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As Amelia Earhart is to aviation, as Julia Child is to the culinary arts, Alison Brown is to the five-string banjo. She created a seismic shift in the instrument’s history when her wholly individual style gained her entry into the elite class of acknowledged banjo innovators—who, at the time, were all men.     

Starting In the mid-20 th century, thanks to the stylistic innovations of Earl Scruggs, the banjo largely became identified for its role in bluegrass music. Other men pushed the instrument to new stylistic heights, led by forward-thinkers such as Bill Keith, Tony Trischka and Béla Fleck.    

Alison Brown broadened the instrument’s sound and identity when she rose through the ranks by developing a distinctive voice as a player and composer. Breaking precedent, she gained recognition when she became the first woman to win an International Bluegrass Music Award in an instrumental category. As the IBMA’s 1991 Banjo Player of the Year, she marked a sea change within the organization, which now regularly honors women instrumentalists.    

Like many of her peers, Brown picked up the banjo after hearing Earl Scruggs; at age 10, she heard the Flatt & Scruggs’ album, Foggy Mountain Banjo , and her destiny was sealed. But, while her roots extend deep into bluegrass, her musical vision has always looked beyond the genre. On her 1991 GRAMMY-nominated debut, Simple Pleasures , she explored Latin and jazz alongside bluegrass with producer David Grisman, one of the early acoustic pioneers to blur musical borders. Her latest album, aptly titled On Banjo , continues that thread with Brown offering a musical autobiography of sorts. She explores the breadth of her instrument with original compositions that acknowledge her bluegrass roots yet venture confidently into broader stylistic horizons, putting her mark on Brazilian choro music, chamber music, Latin-fused classical and swing-era jazz.    

While many of Brown’s previous albums have included guest vocalists (check out Keb’ Mo’ on “What’s Going On?” from 2015’s Song of the Banjo) , her new collection is a purely instrumental outing. She invited an eclectic cast of collaborators, including fellow female virtuosos Sharon Isbin, Anat Cohen, and Sierra Hull, as well as banjo player/comedian/actor Steve Martin, multi-cultural chamber group Kronos Quartet, childhood pal and fiddle stalwart Stuart Duncan, and the supremely talented members of her touring quintet. In her mind, having guest musicians from across a variety of musical genres helps to shine a light on the disparate musical influences that co-exist within the banjo’s DNA.     

“When I think about where the banjo can go I can’t help but think about where it has been,” says Brown. “Most people know the banjo from bluegrass music and have heard the enormous influence Earl Scruggs had on the instrument. But many aren’t as aware of the banjo in early jazz or of its immense popularity in late 19 th century America. In a twist I find fascinating, during that period the banjo was the parlor instrument of choice for demure young white women to play with their legs crossed, ‘just so.’ All that history before Earl Scruggs ever played a lick!”  

The GRAMMY Award winner, and co-founder of the nearly 30-year-old Compass Records Group with producer/bassist/husband Garry West, Brown is considered among the world’s foremost banjoists and composers. In her hands, the banjo is equally at home on the front porch or the symphony hall. Throughout her career, she has taken the banjo beyond its Appalachian roots, blending bluegrass and jazz influences into a unique sonic tapestry that has earned praise from national tastemakers, including The Wall Street Journal , CBS Sunday Morning , National Public Radio and USA Today . Among many firsts, she is the only female five-string banjoist inducted into the American Banjo Hall of Fame. Leader of the renowned Alison Brown Quintet, she also is a frequent collaborator with other artists, including Indigo Girls and Steve Martin. Brown also co-chairs the annual Steve Martin Banjo Prize with its namesake, which speaks to their mutual respect.   

Garry West, her longtime co-producer, cites Brown’s compositional talents as her secret weapon. “Alison is widely acknowledged as one of the world’s best banjo players,” West says. “But her original tunes are every bit as notable as her instrumental ability. Her compositions are so diverse and distinctive, which is key when you look at the scope of her work and how she’s maintained such a unique voice and a consistently high quality over the years.”    

For On Banjo , Brown wrote a Brazilian choro to play with Israeli jazz clarinetist Anat Cohen; classical-influenced pieces to play with guitarist Sharon Isbin and with the Kronos Quartet; a blistering duet with Sierra Hull on “Sweet Sixteenths;” and a banjo/fiddle tune to play with longtime collaborator Stuart Duncan that tributes their shared California bluegrass mentors Byron Berline and John Hickman.   

Isbin notes that she collaborated with Brown onstage at the 2010 GRAMMY Awards, and she has admired her ever since. “I was honored when she wrote her joyous, Latin-flavored ‘Regalito’ for me, with its virtuosic finger-busting guitar part,” Isbin said. “Hearing for the first time the two sound worlds of nylon string guitar with banjo was a revelation, and the hot tune’s irresistible rhythms and colorful sounds with her band make it a winner.”    

