburn both an exemplary citizen and a legendary artist whose prized songbook will be celebrated for many years to come.

BruceCockburn.com

TICKETS $55

For over fifty years, Asleep at the Wheel’s Ray Benson has been traversing the globe as an ambassador of Western swing music and introducing its irresistible sound to generation after generation. More than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 30 albums, ten Grammy awards and literally millions of miles on the road.

“I’m the reason it’s still together, but the reason it’s popular is because we’ve had the greatest singers and players,” Benson explains. “When someone joins the band, I say, ‘Learn everything that’s ever been done, then put your own stamp on it.’ I love to hear how they interpret what we do. I’m just a singer and a songwriter, and a pretty good guitar player, but my best talent is convincing people to jump on board and play this music.”

Asleep at the Wheel has collaborated on records with genre-spanning friends, including Willie Nelson on 2009’s Grammy Nominated Willie and the Wheel and other critically acclaimed artists, including Brad Paisley, Jamey Johnson, Merle Haggard, George Strait, the Avett Brothers, Amos Lee, Old Crow Medicine Show and Lyle Lovett on Still the King, their 2015 critically acclaimed and Grammy winning tribute to Bob Wills. On their latest release, Half A Hundred Years, Asleep At The Wheel continued their contributions to the American music landscape when three original members of Asleep at the Wheel—Chris O’Connell, Leroy Preston, and Lucky Oceans—returned after 40 years to lend their voices and musicianship to a number of tracks on the album along with Emmylou Harris, Lee Ann Womack, George Strait, Lyle Lovett and Willie Nelson.

Asleep at the Wheel represents an important cornerstone of American roots music, even though some of its members and audiences represent a new generation. That far-reaching appeal remains a testament to Benson’s initial vision.

“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.”

asleepatthewheel.com

TICKETS: $45

For over fifty years, Asleep at the Wheel’s Ray Benson has been traversing the globe as an ambassador of Western swing music and introducing its irresistible sound to generation after generation. More than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 30 albums, ten Grammy awards and literally millions of miles on the road.

“I’m the reason it’s still together, but the reason it’s popular is because we’ve had the greatest singers and players,” Benson explains. “When someone joins the band, I say, ‘Learn everything that’s ever been done, then put your own stamp on it.’ I love to hear how they interpret what we do. I’m just a singer and a songwriter, and a pretty good guitar player, but my best talent is convincing people to jump on board and play this music.”

Asleep at the Wheel has collaborated on records with genre-spanning friends, including Willie Nelson on 2009’s Grammy Nominated Willie and the Wheel and other critically acclaimed artists, including Brad Paisley, Jamey Johnson, Merle Haggard, George Strait, the Avett Brothers, Amos Lee, Old Crow Medicine Show and Lyle Lovett on Still the King, their 2015 critically acclaimed and Grammy winning tribute to Bob Wills. On their latest release, Half A Hundred Years, Asleep At The Wheel continued their contributions to the American music landscape when three original members of Asleep at the Wheel—Chris O’Connell, Leroy Preston, and Lucky Oceans—returned after 40 years to lend their voices and musicianship to a number of tracks on the album along with Emmylou Harris, Lee Ann Womack, George Strait, Lyle Lovett and Willie Nelson.

Asleep at the Wheel represents an important cornerstone of American roots music, even though some of its members and audiences represent a new generation. That far-reaching appeal remains a testament to Benson’s initial vision.

“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.”

asleepatthewheel.com

TICKETS: $45

For over fifty years, Asleep at the Wheel’s Ray Benson has been traversing the globe as an ambassador of Western swing music and introducing its irresistible sound to generation after generation. More than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 30 albums, ten Grammy awards and literally millions of miles on the road.

“I’m the reason it’s still together, but the reason it’s popular is because we’ve had the greatest singers and players,” Benson explains. “When someone joins the band, I say, ‘Learn everything that’s ever been done, then put your own stamp on it.’ I love to hear how they interpret what we do. I’m just a singer and a songwriter, and a pretty good guitar player, but my best talent is convincing people to jump on board and play this music.”

Asleep at the Wheel has collaborated on records with genre-spanning friends, including Willie Nelson on 2009’s Grammy Nominated Willie and the Wheel and other critically acclaimed artists, including Brad Paisley, Jamey Johnson, Merle Haggard, George Strait, the Avett Brothers, Amos Lee, Old Crow Medicine Show and Lyle Lovett on Still the King, their 2015 critically acclaimed and Grammy winning tribute to Bob Wills. On their latest release, Half A Hundred Years, Asleep At The Wheel continued their contributions to the American music landscape when three original members of Asleep at the Wheel—Chris O’Connell, Leroy Preston, and Lucky Oceans—returned after 40 years to lend their voices and musicianship to a number of tracks on the album along with Emmylou Harris, Lee Ann Womack, George Strait, Lyle Lovett and Willie Nelson.

Asleep at the Wheel represents an important cornerstone of American roots music, even though some of its members and audiences represent a new generation. That far-reaching appeal remains a testament to Benson’s initial vision.

“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.”

asleepatthewheel.com

TICKETS: $45

A dazzling array of musical talents will be showcased throughout the season during these hour-long programs, organized by John Beutel and sponsored by the Stoughton Area Senior Center. All Music Appreciation events are free and open to the public.

With a unique profile in education, performance, research, and entrepreneurship, pianist Alissa Freeman has been lauded for her excellence in each of these arenas. She has been the recipient of two Presser Awards, the Rackham Predoctoral Fellowship, numerous full-tuition academic and music scholarships, the MarySue Harris Teacher Fellowship, invitations to present for many large national and international arts and music organizations, and several awards in national and state piano competitions. 

Both in her personal and professional life, one of Alissa’s goals is to understand barriers to inclusivity and find creative ways to remove them. Her passion project, ||:HerClassical:|| promotes music written by 18th-century women composers by compiling and producing recordings, editions, and teaching resources. Though she is dedicated to finding works outside of the canon, she also enjoys tackling complex standards: she recently recorded the entire set of Chopin’s Op. 25 etudes, and her concerto performances have included the Michigan premiere of Doreen Carwithen’s Piano Concerto with the Ann Arbor Symphony Orchestra in 2022, as well as award-winning performances of Prokofiev’s 2nd Piano Concerto and Rachmaninov’s 2nd Piano Concerto.

Alissa received her Doctoral and Masters Degrees in Piano Performance and Pedagogy from the University of Michigan. Her instructors have included Logan Skelton, Scott Holden, John Ellis, Matthew Bengtson, and Maria Prinz. Alissa currently teaches at Panoramic Piano Studio, Beloit College, and for WYSO's Music Makers. She enjoys going on long hikes with her husband, Anthony, and dog, Ruby.

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