About This Event
Doors Open:6:30 PM
Show Time:7:30 PM
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Sprouting from the same mind that created the Books – one of the most acclaimed and innovative groups of the past decade – Zammuto marks a deep reinvention of the highly detailed, genre-defying spirit that made seminal albums such as The Lemon of Pink and The Way Out possible. Given the Books’ success as an experimental collage-pop project, founder and namesake Nick Zammuto could have comfortably extended that thread. Instead he has given us a record that is progressive and forward-looking, intense and driven, with hugely varied rhythms and melodies. The whispered, folksy vocals that became a trademark of the Books are for the most part shed in favor of an uncharacteristically confident, soaring delivery, often fueled by a wide array of vocal effects. The result is a man-machine sensitivity that ultimately enhances the songs’ emotional intensity. With dense and beautiful string arrangements by Gene Back (the Books) and brain-warping drum performances by Sean Dixon, the radical and varied sound of Zammuto leaps out of speakers with a searing directness.
Making music that sounds and feels like no one else is nothing new for Zammuto, but making music that doesn’t even sound like his own past is a whole other impressive feat in itself.
Miracles of Modern Science are an unlikely rock band. Using just mandolin, violin, cello, standup bass, and drums, they create explosive pop that upends notions of what these instruments can do.
The band began life at Princeton University. Vocalist/bassist Evan Younger and mandolinist Josh Hirshfeld shared a hall their freshman year and soon began hijacking open mics with their off-kilter acoustic collaborations. They found kindred spirits in other restless musicians from the school’s orchestras and jazz bands: conductor-by-day cellist Geoff McDonald, Aussie violinist Kieran Ledwidge, and finally powerhouse drummer Tyler Pines, who spurred them to plug their miniature orchestra into amps. The band built a cult following on campus and graduated to New York City, where their ecstatic live shows and dorm-grown EP earned them nods from NPR, SPIN, Wired, and Brooklyn Vegan.
MOMS’ debut album Dog Year finds the band pushing the limits of their antique instruments and throwing aside conventions as readily as their genre-bending idols, Bowie and Bartok. You’ll hear unhinged baritone vocals anchored by a looming upright bass, mandolin riffs that share more DNA with post-rock than bluegrass, and a two-man “string section” shredding as ferociously as the rock drummer behind them. The result is as daring as it is infectious.