Similarly, Cohen expressed delight about the chance to collaborate with Brown on “Choro ‘Nuff,” which included the Brazilian musicians Alexandre Lora on pandeiro and Douglas Lora on seven-string guitar. “ I cannot think of a better way to get to know a person than through their music,” Cohen said. “I discovered a sensitive, swinging, virtuosic, collaborative, and kind musician. I felt immediately at home sharing the melodies with her, intertwining my clarinet lines with Alison’s flowing banjo playing. This song makes me smile every time I hear it.”     

Steve Martin described Brown as “the great lyrical genius of modern banjo.” The two co-wrote “Foggy Morning Breaking,” pairing Martin’s clawhammer playing with Brown’s Scruggs-style banjo. Brown’s inspiration for the tune grew out of various backstage jams with Martin in double C tuning, a particular favorite of his, and borrowed the title from a lyric by John Hartford, an early influence on and collaborator with Martin and later musical influence for Brown.    

Hartford’s influence comes up again on “Sun and Water,” showcasing Brown’s arrangement sensibilities on a clever mash-up of the George Harrison composition “Here Comes the Sun” and Antonio Carlos Jobim’s “Aguas de Marco” (“Waters of March”). Brown plays a low banjo on the track, an instrument John Hartford used frequently to accompany his baritone voice and which she and many others consider to be his sonic signature. She played her Julia Belle low banjo on the track, an instrument she created in collaboration with Deering Banjos and which includes inlays of Hartford’s artwork on the fingerboard. “I think of John every time I pick up a low banjo,” Brown says. “That particular sound was so much a part of his music and it’s a special legacy he left for us banjo players.”    

The Alison Brown Quintet—with John Ragusa on flute, Chris Walters on piano, Garry West on bass, and Jordan Perlson on drums—shines throughout On Banjo , from the engaging opener, “Wind the Clock,” through the aptly titled barnburner, “Old Shatterhand,” to “BanJobim,” which features Brown on a custom banjola and on nylon string guitar and offers another nod to Brazilian music and master guitarist-composer Antonio Carlos Jobim.        

Taken together, Brown, her studio cohort West, her guests, and the rest of her band have fashioned yet another distinctive collection that defies expectations, crosses musical divides, and brings new sounds and ideas to a band led by a banjoist. Brown comments: “The moment I discovered Earl Scruggs, I unwittingly set off on a journey with an instrument that, at every personal crossroad, has shaped the direction of my life. Although bluegrass music was my first love, I’m still endlessly fascinated by reaching outside the box and exploring other musical possibilities through writing my own tunes for the banjo. To me that seems fitting for an instrument whose legacy extends beyond our shores and whose history is older than our nation itself. I believe the banjo has a lot to tell us about ourselves if we know how to listen.”  

At a time when musical hybrids seem to be all the rage, it’s important to acknowledge that Brown has been blurring musical boundaries since the beginning of her career. As a banjoist, she is often and easily labeled a bluegrass musician, but the reality is that none of her solo records have been traditional bluegrass. From her GRAMMY-nominated debut forward, her music has boldly included elements of jazz, Latin and Celtic music in addition to bluegrass.  On Banjo  is a continuation of Brown’s innovative, technical, and compositional artistry. What genre is it? Who cares? It’s Alison Brown music.  

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Alison Brown, banjo star and MBA-holder, is on tour to promote her new album featuring Steve Martin, Kronos Quartet

The Grammy Award-winning La Jolla High School alum will perform June 22 at UC San Diego’s downtown Park & Market. She is featured in the new film documentary, ‘Recordially Yours, Lou Curtiss,’ which premieres June 23 at Digital Gym

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Grammy Award-winner Alison Brown’s status as the world’s most unlikely banjo star is as undeniable as her command of the steel-stringed instrument long synonymous with her name.

Her star-studded new instrumental album, “On Banjo,” features fellow banjo champion Steve Martin, the Kronos Quartet, classical guitarist Sharon Isbin, jazz clarinet dynamo Anat Cohen and multi-instrumental bluegrass great Stuart Duncan. He was Brown’s frequent musical partner when they were growing up in Southern California, an era the two salute on the ebullient “Tall Hog at the Trough,” one of the album’s standout cuts.

“I met Stuart at Shakey’s Pizza Parlor in La Mesa in 1974, at a monthly meeting of the San Diego Bluegrass Club,” she recalled, speaking from her Nashville area home. “He was 10 and I was 12. We were probably the youngest players there.”

A Connecticut native, Brown was still in grade school when her family moved to La Jolla.

Already a budding guitarist, Brown had switched from guitar to banjo after being mesmerized by Earl Scruggs’ classic 1949 recording, “Foggy Mountain Breakdown.” She was entirely undaunted taking up the instrument at a time when banjo players in La Jolla were as rare as bagpipers on the North Pole.

