On Stage: Slambovian Circus of Dreams finally returns to local stage

By Denny Dyroff, Entertainment Editor, The Times

It is said that good things come to those that wait.

Fans of the Slambovian Circus of Dreams have been waiting for a long time to hear the band perform a live show in the area – waiting since December 2019.

COVID-19 wiped out all shows in 2020 and in most of 2021. Then, there was a long-awaited Slambovian Circus of Dreams New Year’s Eve Eve show on the World Café Live schedule. But COVID snuck in the side door and that show got postponed.

Now, the wait is over and good things are about to be delivered.

On March 13, the World Café Live (3025 Walnut Street, Philadelphia, 215-222-1400, www.worldcafelive.com) will host a show by the Slambovian Circus of Dreams – a rescheduled date for the cancelled December show.

The “good things” for which fans have been waiting are, obviously, the live show along with the release of a new album by the Slambovians.

“A Very Unusual Head,” which is the band’s sixth studio album, was released January 21, 2022, on their new label, Storm King Records.

The Slambovian Circus of Dreams has been together since 1998 and still features a trio of founding members — Joziah Longo (songwriter, lead singer, guitarist), Tink Lloyd (accordion, cello, flute, ukulele, theremin, keyboards), and Sharkey McEwen (guitar, mandolin). They will be joined for this show by RJ MacCarthaigh (bass, keys, sax), Bob Torsello (bass), and Matthew Abourezk (drums).

“With the New Year’s Eve Eve show, the club just gave us a couple days’ notice,” said Lloyd, during a phone interview Monday afternoon from their home in the Hudson Highlands in New York State. “With such short notice, we couldn’t really warn people.

“It seems a band that just played there had COVID and then a few of the staff members at World Café got COVID. So, the club has decided to postpone some of the upcoming shows just to be safe.

“They wanted to reschedule our show for March 3, but we didn’t want a Thursday night. A lot of our fans travel far for the shows and others have to get up for work the next morning. So, the club moved the show to Sunday March 13.

“This will be our official album release show in Philly – and only our third show of the year. We played The Kate in Connecticut in February, and we have a show on March 11 at The Cooperage in Honesdale (PA).”

Recorded over the last four years in five studios and two countries, the album is a step away from the guitar-based Americana vibe heard on their previous albums.

“A Very Unusual Head” is a real Slambovian tribal project with contributions from many friends and a few “special guests” such as Dar Williams, Anthony Thistlethwaite (The Waterboys), Kolson Pickard (Tall Heights, Pico Romanesque), drummer Felipe Torres (protege of Carmine Appice and sideman for Davey Jones), drummer Matt Abourezk (Thin White Rope) and Tristan Tadin (keyboards).

Canadian engineer Dio Tadin (Tristan’s father) recorded the bulk of the album on a former reindeer farm near Peterborough, Ontario and at Big Blue in Cornwall, New York. Tadin’s resume includes work at Daniel Lanois’ studio in Hamilton, Ontario.

“We recorded two-thirds of the album in 2018,” said Lloyd. “We got half of it mixed and then COVID hit. “We released ‘Beez’ as a single and made an EP that was only sold at our U.K. tour.

“Last spring, we pulled together all the tracks recorded over the last five years. We did a lot of work with Dio Tadin in Peterborough, Ontario. Then, the Tadins moved their studio (Big Blue) to Cornwall, New York – which is near us. We finished making the album there.”
Inspired by the Surrealists and early British Psychedelia and the paths they pioneered, the songs on the album deal with topics ranging from the pseudo-scientific to the pseudo-religious realms and other forms of hob-nobbery for fun and profit.

According to Longo, “‘A Very Unusual Head’ is dedicated to all the people who find themselves having to function in spectrums outside the accepted norms. Here’s to you… Good luck everybody!”

As always, the Slambovians’ songs feature great instrumentals accompanied by lyrics that are intelligent, socially aware, witty and mindful. Longo is a modern-day troubadour bringing a message to the people of 2022.

