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DTSTART;TZID=America/New_York:20261022T200000
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SUMMARY:Dar Williams
DESCRIPTION:Thursday\, October 22\, 2026\n$49 Advance | $51 Day of show\n[all-in pricing\, no additional fees]\nDoors 7pm | Show 8pm \n“It’s a highway\, filled with deep\, exotic colors and beautiful delicate things as well as the perils that come from moving so fast\,” says Dar Williams\, describing modern life. On her 13th album\, Hummingbird Highway\, out September 12 on Righteous Babe Records\, Williams celebrates the colors she glimpses from her vantage as a touring musician. “I was a kid from the suburbs who listened when her hippie teachers said to get out in the world\,” Williams muses. Hummingbird Highway is the latest chapter in a richly unfolding story. Drawing on her experience as a playwright\, Williams populates her latest album with nuanced characters that come alive in the space of a few minutes.\nOn the title track\, Williams sings from the perspective of a child speaking to her peripatetic and sometimes struggling parent. Blooming columbines\, china blue teapots\, and cinnamon bark number among the “treasures” in her life\, despite the “pirates” that she imagines populating her worldly parent’s life. “The pirates can be all sorts of things living inside and outside your head. The child\, for better or worse\, knows that there is joy\, unpredictability\, and instability on the home front. She’s rooting for the joy.” \nSince 2013\, Williams has been leading songwriting workshops where she teaches students to let songs find their own trajectories. While writing the breezy bossa nova “Tu Sais Le Printemps\,” (single release 7/29/25) Williams questioned why she was writing a light\, flirty song amidst many gloomy news stories. “I was having coffee with some of my fellow retreat leaders and Beth Nielsen Chapman\, telling them about my ‘frilly’ song\, and Beth said\, ‘That’s just what I want to hear right now!’ It was a nice moment to follow my own advice and let the song find its way.” \nWith help from Williams’ collaborators\, the other songs found their paths as well. Mainly produced by Ken Rich at Brooklyn’s Grand Street recording (with two tracks produced by Dave Chalfant in Western Massachusetts)\, the Hummingbird Highway sessions were a microcosm of the interdependence that provided inspiration from inception to full production. These songs are ecosystems that thrive on co-creation. Daisy Mayhem brings roots-rock energy to the bluegrassy “Put the Coins on His Eyes\,” while long time touring-mate and collaborator Bryn Roberts creates both the hooks and immersive sonic landscapes of every musical genre. Simpatico “studio magic” can be heard in the happy rowdiness of the Richard Thompson cover\, “I Want to See the Bright Lights Tonight\,” as well as in the contemplative “Sacred Mountain” where Williams wraps a halting melody around the narrator\, a Buddhist who struggles to reconcile inward contemplation and political action. Through gray skies\, snow pigeons\, and petitions to stem industrial pollution\, the character moves through shifting mindsets to work towards “what we see; what we breathe in time.” \nWilliams sees and breathes the way people connect with one another\, as chronicled in what she calls her “take on urban planning\,” What I Found in a Thousand Towns (Basic Books\, 2017). “I traveled and watched how other people created these cool things like town-wide science fairs and hilarious celebrations of potatoes and chili\, often going hand-in-hand with providing serious resources like food banks and free clinics\,” she recalls. Along the way\, she’s seen the devotion of strong unions (as in “Put the Coins On His Eyes”) and congressional reps alike. “Maryland\, Maryland” was inspired by conversations with her friend\, Rep. Jamie Raskin\, about what a new state song would include. “In the end\, my definition of a Maryland song was song about Jamie\, who is a proud\, patriotic son of the state.” As Williams continuously takes in the social landscapes of towns and cities\, she has also taken them home\, helping to start a thrift sale\, chairing a community board\, and helping to organize group sings in her New York hometown. “For someone who’s seen a lot of pavement and airports along with all the great places where I’ve played\, it’s especially nice to come home\,” she says. \nAs hummingbirds and folk singers fly\, they gain perspective and not just distance. She finds that wise perch on “Olive Tree\,” a single out on August 26. With production of stirring percussion and twinkling keys\, she