“My parents were supportive,” Brown said. “But this was not something they, or I, ever contemplated for me as a career. And there were very few role models in the bluegrass/roots-music world then — especially banjo players — you could look at and say: ‘That’s the career I want!’ ”

Imminent San Diego homecoming

Brown returns to San Diego to perform June 22 at UC San Diego’s downtown Park & Market with her four-man band. The next day, June 23, will see her featured at the adjacent Digital Gym in the world premiere screening of “Recordially Yours, Lou Curtiss,” a 70-minute film documentary about the founder of the San Diego Folk Festival, Folk Arts Rare Records and Adams Avenue Unplugged.

“I wish we could stay for the screening, but we’re performing in Phoenix that night,” she said. “I have a little bit of history with Lou.”

Brown was a 16-year-old student at La Jolla High School when she won top honors at the Canadian National Banjo Championship. That victory resulted in her and Duncan performing later that summer on the Grand Ole Opry. Brown’s most recent appearance on the nationally broadcast show — a country and bluegrass music institution for nearly a century — was on May 5.

Following her graduation from high school, she got a bachelor’s degree in history and literature at Harvard. After earning her MBA at UC Los Angeles, she spent several years in San Francisco working as an associate in public finance for Smith Barney. Her career track is one no other national bluegrass star can claim.

“I worked on the municipal bond side of things at Smith Barney. So boring!” Brown said. “At work I would hide a copy of Bluegrass Unlimited magazine inside The Bond Buyer — which is what investment bankers read back then.”

She laughed.

“The Bond Buyer costs $1,595 a year. Would you like me to get you a subscription?”

Brown happily left the world of high finance in 1987 to become a member of future bluegrass queen Alison Krauss’s band, Union Station. She was featured on the group’s Grammy Award-winning 1990 album, “I’ve Got That Old Feeling.”

Breaking glass ceilings

In 1991, Brown became the first woman to win the International Bluegrass Music Association’s Banjo Player of the Year award. She launched her solo career the same year with the release of her debut album, the Grammy-nominated “Simple Pleasures.” In 1992, she became a member of singer-songwriter Michelle Shocked’s band.

Since 1995, Brown has been the president of the Nashville-based Compass Records Group, which she co-founded with her husband and band mate, bassist Garry West.

Compass now has nearly 1,000 releases to its credit, including albums by Leftover Salmon, Molly Tuttle, former San Diego troubadours Steve Poltz and AJ Croce, Men At Work singer Colin Hay and such esteemed Celtic music groups as Altan and the Tannahill Weavers.

In 2000, Harvard Business School did a case study on Brown and Compass Records. It was a point of particular pride for her attorney father, John Brown, as he recalled in a 2014 Union-Tribune interview.

“Alison was playing one year at the Hardly Strictly Bluegrass festival in San Francisco, and this gal came and struck up a conversation,” said John Brown, who died in 2020. “The woman said: ‘I’m from Harvard. We’ve been studying your daughter for a year, because she’s one of the few people we know of who has both sides of her brain — the artistic and business — equally developed.’

“Alison just loved music,” her father continued, “from the moment she first heard it, and was always a really good student. So she had kind of a parallel track going from an early age. She’d work hard on her studies and then go sit in the bathtub, which had better acoustics, to practice her banjo.”

Did Alison Brown learn much during her tenure at Smith Barney that helped her as a budding entrepreneur launching an independent record company in Nashville?

“Many things,” she replied. “The rudiments of business — starting a business, starting a speed sheet and a P&L (profit & loss statement). Having that background was enough to convince our first-seed investors to come on board at Compass.

“In a broader sense, having had that experience at Smith Barney, after I left I always knew what I wasn’t missing. Otherwise, had I stayed in banking, I would have always wondered if I should have pursued music. But having been an investment banker with an MBA — I’ve never regretted turning my back on that.

“I think that if you are going to be a musician, you need to think about your industry as multipronged spokes on a wheel. People who make a living out of doing this are not just touring musicians. They may be music teachers or songwriters with publishing deals. So, it’s usually a multipronged effort that gets you able to make a living out of it.”

Harvard thesis

Brown eventually wrote her senior thesis at Harvard on the history of bluegrass music, before making some history of her own as a banjo player talented enough to expand the stylistic parameters of her instrument.

In 2019, she became the first female 5-string banjo player to be inducted into the American Banjo Museum’s Hall of Fame. At Compass, she produces albums by other artists and plays a key role in marketing, business development and day-to-day operations.

“The CD table is my favorite place to be to be at a gig, because I’m fascinated by what motivates people to come to a banjo concert,” she said.

“I’m also fascinated that — once they are there — they will buy a CD when they could easily stream it for free on their phones. And I’m so grateful because streaming (compensation) rates (for artists) are so low.

“Some of the people at my concerts have come to see me for a long time. And some of them — and these are my favorites — are the beleaguered spouses of banjo players, who have been dragged to the show and come up to me and say: ‘I didn’t know I liked the banjo!’ ”

CDs were the dominant form of recorded music when Brown and her husband launched the Compass Records Group nearly 30 years ago.

