OUTDOOR FESTIVAL ON RACE STREET
Rubblebucket's Dream Picnic
Brothers Griiin After Party, Diet Cig, Caroline Rose, Mal Devisa
Sat · September 8, 2018
Doors: 1:00 pm / Show: 2:00 pm
Gateway City Arts
$29.50/Early Bird, $34.50/Early Bird + After Party!
This event is all ages
This event is minors under 18 with parent or legal guardian
Food and drink available from the Bistro at Gateway City Arts from 4pm throughout the show.
The Bistro at Gateway City Arts serves fresh, locally-sourced New American Cuisine for lunch, dinner and Sunday brunch. They also have a complete bar and seasonal outdoor beer garden that serves beer, wine, and classic as well as signature cocktails. For menus and more details please go to:
To contact the kitchen please call 413-650-0786 or email@example.com
A vessel in which workers collect waste materials on a construction site;
We need a rubblebucket for all this rubble.
A wild indie-sweat-pop band from Brooklyn, NY;
I'm jonesing for the new Rubblebucket EP ‘If U C My Enemies’.
The condition of having hard nipples, or riding a mean yes wave;
He has great Rubblebucket.
The act of uncrossing one’s arms and letting loose, while strange, new feelings and sounds flood mind and body, leading to uncontrollable dancing, possible injury and definite sweat;
We Rubblebucketed all night long.
My experience with Rubblebucket goes way back – to the summer of 1987, when I was born and first met lead singer and baritone saxist Kalmia Traver, then four. Kalmia was already well on her way to being a multi-instrument prodigy (penny whistle, recorder, alphabet burping), and I was already drowning in the ginormous shadow that she cast just by breathing. When she put our brother in a dress, blonde wig and heels, let me put on his lipstick, then encouraged his elastic micro-limbs into a diva pose, I knew she was a natural performer.
Kalmia met Alex Toth (band leader, trumpeter, guy, brother-from-another-mother, Jersey) in a latin jazz combo in Burlington, VT. I’m assuming she also encouraged his limbs into diva poses, because they quickly became cosmic twins, painting the town with their loud horn playing. In 2006, they moved to Boston, where they did respectable things for money. Kalmia nude modeled for art classes, and Alex was hustling marching band gigs at $50 a pop, for which he was required to wear a black shirt and march around for six hours at a time OR NO PAY NO WATER NO DINNER. It was like that scene in Oliver Twist. Naturally, out of this hot, tarry, magical, broke-ass time, Rubblebucket emerged like a huge, slippery, post-afrobeat baby.
The first time I heard Rubblebucket perform live, two things happened: I realized this was the coolest thing on earth, like the lovechild of a unicorn and the Tom Tom Club, and I asked them if I could sell their merchandise at shows. You know what they say – if you can’t do, sell merch. Night after night, standing behind that table of CDs, thongs and beer cozies, while Rubblebucket transformed the crowd from a skeptical wall of people into one big, happy, silly, jiving, open-hearted mass was an unforgettable experience. Their music does that – it just does. You can’t know it until you see it. And everyone who sees it, knows it. Like Paste, who said it best: “music that will make anyone with a pulse dance.” (I’ll annotate this by extending it to you pulse-less readers. You, zombie. I know you’re out there.) The Rubblebucket condition has spread around the country, melting cares in its way. It has warmed up cold northern cities like Toronto and Seattle and Chicago, barging in like an escaped rhino and triggering everyone, everywhere, to let loose and feel. Arm-crossing be damned!