considers everything that’s led up to our current moment. Williams observes “all of these strangers and friends” talking about world events at parties and dinner gatherings and thinks back to all the iterations of those conversations from Aristotle on. In a moving verse\, she conjures a time in 1913 when California Berkeley scientists planted an olive grove in the United States and imagined the generations who would meet in the olive trees’ shade for “over one thousand years.” When Williams promises “I’ll meet you here under an olive tree\,” we all know that both she and we will\, wherever and whenever we continue to foster olive trees and a human-scale\, deeply-rooted democratic society. \nLongtime listeners know that Williams and her music are always up for those kinds of conversations that glimpse the brightest colors\, woven into the larger context of time. “As I’ve gotten older\, I feel more comfortable holding a lot of different threads in my hand to create more complicated patterns. Time has given me a better ability to hold a bunch of colors and temperaments and see what happens\, where they become interesting new stories and also where I need to stop and untangle the themes and characters. It’s daunting\, and I’ve learned that\, you know\, daunting is fine\, just keep going.” \nA prolific lyricist and composer\, Matthews has found inspiration in her surroundings; from driving through the Blue Ridge Mountains to the compelling and heart-breaking love story of Richard and Mildred Loving. Thoughtful\, realistic and emotional\, Matthews’ songs speak to the voice of our generation and remind us why music indeed soothes the soul.
URL:https://www.vivafallriver.com/event/dar-williams/
LOCATION:Narrows Center for the Arts\, 16 Anawan St.\, Fall River\, MA
CATEGORIES:Live Music
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DTSTART;TZID=America/New_York:20261113T200000
DTEND;TZID=America/New_York:20261113T220000
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SUMMARY:Robbie Fulks & Heath Maloney
DESCRIPTION:Friday\, November 13\, 2026\n$39 Advance | $41 Day of Show\n[all-in pricing\, no additional fees]\nDoors 7pm | Show 8pm \n“It’s time to make a change\,” Robbie Fulks declares at the start of Now Then\, his second album on Nashville’s Compass Records. This statement is familiar to anyone who follows this critically acclaimed and GRAMMY-nominated singer-songwriter’s career. Since emerging in the 1990s as a pioneer of today’s Americana movement\, Fulks has consistently explored different sounds\, genres\, and themes across 16 albums\, performing on stages from the Grand Ole Opry and Late Night with Conan O’Brien to the Hollywood Bowl and Jimmy Kimmel Live with Steve Martin\, Alison Brown\, and Tim O’Brien.\nThat restless spirit lies at the heart of Now Then. Like a well-stocked jukebox in your favorite bar\, the 12 songs on Now Then range from folk to power pop\, jazz to old-time country. But the perspective threaded through each one comes from the realization that the time behind you spans a greater distance than what lies ahead. “It’s from an older person’s outlook\, and mostly true\,” Fulks says. “The tone is about 70 percent reflective\, 20 percent amused\, and 10 percent angry.” \nIndeed\, the album opener “Workin’ No More Blues” quietly resists a world that demands greater conformity by the day: “Now I’m weary of those around me/And I know for sure they’re sick of me/They say I won’t do as I’m told/They say I’ve lost the thread/I’m too old.” The aged narrator of “Savannah is a Devilish Girl” — a dance between banjo and fiddle — dreams of disappearing into rural life. Love appears in the song “The Thirty-Year Marriage” as something more potent than romance. The narrator and his wife smile at young couples who don’t yet realize what only years reveal: “We didn’t fall out of love/We fell into rhythm.” \nA constant across Now Then is the novelist’s eye for lyrical detail. Peeling back these story songs often uncovers harsh truths\, as in “Your Tormentors\,” where the music’s late-night setting hides family secrets. In “That was Juarez\, This is Alpine\,” a narrator describes a cross-border journey into a troubled landscape of political division and historical injustice\, with the music providing an epic sweep. And “Ocean City” tells a coming-of-age story set in summer 1974\, narrated by a young boy. Adults drink and play gin rummy\, and the boardwalk holds lifelong desires. “The girl downstairs/Has wavy yellow hair/That I’ll be seeing a long time in dreams\,” Fulks sings. \nThroughout his career\, Fulks has collaborated with some of music’s most distinguished artists\, including