Today, in an age when many listen to music on their phones or computers, CDs are almost obsolete. But vinyl records have made a strong comeback and cassette tapes are also having a resurgence, albeit on a smaller level.

Does the target Compass album-buyer prefer a physical product, or a digital one?

“It kind of depends on the artist and the genre,” Brown said. “Our streaming numbers are a higher percentage of our overall revenue with younger artists or music that leans more into indie-folk and is lightly more commercial than bluegrass...

“Every release we do on Compass is available in physical and digital formats. And a lot of what we release is on LPs — or ‘vinyl,’ as the kids say. A significant number of younger people who buy vinyl at gigs don’t even have turntables. I guess they are pre-purchasing vinyl for the turntables they don’t yet have!

“So, we do have the challenge of being a record label that is existing in digital times.”

Extending banjo’s range

In any format, Brown’s new album, the vocal-free “On Banjo,” should appeal to a variety of audiences. She made it to showcase — as she has for much of her career — the range and flexibility of the banjo in, and far beyond, bluegrass.

Brown wrote specific pieces with specific artists in mind, both to showcase her musical guests on the album and to provide an eclectic mix of genres and approaches.

Eight of the album’s 10 selections were written by Brown. One, the Earl Scruggs-inspired “Foggy Morning Breaking,” was co-written and performed with Steve Martin, whose annual Steve Martin Banjo Prize Brown co-chairs.

“Sun and Water,” which features Brown band flutist John Ragusa, is a lilting mash-up of the George Harrison-penned Beatles favorite, “Here Come the Sun,” and Brazilian music icon Antonio Carlos Jobim’s “Waters of March.”

“Sweet Sixteenths,” another highlight, is a duet by Brown and fleet-fingered mandolinist Sierra Hull. Their sparkling, lattice-like playing is so seamless — on what Brown describes as a “chamber-grass” piece — that it’s difficult to determine what parts were rehearsed and what were created spontaneously while recording.

“Both of us played solos on the spur of the moment, but the melody was very composed,” Brown noted. “We spent a day beforehand figuring out where the mandolin should play the melody and the banjo harmony, and vice versa.

“I wrote it on the banjo, so it was easier for me. But Sierra learned it on the mandolin, and she just nailed it! She’s quite remarkable.”

“Porches” is a Stephen Foster-inspired piece that juxtaposes Brown’s deft banjo work with the pinpoint playing of the Kronos Quartet. The propulsive “Choro ‘Nuff” features Brown and Israeli-born clarinet standout Anat Cohen on an energetic romp. Its title is an homage to choro, the improvisation-fueled Brazilian music style inspired by African and Portuguese music.

Because it was partly made during the pandemic lock-down, the Kronos Quartet recorded its parts remotely at a studio near the group’s San Francisco home base, while Brown recorded her banjo part in Nashville. A similar approach was used with esteemed classical guitarist Sharon Isbin, who recorded her part for the Latin-tinged “Regalito” in her New York apartment.

Likewise, Brown and pianist Chris Walters recorded their respective parts for “Choro ‘ Nuff” in Nashville. Clarinetist Cohen recorded her part in New York, and guitarist Douglas Lora and frame drum player Alexandre Lora recorded in Brazil.

“Anat and I have yet to meet,” said Brown, a longtime fan. “If the pandemic had not happened, this album would have come out in 2020 or 2021. However, it would have been a different record — and it benefited from the extra time and restrictions the pandemic imposed on all of us.”

“Well,” Brown replied, “I think because everybody was sitting at home — especially musicians who are never sitting at home — and we got to collaborate with people we weren’t in the same (physical) space with.

“Pre-pandemic, I was thinking it would be great to work (in person) with Anat and Kronos Quartet. I learned that sending (digital audio) files to artists across the country or in other countries is also a completely legitimate way of working.

“For the song with Anat, we tracked the piano, drums and banjo parts in Nashville. We did so knowing we wouldn’t keep the drum track, but that we needed a (rhythmic) time source, and that we would replace the piano track but that Anat needed something to play along to.

“She put on her part, sent it back to me and I sent it to the guitarist, Douglas, who added his part. Then, we sent it to his brother, Alexandre, who played his percussion part, without the drum track we had done in Nashville. So, we started with the core track, and — by the end — everything had been replaced. I also replaced the original banjo part I had recorded so that I could respond to what Anat played.