The new album displays many of the band’s influences — Beatles, Bowie, Incredible String Band, Syd Barrett, Brahms and The Waterboys…along with a good measure of Woodstock-era psychedelia.

Longo is a Philly native who went to St. John Neumann High which back then was called Bishop Neumann High. Both the school and Longo’s childhood home are located in South Philadelphia – a hotbed for Mummers’ activity.

Each year, the band has treated area fans to a New Year’s Eve Eve show at the World Café Live – but not in 2020 or 2021. This show in 2022 will offer a little of that holiday vibe.

“The show will tip the hat a little to New Year’s Eve Eve – but not fully,” said Lloyd. “We’ll just do a little of ‘Golden Slippers’ and then go into ‘Alice in Space.’ It will kick off the new year for our fans.”

In a prior interview, Longo said, “I really appreciate this band. It brings down a certain realm. I feel like I’m in the 70’s. I particularly dig the vibe of this band. In addition to me, Tink and Sharkey, we have Bob Tomasello, a punk bass player, and Felipe Torres. He’s been playing drums and percussion for us for a few years. He used to be the drummer for Davy Jones of the Monkees.”

The Slambovian Circus of Dreams has its roots in another New York band.

“We were in a group called The Ancestors in New York,” said Longo. “Eddie Kramer, who was the Stones’ engineer and producer, did an album with us. That brought everybody around to see us play. We were doing really well. One time, we played Carnegie Hall and CBGBs the same night.

“We were ahead of the curve and then we disappeared — on purpose. We went to the hinterlands and hid out in the folk scene. We were playing folk music that was different with things like an electric slide mandolin. It was ‘Floydian’folk. The folkies really took to it. We found our niche.”

They found a niche and they found a new name — Gandalf Murphy and The Slambovian Circus of Dreams.

“It was just a name I made up,” said Longo. “Eventually, we cut off the Gandalf part. It made it easier to fit the name on marquees.”

Video link for Slambovian Circus of Dreams – https://youtu.be/fe4VpB72FOE.

The show at the World Café Live on March 13 will start at 8 p.m. Tickets are $24 and $30.

For Tom Rush, one of America’s most revered folksingers, it has been either feast or famine regarding his schedule of live shows.

“I’ve been getting whiplash,” said Rush, during a phone interview Tuesday afternoon from his home in southern Maine.

“My agent managed to pack all 18 months of cancelled shows into three months in the fall. It got crazy.”

This weekend, Rush will play two shows in the area – March 11 at The Pour House at New Hope Winery, 6123 Lower York Road, New Hope, newhopewinery.com) and March 13 at the Baby Grand (818 North Market Street, Wilmington, Delaware, )

“Playing again in front of live audiences is a treat,” said Rush.

Rush released his first album, “Tom Rush at the Unicorn,” in 1962. His most recent album “Voices” will be released in April 2018 via West Chester-based Appleseed Records. His two prior records were also Appleseed releases – “Celebrates 50 Years of Music” in 2013 and “What I Know” in 2009.

Altogether, Rush has put out 26 albums in 56 years – and just eight since the turn of the century.

“I’ve been writing a lot,” said Rush. “I just introduced a brand-new song called ‘I Quit.’ It’s a song about leaving.

“I have enough new songs to make an album, but I’d like to have more. I’d like to go in the studio with 16 and pick 12.”

Fortunately, he is much more active when it comes to live performances. Rush is a consummate performer who always delivers an entertaining show when he takes the stage to perform his songs and choice songs by other artists.

Rush stayed active during the pandemic via a project he calls “Rockport Sundays.”

“I started ‘Rockport Sundays’ back in December,” said Rush, during a recent phone interview from his home in southern Maine. “It’s a subscription through Patreon. I was living in Rockport and posted a new episode every Sunday at midnight.”

When he was first starting the series, he posted this message on his website –

“I have something I really want to do, and I’m going to need your help to do it. I’m starting a weekly series of online offerings — old songs, new songs, stories, pages from a book I’m working on. Since they’ll be coming out of my studio in Rockport, Mass, I thought I’d call the series “Rockport Sundays”.