Lucinda Williams\, jazz violinist Jenny Scheinman\, bluegrass pioneers Sam Bush\, Jerry Douglas\, Alison Brown\, and Sierra Hull\, singer Kelly Willis\, NRBQ’s Al Anderson\, and steel guitarist Lloyd Green. Now Then expands this circle with contributions from Scheinman\, drummers Pete Thomas (Elvis Costello) and Jay Bellerose (Aimee Mann\, Robert Plant\, Alison Krauss)\, bassist Paul Bryan (Aimee Mann\, Jeff Parker)\, keyboardist Wayne Horvitz (John Zorn\, Bill Frisell)\, guitarists Duke Levine (Bonnie Raitt\, Peter Wolf) and Kevin Barry (Jackson Browne\, Rosanne Cash)\, and accordionist Pepe Carlos (La Santa Cecilia)\, among many others. As an ensemble\, they craft intertwined musical textures that drive each song’s rhythm\, highlight their personalities\, and add depth. \nNow Then can be seen as Fulks’ proper “L.A. record\,” as it’s his first complete collection of songs written since moving to Los Angeles in 2019\, featuring musicians he connected with soon after arriving. “Working with people I admired on records but had never met\, who I was just starting to meet — that was at the front of my mind when I started working on the songs\,” he said. “They influenced me when I was trying to put the songs on the page\, and later when I was bringing them to life.” \nRobbie Fulks has always been more than a conventional country singer and songwriter. After growing up in North Carolina and spending time in New York City\, Fulks began his professional music career playing bluegrass in the band Special Consensus before emerging as a solo artist in Chicago during the mid-1990s. His early albums received nationwide praise for blending a modern sensibility with honky-tonk country. His creative partnership with the late Steve Albini resulted in a string of highly regarded albums\, showcasing his sharp lyrical wit\, sophisticated instrumentation\, and inventive storytelling. \nAlong the way\, Fulks gained recognition for his instrumental virtuosity and powerful songwriting. Artists like Sam Bush\, Andrew Bird\, John Cowan\, the Old 97’s\, and Hiss Golden Messenger have covered his songs\, and he has released full albums reinterpreting the works of Michael Jackson and Bob Dylan\, along with two collections of unreleased songs and rarities totaling 103 tracks. His creative ventures include an unhinged 2013 collaboration with the punk legends The Mekons\, productions of albums by alt-country songwriters Brennen Leigh and Dallas Wayne\, and a fiery duo with rockabilly pioneer Linda Gail Lewis. Fulks also performs with comic improvisers; he is a regular at Second City’s holiday fundraisers and has shared the stage with talents like Michael McKean\, Tina Fey\, Bob Odenkirk\, and Fred Armisen. \nFulks resides in Los Angeles with his wife\, actress Donna Jay Fulks. \nAbout Heather Maloney: With over 1\,000 international shows and 9 studio albums under her belt\, Heather Maloney has released her most personal record to date\, Exploding Star (Jan 2025). \nOn Heather’s 2019 album\, Soil In The Sky\, her “ability to channel emotion is radical” (PopMatters) and the tracks are stacked with special guests who help her deliver an immense range of sound and sentiment in 12 songs; there’s a duet with Dawes front-man Taylor Goldsmith and vocal harmonies by Lake Street Dive’s Rachael Price. The all-star band includes drummer Griffin Goldsmith (Dawes)\, and multiple members of the Amos Lee band.  The Bluegrass Situation called her 2015 release\, Making Me Break (produced by Band of Horses’ Bill Reynolds) “an intoxicating blend that captures the sonic texture of indie rock\, the humanity of folk and the spirituality of a Rumi poem.” In 2014 she released “Woodstock”\, her collaborative effort with Boston quartet Darlingside\, which drew praise from the New York Times and Graham Nash. \nHeather’s songs have played on NPR stations across the country and her live appearances have aired on syndicated programming like eTown and AudioTree. Her song “Nightstand Drawer” was featured in the season finale of the CBS TV series “Elementary”\, and her songs have also been streamed hundreds of thousands of times on editorial Spotify playlists & Starbucks’ in-store nationwide playlists. \nAs well as a songwriter and performer\, Heather is an illustrator and linocut artist who carves and prints visual representations of her songs on a variety of mediums. \nHeather has toured throughout the US & Canada as a headliner and also in support of acts including Anais Mitchell\, Lake Street Dive\, Shakey Graves\, Gary Clark Jr.\, Rodrigo y Gabriela\, Colin Hay (Men at Work)\, Mary Chapin Carpenter\, Shawn Colvin\, Dar Williams and many more.