“The happy surprise was how well it all worked. It opens your mind to thinking: ‘What else can I do from thousands of miles away?’ ”

Alison Brown Quintet, with guest singer Hannah West

When: 7 p.m. June 22

Where: Intersections Concert Series at Park & Market in the Guggenheim Theatre, 1100 Market Street, downtown

Tickets: $25-$35

Phone: (858) 534-1010

Online: parkandmarket.ucsd.edu/events/

“Recordially Yours, Lou Curtiss”

When: Opens June 23

Where: Digital Gym, 1100 Market Street, downtown

Tickets: $9-$12

Online: digitalgym.org

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Alison Brown Tour Dates and Upcoming Concerts

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Concert Under the Stars: Alison Brown

Spend an evening under the stars with Alison Brown. She is acclaimed as one of today’s finest progressive banjo players, but you rarely find her in a conventional bluegrass setting. Instead, she’s known for leading an ensemble that successfully marries a broad array of roots-influenced music: folk, jazz, Celtic and Latin.

Event Date & Time

Friday, March 3, 2023 7:00 p.m.

Advance: $35 members/ $45 non-members (Includes admission for the day) Day of Show: $50 Registration required

Buy Tickets Now

Pre-order meals from The Blue Palmetto Cafe Here

Concert Under the Stars Full Series Tickets

$135 Members / $152 Non-members

Alison Brown : March 3, 2023

The Steep Canyon Rangers : March 24, 2023

The Steel Drivers : April 21, 2023

Travelin’ McCourys : April 28

Buy Full Series Tickets Here

Frequently Asked Questions Do I need to bring chairs or blankets? Yes, chairs are not provided. We have removed the request for low chairs; however, we ask concert attendees to be kind to others and use standard lawn chairs. We also recommend mosquito repellent and flashlights.

Can I bring in food and beverages? The Blue Palmetto Café is open with full menu including beer and wine. Attendees can also use our convenient pre-order option and food and beverage will be ready upon arrival. We do allow outside food and beverage for attendees with dietary restrictions or concerns.

Why are you not allowing attendees to bring in food or beverages? As a non-profit organization, we depend heavily upon the revenues collected at our café, and for outdoor concerts to be sustainable, we must generate incremental revenue. We are grateful for our visitors’ financial support, and we look forward to growing our schedule.

Where is the Oval Lawn? The Oval Lawn is located adjacent to the Visitor Center and across from the Pollinator Garden.

Can I bring my dog? No, dogs are not permitted at the concerts.

How will you know I purchased a ticket and not just a guest with general admission? All concert attendees will need to check-in at the Entrance Gate to receive their concert wristband. Staff will be circulating on the Oval Lawn checking wristbands before and during the concerts. Visitors without wristbands will be exited from the Gardens.

When can I enter? The concert ticket includes general admission. Attendees may enter the Gardens at any time prior to the concert. We kindly ask concert attendees to begin setting up their chairs after the sound check at 5 p.m. The entrance gate will close at 8 p.m.

Can I arrive or depart with Uber or some other ride share service? Yes, upon arrival ask the Bok Tower Gardens gate attendant for the gate code that can be texted to your driver.

What will be open? The Shop at Bok closes at 7 p.m. The Blue Palmetto Café will be open until 8:15 p.m. The Visitor Center will be open until 9 p.m.

Where are the restrooms? Restrooms are available in the interior and exterior of the Visitor Center. Additional bathrooms are available at the Alexander Discovery Center.

Please Note:

Ticket price includes general admission to the Gardens. Tickets are available for purchase at www.boktower.org , in person at the Visitor Center or by phone at 863-734-1222. All programs and classes promptly begin at stated time and visitors are encouraged to arrive at least 10 minutes before class begins for check-in. Check-in begins 30 minutes prior to the class start time. Culinary events are demonstration based and late arrivals may not be accommodated. For classes held after 5 pm, the entrance gate will stay open for an additional 30 minutes after the start time. Once the gate closes, late arrivals will not be admitted. Due to the nature of culinary events held at the Outdoor Kitchen, Bok Tower Garden may attempt, but cannot guarantee, to accommodate food allergies. Dogs are not permitted at any educational program.

Please Note: Ticket price includes general admission to the Gardens. Tickets are available for purchase at boktower.org , in person at the Visitor Center or by phone at 863-734-1222. All programs and classes promptly begin at stated time and visitors are encouraged to arrive at least 10 minutes before class begins for check-in. Check-in begins 30 minutes prior to the class start time. Culinary events are demonstration based and late arrivals may not be accommodated. For classes held after 5 pm, the entrance gate will stay open for an additional 30 minutes after the start time. Once the gate closes, late arrivals will not be admitted. Due to the nature of culinary events held at the Outdoor Kitchen, Bok Tower Garden may attempt, but cannot guarantee, to accommodate food allergies. Dogs are not permitted at any educational program.