I’ve been to many Rubblebucket shows. But it wasn’t until I was mid-crowd in NYC’s Bowery Ballroom and heard a guy in front of me say to his friend “the singer looks so hot tonight” (but? Gross? That’s my sister?) that I knew Rubblebucket had made it. The experts will tell you that, actually, this was when they released their 2011 album Omega La La, with its headlining tracks “Came Out of Lady” and “Silly Fathers,” and reached a whole new, larger audience. Or, when they flew out to LA to play on Jimmy Kimmel Live, and got free pizza and Alex almost puked backstage. Or, when their song “Came out of a Lady” appeared in the movie Drinking Buddies, and I knew I was suddenly one giant leap closer to meeting Anna Kendrick (that’s when I knew I had made it). Or, when their green rooms started stocking guacamole. Or, when their highly anticipated LP, Survival Sounds (Communion Records, Sep. 2014) introduced fans to the next evolution of Rubblebucket, and more and more people fell in love. Or, when they played a sold out Radio City Music Hall show in October 2016, opening for their acclaimed peers Lake Street Dive. Now, much to my drool and dire impatience, the band is winding up to unleash their follow up EP to Survival Sounds titled, If U C My Enemies, to be released in January 2017 via the band's own label, So Sensation Records.
Rubblebucket is many things and nothing at all; it’s a mindset, a legend, a feeling, a mystery; a mischievous, playful, boundary-smashing blast of sound that you can sit still and wonder at, or turn off your mind and dance move wildly to. Or both at the same time. As Kalmia said, when she handed me one of her now-famous peanut butter, cheddar cheese, cabbage, honey tacos, “This is the weirdest, most delicious thing you will ever taste.” And if you won’t take it on my authority, take it on the authority of a small, but reputable publication called Rolling Stone, reporting from Bonnaroo: “Rubblebucket revved up like an indie-rock Miami Sound Machine, dancers, horns and all.” And if you won’t take it on Rolling Stone’s authority, cleave to the words of our dad, Tim Traver: (most widely known for his role as Silhouette Man in the “Silly Fathers” music video): “Kids these days.”
More details to come.
You may recognize the Brothers Griiin as the fearless drumming duo behind The Flaming Lips, but after the show these international DJ destroyers bring the party to the people.
Matt Duckworth (Stardeath and White Dwarfs) and Nicholas Ley (Colourmusic) were friends as regulars in the Oklahoma music scene until they each got the call to join the Flaming Lips in early 2014. The plan was to alternate drumming duties for the Lips in between their other tours at first, but after a few shows with both drummers it was decided that the Lips would only play with the "Brothers". Matt and Nick learned quickly how they complemented each other with acoustic and electronic drums but also how their ability to swap duties within the band and offer other musical options.
It was during the preparation for the Miley Cyrus and her Dead Petz tour that Matt and Nick realized there was another musical venture they'd like to tackle together. "These days, the rock bands at festivals end fairly early. And our club shows do too. For those of us in the band and crew who weren't ready to pack it in for the night, we had limited options. None of the DJ's at the after parties were playing music we liked, so we decided to start our own party..." says Ley. Duckworth confirms "Yeah, we didn't start DJing as much as we just started taking control over the after-party. So now we look for places for our friends and fans to continue partying after the Lips' explosive live shows get everyone riled up. Eventually, we'd like to just be the party."
The Brothers Griiin aren't stopping there though. With their new found love of music curation, Matt and Nick are starting to remix songs for other artists and are beginning to produce as well.
When you catch them live, the Brothers have no genre or playlist, they just spin what the party needs, all night long. Mixing funk, hip hop, pop, indie and dance, these gladiators of style and taste keep the drinks full and the dance floor packed. Go party with them, you're all invited.
It will be loud.
It will be wild.
It will be Griiin.
Sometimes epic failures produce epic results. With the release of her new album I Will Not Be Afraid, keen-eyed young singer-songwriter Caroline Rose has broken her long string of short-circuits with a live-wire national debut that draws on her roots in rockabilly, vintage country and blues to capture her unique and personal vision.
Hoping to escape the dead ends that befell her hometown, colloquially dubbed a stop on “heroin highway”, Rose found her way out via a full ride to a small liberal arts college, where she failed as a scholar, barely scraping by to graduation. Next came a stint as a failed hippie, working on and leaving an organic farm. She then bought a vintage sports car to travel the country, but it quickly broke down. On the plus side, Rose got a job at a cider distillery, where she got to taste apple brandy and applejack all day…Followed by a stint stocking shelves and sweeping floors at a grocery store for a boss who eventually fired her.