• Every Sunday I’ll send you something special — one week it’ll be a Kitchen Table video recording of an old song, the next week a new song, then a road story from my 50+ years of crazy rambling, then some pages from a book I’m working on.
• I’m thinking of this as kind of a Backstage Pass to my creative process, my relationship with the songs I love, stories about my adventures (and misadventures) on the road. Now, these won’t be super-slick — there’ll be some rough edges. This is me at home, after all, and believe it or not, my life is not highly polished!
• You’ll be joining me for some serious fun, AND you’ll be giving me an incentive (an imperative, actually) to keep on creating new work — and to spruce up and finish up the piles of odds and ends I’ve had lying around for years.
• It’s a monthly subscription that auto-renews and charges your card immediately and then on the first of every month going forward. You can unsubscribe any time you like (but I’ll do my level best to make sure you don’t want to).
• . If you’re having a good time, please help spread the word — the more the merrier!

Thanks in advance for supporting me, helping me to do what I love!!”

“Basically, it’s me at my kitchen table doing a song or a story every Sunday,” said Rush. “Then, it stays up for eight weeks. It’s been very well-received. It’s a way of communicating with my audience.

“I keep it short. If you do an hour, you lose the audience by the end. It’s been fun and very casual. I work with Mark Steele and the video is very professional.

“My favorite sideman is Matt Nakoa. I just finished three episodes with Jonathan Edwards who sings a couple songs on his own.

“It goes back to February 2020. I had just started my ‘First Annual Farewell Tour’ when everything shut down. I started out doing cell phone videos. I was trying to figure out a way to connect with my audience.”

The audience in Wilmington will be getting much more than a song or two. Rush will be performing a number of songs from “Voices,” an album that has its own special niche in Rush’s long discography.

Over the course of his 50-year-plus career, one of Rush’s defining gifts has been his ear for the faint voices of significant new songs by little-known writers. The New England-based singer-guitarist was among the very first to record future standards by then-fledgling performers Joni Mitchell, James Taylor and Jackson Browne on his 1968 album “The Circle Game.”

Rush brought a later generation of singer-songwriters such as Nanci Griffith and Shawn Colvin to wider audiences as part of his tours. James Taylor and country music superstar Garth Brooks have both named him as a major influence.

Until “Voices,” Rush has been heard only sparingly as a songwriter, with only a few tantalizing handfuls of originals – about 20 – spread out over eleven studio albums.

“Voices” is the first album ever of all-Rush originals – 10 relaxed, warmhearted, amused and sometimes thoughtful songs that perfectly reflect his wry persona.

“A bunch of songs all of a sudden came out,” said Rush. “Our daughter was going away to college, so we were moving from Vermont but didn’t know where. We moved to southern New Hampshire and rented a farmhouse from our friends Bob and Laura a few years ago.

“It was a peaceful countryside exterior, but it was in some ways boring. That’s where the songwriting started. I kept getting ideas for songs.

“Sometimes, songs take a long time for me to write. These songs came rapidly because I didn’t have anything else to go.”

There might have also been another reason and the veteran singer had a theory.

According to Rush, “It might be some musical equivalent of epicormics branching, where a tree that’s stressed or elderly starts putting out shoots in great profusion.”

Whatever the reasons, the results were enough to bring smiles to fans’ faces everywhere.

“I always wrote on guitar,” said Rush. “Every song came differently. A lot of times, it’s a phrase – just a few words that suggest a melody. Sometimes, it starts with a melody. There is no pattern.

“My pattern is to write too much. Each song tended to end up too long. You find that out when you take them in front of a live audience.

“I was taking audio notes on my cell phone. Once I had enough to go in the studio, I’d set up with a mic going into a computer. Then, I’d send what I had recorded to my producer Jim Rooney.