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Saturday 12 August 2023

Alison Brown

Discover more in Cleveland

14591 Superior Rd. 44118 Cleveland Heights, OH, US

Additional details

Doors open: 19:00

City of Cleveland Heights & Cain Park Alison Brown with The Adam Ezra Group

August 12, 2023 8:00 PM Doors Open: 7:00 PM

TICKET PRICES CURRENTLY AVAILABLE ADULT: $40.00 / $30.00 / $25.00 FRIEND OF CAIN PARK: $38.00 / $23.00 RESIDENTS: $40.00

TICKET SALE DATES RESIDENTS Cleveland Heights Residents Presale: April 17, 2023 10:00 AM to April 23, 2023 10:00 PM ADULT / FRIEND OF CAIN PARK Public Onsale: May 11, 2023 10:00 AM to August 11, 2023 11:59 PM

Tickets: https://www.etix.com/ticket/p/3153664/alison-brown-with-the-adam-ezra-group-cleveland-heights-cain-park-evans-amphitheater

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Sunday, November 5, 2023  ·  7:00 PM CST

Alison Brown / Special Consensus

4544 N Lincoln Ave · Gary and Laura Maurer Concert Hall · 773.728.6000

Alison Brown

One of the most multi-faceted minds in roots music, Alison Brown is a GRAMMY-winning musician, GRAMMY-nominated producer, former investment banker (with an AB from Harvard and an MBA from UCLA), and co-founder of The Compass Records Group which is celebrating its 30th anniversary in 2023.

Although Alison began her musical career as a teenager in the Southern California bluegrass scene, she has built a reputation as one of today's most forward thinking and innovative banjo players. She is known for taking the instrument far beyond its Appalachian roots by blending bluegrass and jazz influences into a sonic tapestry that has earned praise and recognition from a variety of national tastemakers including The Wall Street Journal, CBS Sunday Morning, NPR, and USA Today.

On her new release, aptly titled On Banjo, Alison continues her musical explorations on a set of original compositions that explore the range of the banjo. The album features an eclectic cast of collaborators including Steve Martin, Kronos Quartet, Sharon Isbin, Anat Cohen, Sierra Hull, Stuart Duncan and members of the Alison Brown Quintet.

https://www.alisonbrown.com/

Special Consensus

The Special Consensus is a bluegrass band that has achieved a contemporary sound in their four decades of performing, making their music a modern classic. The band is led by Greg Cahill, banjo player and recipient of the prestigious Distinguished Achievement Award from the International Bluegrass Music Association (IBMA) and inducted into the Society for the Preservation of Bluegrass Music in America Hall of Greats, and includes Dan Eubanks (bass), Greg Blake (guitar) and Michael Prewitt (mandolin).

They are four talented vocalists and instrumentalists who follow their creative desires without straying too far from their bluegrass roots. The 19th band recording, Rivers and Roads (Compass Records, 2018), was nominated for the 2018 Best Bluegrass Album GRAMMY award and received 2018 IBMA awards for Album of the Year and Instrumental Recorded Performance of the Year (for the tune “Squirrel Hunters”).

Great Blue North (Compass Records, 2023), the 21st Special C recording, is a tip of the hat to our Canadian friends and fans made throughout nearly four decades of touring throughout the country. All songs included on the recording were written by Canadian writers and numerous Canadian musician friends of the band made guest appearances. The Gordon Lightfoot song “Alberta Bound” received an IBMA nomination for the 2023 Collaborative Recording of the Year.

https://www.specialc.com/

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4544 north lincoln avenue, chicago, il 60625  •  (773) 728-6000  •  [email protected], premier partners.

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Visiting Presenter

Alison Brown

And the alison brown quintet.

The Rotary Club of La Jolla presents

One night only! Grammy-winner and Banjo Hall of Famer  Alison Brown  brings her unique blend of bluegrass and jazz to the Conrad on June 12 th . All proceeds from the concert will benefit the local and international service projects of  The Rotary Club of La Jolla ., a 501 C-3 charitable organization. Top tier ticket purchasers will be treated to a private pre-concert reception and Q & A discussion led by San Diego’s own Deering Banjo Company CEO Jamie Deering.

Alison is a graduate of La Jolla High School and began playing the banjo as a teenager on the Southern California bluegrass scene. Alison is the recipient of the USA Artists Fellowship in Music and the Distinguished Achievement Award from the International Bluegrass Music Association. She is a frequent collaborator with actor/comedian/banjoist Steve Martin with whom she recently won an Emmy for Best Musical Composition for their collaboration “Foggy Morning Breaking” from Alison’s 2023 release On Banjo .

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Alison Brown

May 6, 2023 - 7:00 pm - 9:00 pm.

Acoustic music has never been as beautifully represented as by Alison Brown. One of the most multi-faceted minds in roots music, Alison is a GRAMMY-winning musician, GRAMMY-nominated producer, former investment banker (with an AB from Harvard and an MBA from UCLA) and co-founder of The Compass Records Group which celebrates its 30th anniversary in 2023.

Although Alison began her musical career as a teenager in the Southern California bluegrass scene, she has built a reputation as one of today’s most forward thinking and innovative banjo players. She is known for taking the instrument far beyond its Appalachian roots by blending bluegrass and jazz influences into a sonic tapestry that has earned praise and recognition from a variety of national tastemakers including The Wall Street Journal, CBS Sunday Morning, NPR and USA Today.