URL:https://www.vivafallriver.com/event/robbie-fulks-heath-maloney/
LOCATION:Narrows Center for the Arts\, 16 Anawan St.\, Fall River\, MA
CATEGORIES:Live Music
ATTACH;FMTTYPE=image/jpeg:https://www.vivafallriver.com/wp-content/uploads/2026/06/FulksMaloney_FallRiver.jpg
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DTSTART;TZID=America/New_York:20261128T200000
DTEND;TZID=America/New_York:20261128T220000
DTSTAMP:20260618T213738Z
CREATED:20260618T213738Z
LAST-MODIFIED:20260618T213738Z
UID:10022340-1795896000-1795903200@www.vivafallriver.com
SUMMARY:Neal McCarthy Electric Band
DESCRIPTION:Saturday\, November 28\, 2026\n$30 Advance | $32 Day of Show\n[all-in pricing\, no additional fees]\nDoors 7pm | Show 8pm \nFor over 30 years\, Neal McCarthy has been at the forefront of the regional music scene. Neal doesn’t play the music\, he channels it.
URL:https://www.vivafallriver.com/event/neal-mccarthy-electric-band/
LOCATION:Narrows Center for the Arts\, 16 Anawan St.\, Fall River\, MA
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DTSTART;TZID=America/New_York:20261203T200000
DTEND;TZID=America/New_York:20261203T220000
DTSTAMP:20260622T143747Z
CREATED:20260320T164640Z
LAST-MODIFIED:20260622T143747Z
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SUMMARY:Chris Smither
DESCRIPTION:Thursday\, December 3\, 2026\n$49 Advance | $51 Day of Show\n[all-in pricing\, no additional fees]\nDoors 7pm | Show 8pm\n\nBorn in Miami\, during World War II\, Chris Smither grew up in New Orleans where he first started playing music as a child. The son of a Tulane University professor\, he was taught the rudiments of instrumentation by his uncle on his mother’s ukulele. “Uncle Howard\,” Smither says\, “showed me that if you knew three chords\, you could play a lot of the songs you heard on the radio. And if you knew four chords\, you could pretty much rule the world.” With that bit of knowledge under his belt\, he was hooked. “I’d loved acoustic music – specifically the blues – ever since I first heard Lightnin’ Hopkins’ Blues In My Bottle album. I couldn’t believe the sound Hopkins got. At first I thought it was two guys playing guitar. My style\, to a degree\, came out of trying to imitate that sound I heard.”\nIn his early twenties\, Smither turned his back on his anthropology studies and headed to Boston at the urging of legendary folk singer Eric von Schmidt. It was the mid-’60s and acoustic music thrived in the streets and coffeehouses there. Smither forged lifelong friendships with many musicians\, including Bonnie Raitt who went on to record his songs\, “Love You Like A Man” and “I Feel the Same. (Their friendship has endured as their career paths intertwined over the years.) What quickly evolved from his New Orleans and Cambridge musical experiences is his enduring\, singular guitar sound – a beat-driven finger-picking\, strongly influenced by the playing of Mississippi John Hurt and Lightnin’ Hopkins\, layered over the ever-present backbeat of his rhythmic\, tapping feet (always mic’d in performance). \nSmither’s first albums\, I’m A Stranger\, Too! (1971) and Don’t It Drag On (1972) were released on Poppy Records\, home of kindred spirit Townes Van Zandt. By the time Smither recorded his third album\, Honeysuckle Dog with Lowell George and Dr. John helping out\, United Artists had absorbed Poppy and ultimately dropped much of their roster\, including Smither. Smither made his next record in 1985\, when the spare It Ain’t Easy on Adelphi Records marked his return to the studio. \nBy the early ’90s\, Smither’s steady nationwide touring and regular release of consistently acclaimed albums cemented his reputation as one of the finest acoustic musicians in the country. His 1991 album\, Another Way to Find You\, was recorded live in front of an in-studio audience with no overdubs or second takes. This would be the first of two albums with Flying Fish Records. His next recording\, Happier Blue\, was embraced by Triple A radio and received the NAIRD (now AFIM) award as Best Folk Recording of 1993. Up On The Lowdown (1995) marked the first of a trio of