“That was the last straw,” Rose recounts. “I don’t like most bosses and most bosses don’t like me. I don’t like most professors and most professors don’t like me. So here I am. I’ve made my own way on my own terms and it’s destiny knocking on my door. BAM!”
She describes the 11 songs on I Will Not Be Afraid as “postcards I’ve picked up from along the road,” and she means that literally. Rose is in perpetual motion. She tours and lives in her van, traveling the highways and back roads to fuel her creative spirit.
Rose’s wanderlust has taken the 24-year-old from her birthplace in a not-so-idyllic small Northeastern town to every corner of the nation, where she’s made friendships, heard stories and had experiences that she’s fashioned into songs like “America Religious,” which uses a driving snare drum with brushes and psychedelic folk fiddle to underpin the cool waterfall of her peaches and molasses voice as she sings about the open skies and the storm clouds inside the American heart. And in her own.
The themes of some of Rose’s songs are drawn from the familiar. “Blood On Your Bootheels,” which opens I Will Not Be Afraid with her prickly guitar and crazy-carnival organ, was inspired by the Trayvon Martin slaying and Rose’s own passionate reaction to violence and intolerance. “Everyone seems to have their opinions about how to live free in this country, especially when it comes to young men and even more especially when it comes to young black men like Trayvon,” Rose observes. Injustice and hardship also underline “Tightrope Walker,” a song inspired by a friend’s stories about working in the school system of an impoverished Mississippi town.
But other songs literally haunt her dreams. The gorgeous textural arrangement and lyrics of “When You Go” — which evoke the openness of both the Southwest and of the future in Rose’s and co-producer Jer Coons’ shimmering guitars and her strong, defiant vocal performance — tumbled out during a night’s rest. “Sometimes songs come to me while I’m asleep and they wake me up, and that’s the best time for me to write,” Rose relates. “When I wake up my mind is like a clear glass of water. I can see everything and capture it.” That’s especially apt for the stream of consciousness lyrics that bring many of her numbers to life.
Rose’s own life seems more akin to Jack Kerouac’s On the Road. Growing up in a coastal town, her parents — who were visual artists with a love for travel — gave Rose a restless, creative spirit. And like many working class seaside locales, her hometown suffers epidemic heroin abuse.
“I saw a lot of my friends get consumed by it, but I was one of the people that got out,” Rose says. “I worked my ass off to go to college and that really was my only plan of escape at that point. I think I was in denial about being an artist.”
For two of those years Rose worked on the aforementioned farm, hoping the experience would provide her with balance and direction. “I liked the work, but I’m too city to be country and too country to be city,” she offers. “So I moved on.” When Rose worked at a cider distillery, she slept in the barn loft where she recorded many of the demos for I Will Not Be Afraid with her acoustic guitar.
“I finally accepted the idea that writing, singing and playing songs is the only thing I’ve ever really been good at,” Rose relates, “so I decided to forget about everything else and live in my car, and I hit the road.”
Rose joined a new generation of touring songwriters who blend tradition, innovation and edginess, like Hayes Carll, whom she opened for in 2014 and bandmember Jer Coons, whom Rose shared a bill with one night and discovered to be a kindred spirit. Rose produced I Will Not Be Afraid with co-production by Coons at his Burlington, Vermont studio, where they also made Rose’s 2013 self-released America Religious, playing all the guitars, keyboards, harmonica, mandolin, drums and percussion themselves.
Rose explains that the title track is her mantra. “So many people are held back by fear,” she says. “They wish they could do something else with their lives, and they just can’t take the first step. I grew up questioning everything and learned that I needed to be on my own. I needed freedom and I needed to create on my own terms and to keep moving forward without fear, wherever I go.
“I also came to understand that I don’t have any choice,” she continues. “Music is what keeps me breathing. I can’t do anything else.”
Gateway City Arts
92 Race St.
Holyoke, MA, 01040