On her brand new release, aptly titled On Banjo, Alison continues her musical explorations on a set of original compositions with special guests including Steve Martin, Kronos Quartet, Sierra Hull, Stuart Duncan and members of the Alison Brown Quintet.

Alison is the recipient of the USA Artists Fellowship in Music and the Distinguished Achievement Award from the International Bluegrass Music Association. She was the first woman to win an Instrumentalist of the Year award from the IBMA and, in 2019, she became the first female 5-string banjoist to be inducted into the American Banjo Museum’s Hall of Fame. Alison also serves on the Board of Governors of the Recording Academy and as co-chair of the Steve Martin Banjo Prize.

Join us on May 6, 2023 for Alison Brown. Tickets are on sale now.  Preferred seating is $32, and reserved seating is $22.  Doors open at 6:00 pm, and the concert begins at 7:00 pm.   Bar and concessions available.

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The HYMN World Tour is Coming to Moscow!

The HYMN World Tour is coming to Crocus City Hall in the exciting city of Moscow, Russia on October 29th!

Moscow is also home to the Moscow Kremlin, a fortified complex in the center of the city overlooking the Moskva River to the south, Saint Basil’s Cathedral and Red Square to the east, and the Alexander Garden to the west. It is the best known of the Russian citadels and includes five palaces, four cathedrals, and the enclosing Kremlin Wall with Kremlin towers.

Tickets and VIP packages to all announced shows on the HYMN tour are available. More dates to be announced soon! https://sarahbrightman.com/tours

Sawyer Brown – 40th Anniversary Tour

With Shenandoah & special guest George Fox

October 22, 2024 – 8:00 pm

On sale: Fri, Apr 19 – 10:00 am

Prospera Place

1223 Water st, Kelowna, BC V1Y 9V1

Map for reference only

*Prices are subject to change and do not include applicable convenience charges and/or taxes.

Accessibility Seating Tickets

For Accessibility Seating please call Victoria Box-office (250) 220 7789 or Kelowna Box-office at (250) 763 9095

For more information on Accessibility seating

Save-On-Foods Memorial Centre sofmc.com/accessibility-information/ Prospera Place prosperaplace.com/accessibility-information/

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HITMAKERS SAWYER BROWN CELEBRATE 40TH ANNIVERSARY WITH CANADIAN TOUR, INCLUDING STOP AT PROSPERA PLACE

Canadian Legend George Fox to join as support

Tickets On Sale This Friday, April 19th at 10 AM PT

Country Music legends Sawyer Brown announce their Fall 2024 Canadian dates alongside Shenandoah and special guest George Fox. The tour includes a much-anticipated stop at Prospera Place in Kelowna, B.C. on October 22, 2024.

When asked what has set Sawyer Brown apart in the music business to account for four

decades of success, lead singer and frontman Mark Miller answers, “One of the unique things about the band is we don’t really have a lot of love songs. We have life songs.”

Sawyer Brown gained popularity after appearing on Star Search with Ed McMahon. They won over millions of fans with their electrifying TV performances week after week, capturing the hearts of all ages. Their sound was compared to country super-groups like Alabama and Charlie Daniels Band, but they looked more like the Rolling Stones and Aerosmith.

Riding on the wave of sudden TV popularity, the band spent their first year-and-a-half on the road with country and pop icon Kenny Rogers, opening his shows in arenas across the U.S., all while learning from the best. From there, Sawyer Brown began to quickly carve out their own niche, delivering hit after hit, selling out venues, and constantly wowing an ever-growing fanbase. Navigating the music business on their own terms, the band blazed a new trail through uncharted territory to constantly beat the odds and win the day in the volatile world of the entertainment industry.

Since 1984, the band’s high-energy reputation, uncompromising dedication to their fans, along with their relentless drive to stay true to themselves have never wavered. For the past forty years, “the boys” legendary live shows have captivated audiences with no signs of ever slowing down. Today, Sawyer Brown just keeps on delivering their unapologetically blue-collar, grass-roots message through music. One of their fan-favorite songs says it all: “They were searchin’ for stars when we came along, it was rock ’n roll in a country song, there were five of us thinking that we can, this is the life and times of a travelin’ band.”

Fans will also be treated to the sounds of Shenandoah . Marty Raybon and Mike McGuire formed Shenandoah in 1984 in Muscle Shoals, Alabama with bassist Ralph Ezell, keyboardist Stan Thorn and guitarist Jim Seales. Shenandoah inked a deal with Columbia Records and began establishing a national fan base with their self-titled debut in 1987. However, it was the band’s sophomore effort, The Road Not Taken, that spawned their first top ten hits, “She Doesn’t Cry Anymore” and “Mama Knows.”