albums to be recorded with producer Stephen Bruton at The Hit Shack in Austin and his first of five albums with roots label HighTone Records. Up On the Lowdown rode the crest of the newly formed Americana radio format wave and sparked considerable interest abroad. A tour of Australia with Dave Alvin and extensive solo touring in Europe led to an expanding global interest in Smither. His song\, “I Am the Ride\,” from this album inspired the independent film\, The Ride\, for which Smither also composed the original score. \nIn early 1997 Smither released Small Revelations. It climbed the Americana and Triple A radio charts and led to concert dates with B.B. King\, Bonnie Raitt\, Nanci Griffith\, and the hugely successful\, original Monsters of Folk’ tour with Ramblin’ Jack Elliott\, Dave Alvin and Tom Russell. Small Revelations also generated several film projects for Smither. Emmylou Harris recorded his song\, “Slow Surprise\,” for the The Horse Whisperer soundtrack on MCA. And his recording of “Hold On” was used in the indie feature film Love From Ground Zero. Smither also shared insight into his guitar style and technique on two instructional DVDs\, available from Homespun Video. \nHis CD\, Drive You Home Again (1999)\, garnered four-stars from Rolling Stone. And with it\, Smither continued to tour world-wide. Shortly after\, in 2000\, Smither released his one-man-tour-de-force\, Live As I’ll Ever Be. Recorded in-concert at various clubs and concert halls in California\, Dublin\, Galway\, Boston\, and Washington DC\, it has proven to be a fan favorite\, capturing Smither at what he loves to do: performing in front of an audience. \nTrain Home (2003) was Smither’s last record for HighTone and his first with producer David Goodrich. Over a six-week period\, basic tracks for Train Home were recorded in the relaxed environment of Smither’s home near Boston. Working with new session musicians\, the record is simultaneously sparse and assured. Bonnie Raitt graciously provided backing vocals and slide guitar on Smither’s cover of Bob Dylan’s “Desolation Row.” And Smither’s “Seems So Real” from the CD earned a Folk Alliance Award as “Song of the Year.” \nIn 2005\, jazz great Diana Krall covered “Love Me Like A Man\,” introducing what is now a blues standard to a whole world of jazz fans. Shortly after\, Smither’s song “Slow Surprise” was included in the independent film\, Brother’s Shadow. In addition\, Smither narrated a two-CD audio book recording of “Will Rogers’ Greatest Hits.” Continuing to expand his creative horizon\, Smither was invited to contribute an essay to Sixty Things to Do When You Turn Sixty\, a 2006 collection of essays by American luminaries on reaching that milestone. In 2009\, Melville House published Amplified\, a book featuring 16 short stories by notable American performing songwriters. Smither’s story Leroy Purcell about a touring musician’s encounter with a Texas State Patrolman leads off the collection. \nWith the release of his 12th recording Leave The Light On (2006) on his own imprint\, Mighty Albert\, Smither began a new label relationship with the renowned acoustic and modern folk label\, Signature Sounds. For the recording\, Smither reunited with producer David Goodrich and session musicians Mike Piehl\, Lou Ulrich and Anita Suhanin. As an added treat\, Smither invited good friend and Grammy Award-winning multi- instrumentalist\, Tim O’Brien\, along with rising American roots stars\, Ollabelle\, to add their distinctive talents on several tracks. Smither followed this with Time Stands Still (2009)\, his most stripped down recording in some time\, working with just two accompanists after the same trio had played a rare band performance – a non-solo setup required in order to play a Netherlands festival. \nAbout the recording Smither says\, “We’re the only three guys on this record\, and most of the songs only have three parts going on. We had a freewheeling feeling at that festival gig\, and we managed to make a lot of that same feeling happen in this record.” In 2011 Smither put out two fan projects: a collection of