The group followed with three consecutive No. 1 hits, “Church on Cumberland Road,” “Sunday in the South” and “Two Dozen Roses.” “The Church on Cumberland Road” spent two weeks at the top of the chart and made country music history as it marked the first time that a country band’s first No. 1 single spent more than one week at the summit. “Next to You, Next to Me” topped the charts for three weeks and “Somewhere in the Vicinity of the Heart,” a beautiful duet with Alison Krauss, won a Country Music Association Award for Vocal Event of the year and a GRAMMY® for Best Country Performance by a Duo or Group with Vocal. Shenandoah also won the Academy of Country Music’s Vocal Group of the Year in 1991.

The group currently consists of original members Marty Raybon (lead), Mike McGuire (drums) along with Paul Sanders (bass), Donnie Allen (acoustic guitar/fiddle), Andrew Ishee (keys), Nicky V Hines (guitar).

Legendary Canadian singer George Fox will open the shows. Fox has a mantle of country music awards, has recorded 11 albums, opened for some of the biggest names in country music, and headlined sold out shows coast to coast. Throughout the eighties, George opened for country greats like Randy Travis, Dolly Parton, George Strait and Willie Nelson. In 1995, George was honoured by his hometown of Cochrane, Alberta with the naming of a local roadway ‘George Fox Trail’. In 2022, George was inducted into the Canadian Country Music Hall of Fame.

For more information on tour dates, visit sawyerbrown.com , shenandoahband.com and georgefox.com .

Venue Information

250-764-6236

[email protected]

prosperaplace.com

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Closure In Moscow

Closure in moscow tour dates.

• ALTERNATIVE

Closure in Moscow is an extraordinary Australian progressive rock band that has been capturing the hearts of fans globally with their unique sound. Formed in 2006, the band quickly gained recognition with their debut EP "The Penance and the Patience." Their music is a vibrant blend of progressive rock, post-hardcore, and experimental rock, creating a sound that is both distinctive and captivating. The band consists of talented members: Christopher de Cinque, Mansur Zennelli, Michael Barrett, Salvatore Aidone, and Duncan Millar. They have released two full-length albums, "First Temple" and "Pink Lemonade," each showcasing their musical evolution and creativity. Closure in Moscow's performances are known for their high energy and dynamic stage presence, making their concerts a must-see for any rock music enthusiast. Stay tuned with ConcertFix for updates on Closure in Moscow's tour dates, concert tickets, and music news.

Closure In Moscow Concert Schedule

No events =(, about closure in moscow tour albums.

Closure In Moscow came on to the Alternative scene with the introduction of tour album "First Temple", published on N/A. The song immediatley became a hit and made Closure In Moscow one of the top new great shows to attend. Following the introduction of "First Temple", Closure In Moscow published "The Penance And The Patience" on N/A. The album "The Penance And The Patience" stayed as one of the more beloved tour albums from Closure In Moscow. The Tour Albums three top singles included , , and and are a big hit at every performance. Closure In Moscow has released 7 more tour albums since "The Penance And The Patience". With over 0 years of albums, Closure In Moscow top tour album has been "First Temple" and some of the best concert songs are , , and .

Closure In Moscow Tour Albums and Songs

Closure In Moscow: First Temple

• Kissing Cousins
• Reindeer Age
• A Night at the Spleen
• I'm a Ghost of Twilight
• Arecibo Message
• Couldn't Let You Lov...
• Had to Put It In the...

Closure In Moscow: Pink Lemonade

• Pink Lemonade
• Neoprene Byzantine
• Seeds of Gold
• That Brahmatron Song
• Dinosaur Boss Battle
• Mauerbauertraurigkeit
• The Church of the Te...
• Beckon Fire

Closure In Moscow: The Penance And The Patience

• We Want Guarantees, ...
• Breathing Underwater
• Here’s To Entropy
• Ofelia....Ofelia
• Jewels For Eyes

Closure In Moscow: Better Way

Closure In Moscow: Soft Hell

• Jaeger Bomb
• Primal Sinister
• Absolute Terror Field
• Keeper of the Lake
• Don Juan Triumphant
• My Dearest Kate

Closure In Moscow Concert Tour Questions & Comments

Closure in moscow tour and concert ticket information.

• Tickets for the forthcoming Closure In Moscow concert are now available.
• Closure In Moscow concert schedule has just been reported.
• Concert schedule for Closure In Moscow is located on top.
• Tour schedules for all Closure In Moscow concerts are revised on a regular basis.
• Front row tickets will not be any concern, we always have top quality tickets.

Closure In Moscow could be coming to a city near you. Check out the Closure In Moscow schedule just above and push the ticket button to checkout our big selection of tickets. Look through our selection of Closure In Moscow front row tickets, luxury boxes and VIP tickets. Once you track down the Closure In Moscow tickets you need, you can purchase your seats from our safe and secure checkout. Orders taken before 5pm are generally shipped within the same business day. To buy last minute Closure In Moscow tickets, browse through the eTickets that can be downloaded instantly.

Closure In Moscow Top Tour Album

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