live tracks from newly discovered concert recordings from the 1980s-1990s titled Lost and Found and the rollicking EP\, What I Learned in School\, on which Smither covered six classic rock and roll songs. \nSmither followed these fan-projects with Hundred Dollar Valentine (2012)\, a ★★★★★ (MOJO) studio record of all Smither-penned songs. With longtime producer David “Goody” Goodrich at the helm\, this collection sported Smither’s trademark acoustic guitar sound and evocative sonic textures meshed with spare\, brilliant songs\, delivered in a bone-wise\, hard-won voice. \nIn 2014 Smither released Still on the Levee (2014) – a double-CD retrospective. Recorded in New Orleans at the Music Shed\, this career-spanning project features fresh new takes on 24 iconic songs from his vast career and some very special guests including the legendary Allen Toussaint and Loudon Wainwright III. \nThe coffee table style book Chris Smither Lyrics 1966-2012 and Signature Sounds’ Link of Chain – an all-star tribute record including a stellar list of artists offering their takes on some Smither favorites including Josh Ritter\, Bonnie Raitt\, Loudon Wainwright III\, Dave Alvin\, Peter Case\, Tim O’Brien\, Patty Larkin\, and many others were fan-favorite accompaniments to the retrospective CD . \nIn March 2018\, Smither released his eighteenth record\, Call Me Lucky (Signature Sounds/Mighty Albert) once again teaming up with producer and multi-instrumentalist David Goodrich. Also joined by Billy Conway (Morphine) and Matt Lorenz (The Suitcase Junket)\, Smither recorded eight new originals along with some very special and surprising covers at the Blue Rock studios in the Texas hills in June 2017. \nIn October 2020\, More From The Levee\, the followup to the 50-year career retrospective Still on the Levee\, was released. Said Acoustic Guitar: Smither sings about “the big things – life\, love\, loss – in a penetrating and poetic yet unpretentious way.” \nThe 20th release\, All About the Bones (release date: May 3\, 2024 on Signature Sounds/Mighty Albert\, distributed by Redeye) is as elemental as the inky black shadows cast by a shockingly bright moon. Featuring eight brand new Chris Smither songs and Smither renditions of Eliza Gilkyson’s “Calm Before the Storm” and also Tom Petty’s “Time to Move On”\, 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 All About the Bones has a feel that is somehow baroque and austere at once.
URL:https://www.vivafallriver.com/event/chris-smither/
LOCATION:Narrows Center for the Arts\, 16 Anawan St.\, Fall River\, MA
CATEGORIES:Live Music
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DTSTART;TZID=America/New_York:20261205T200000
DTEND;TZID=America/New_York:20261205T220000
DTSTAMP:20260622T143643Z
CREATED:20260622T143643Z
LAST-MODIFIED:20260622T143643Z
UID:10022367-1796500800-1796508000@www.vivafallriver.com
SUMMARY:Joan Osborne Sings the Songs of Bob Dylan
DESCRIPTION:Saturday\, December 5\, 2026\n$60 Advance | $63 Day of Show\n[all-in pricing\, no additional fees]\nDoors 7pm | Show 8pm \nIn 2017\, Grammy-nominated artist Joan Osborne released the critically acclaimed album\, Songs of Bob Dylan. Her artistic and soulful reinterpretations of the selection of Dylan songs was an eye-opening moment in an already celebrated career. \nEight years after milestone recording\, Osborne released the stunning Dylanology Live on April 25th\, 2025. The captivating recording finds the gifted vocalist performing in front of a live audience\, with special guests Amy Helm\, Robert Randolph and Jackie Greene. Songs include “Spanish Harlem Incident”\, “Buckets Of Rain” “Masters Of War”\, “Tonight I’ll Be Staying Here With You” and “High Water (For Charley Patton)”.\nThroughout her three-decade\, multi-Grammy nominated career\, Joan Osborne has never been an artist confined to one space as she continues to seamlessly blend into any genre. Her incredible and distinctive voice always shines through her own songs\, while she has also become one of her generation’s finest interpreters. Dylanology Live is yet another testament to her artistic range.
URL:https://www.vivafallriver.com/event/joan-osborne-sings-the-songs-of-bob-dylan/
LOCATION:Narrows Center for the Arts\, 16 Anawan St.\, Fall River\, MA
CATEGORIES:Live Music
ATTACH;FMTTYPE=image/jpeg:https://www.vivafallriver.com/wp-content/uploads/2026/06/Joan-Osborne-Trio-feat-Songs-of-Bob-Dylan-admat-1300-x-1350.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261216T200000
DTEND;TZID=America/New_York:20261216T220000
DTSTAMP:20260627T231415Z
CREATED:20260627T231415Z
LAST-MODIFIED:20260627T231415Z
UID:10022396-1797451200-1797458400@www.vivafallriver.com
SUMMARY:Squirrel Nut Zippers Christmas Caravan 2026 live at the Narrows
DESCRIPTION:Wednesday\, December 16\, 2026\n$82 Advance | $84 Day of Show\n[all-in pricing\, no additional fees]\nDoors 7pm | Show 8pm \nFor more than three decades\, the Squirrel Nut Zippers have occupied a musical universe entirely their own. Blending the hot jazz of 1920s New Orleans\, Southern roots music\, vaudeville\, blues\, folk traditions\, and a healthy dose of irreverent showmanship\, the band emerged from Chapel Hill\, North Carolina\, in the mid-1990s and quickly became one of the most distinctive and unexpected success stories of the era. \nFounded by Jimbo Mathus\, Katherine Whalen\, and Chris Phillips\, the Squirrel Nut Zippers began as a musical antidote to the alternative rock and grunge dominating the airwaves. Their wildly inventive sound—equal parts jazz revival\, Americana\, and carnival spectacle—captured the imagination of audiences looking for something entirely different. \nThat difference paid off in a big way. The band’s 1996 breakthrough album Hot became a platinum-certified phenomenon\, spawning the hit single “Hell\,” which climbed to #13 on Billboard’s Alternative Airplay Chart\, and propelled the Zippers from cult favorites to national stars. More than three million albums sold followed\, along with appearances on Late Night with Conan O’Brien\, The Tonight Show\, Late Show with David Letterman\, Sesame Street\, and Dick Clark’s New Year’s Rockin’ Eve. They performed at Carnegie Hall with Tony Bennett\, appeared at President Bill Clinton’s inaugural festivities\, headlined multiple sold-out tours\, and even inspired an animated music video created by the artists behind The Simpsons. \nToday\, the band is celebrating the 30th anniversary of Hot with a special anniversary tour honoring the album that changed everything. Three decades later\, the songs remain as vibrant\, inventive\, and exhilarating as ever and continue to resonate with new audiences\, recently featured in hit TV series like Wednesday (2025) and Lucifer (2021). \nFar from resting on their legacy\, the Zippers have continued to evolve creatively. Their 2018 release Beasts of Burgundy debuted at number 4 on Billboard’s Jazz Albums chart and earned widespread critical acclaim. Relix praised the album as “a deliciously wide-ranging comeback” filled with sounds emanating from mysterious times and places\, reflecting the band’s enduring commitment to musical exploration. \nIn 2020\, the band released Lost Songs of Doc Souchon\, a collection that combined original compositions with rediscovered gems from America’s musical past. Continuing their fascination with vintage culture\, the Zippers partnered with the legendary Fleischer Studios—home of Betty Boop—to create a visually stunning animated video inspired by the studio’s historic archives. \nWhether performing their annual Christmas Caravan\, celebrating the enduring legacy of Hot\, or unveiling new musical adventures\, the Squirrel Nut Zippers remain one of America’s most original and entertaining live acts. Their music is timeless yet impossible to categorize—a joyous collision of jazz\, blues\, folk\, and theatrical spectacle that continues to surprise\, delight\, and inspire audiences around the world. \nNot revivalists. Not traditionalists. True originals.
URL:https://www.vivafallriver.com/event/squirrel-nut-zippers-christmas-caravan-2026-live-at-the-narrows/
LOCATION:Narrows Center for the Arts\, 16 Anawan St.\, Fall River\, MA
CATEGORIES:Live Music
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