“I had all the songs written before I went in the studio with Jim — and then I wrote one more in the sessions. We were wrapping up and I only had 11 songs. Jim said we needed a 12th track. He insisted on it.

“So, I had to write another in my hotel room, and I wrote ‘If I Never Get Back to Hackensack.’ We recorded the album in May 2017 at The Butcher Shop – a studio in Nashville.

“Jim brought in some really great studio musicians to play on the album – players who are known as ‘Rooney’s Irregulars’ including Matt Nakoa on piano, Sam Bush on mandolin and fiddle along with Kathy Mattea and Suzi Ragsdale on background vocals.”

It has been more than a half-century since Rush made people take notice with one particular song — “Urge for Going,” which was written by Joni Mitchell and recorded by Rush in 1968. It quickly became one of Rush’s signature songs.

“The Baby Grand is a nice venue,” said Rush. “I’ve played there several times and they’ve always been great shows.

Video link for Tom Rush – https://youtu.be/AWSWUD5soGM.

The show at the Baby Grand on March 13 will start at 7 p.m. Tickets are $38.

The show in New Hope on March 11 will start at 8 p.m. Tickets are $50.

On March 11, Dan May, one of the area’s most talented and resilient singer-songwriters, will headline a show at Kennett Flash (102 Sycamore Alley, Kennett Square, 484-732-8295, http://www.kennettflash.org)

When the COVID-19 pandemic hit, some people virtually became hermits. May literally became a hermit.

“I stopped going out for any reason,” said May, during a phone interview from his home in Drexel Hill. “I was really sequestered. I had everything delivered. The only times I went out were for a Soundbooth Session at the Sellersville Theater and two Livestream performances from Morningstar Studio.”

May was scheduled to headline a show last year at the Sellersville Theater but it never happened. The show got postponed and its cancellation had nothing to do with COVID-19.

“I got a virus that went straight to my voice,” said May. “I don’t know how I got it. I have no idea what its name is. I just know that it paralyzed my vocal cords. The virus made it impossible for me to sing.”

May took a circuitous route to his current place as a singer/songwriter.

He has worked as a gravedigger, television cameraman, short order cook, nuclear missile security guard, gas station attendant, ice cream truck driver, delivery man, amusement park worker and greenhouse laborer.
While studying music composition in college, he inadvertently stumbled upon an international opera career that forced him to leave a promising future as a songwriter behind.

“I grew up in Sandusky, Ohio,” said May. “I went to Bowling Green University and studied journalism. Then, I was writing for a daily newspaper.

“My wife wanted to go to Ohio State University, so we moved to Columbus. I went to Ohio State as a composition major. Somebody said I should sing opera, so I decided to try it.

“I studied opera at the Academy of Vocals Arts for four years. That’s what brought us to this area, and we’ve been here ever since. I was a bass/baritone and sang professionally for 12 years.”

Then, his path took another unexpected turn.

“I had surgery on my vocal cords,” said May. “They had become paralyzed. In the surgery, they injected fat into my vocal cords. I can sing with a full range, but my voice can’t meet the demands of singing opera – especially the volume needed.

“I switched to being a singer/songwriter in 2005 and I’ve released six records since then. I also did two CDs with Elise Dadourian.”

May’s sextet of LPs includes “Once Was Red,” “Fate Said Nevermind,” “The Long Road Home,” “Heartland,” “Dying Breed” and “Beacon.” The albums with Dadourian are “Gold Brick Road” and “Simple Truth.”

Video link for Dan May — https://youtu.be/nkeTZzjzEGM.

The show at Kennett Flash on March 11 will start at 8 p.m.

Tickets are $25.

Other upcoming shows at Kennett Flash are Beyond the Pale on March 12 and Know Return on March 13.

It has been a while since a stage production of the classic musical “Oklahoma!” has been performed in Philadelphia.

That changed this week with the arrival of the Tony Award-winning revival of Rodgers & Hammerstein’s “Oklahoma!” The show is making its Philly premiere at the Forrest Theatre (1114 Walnut Street, Philadelphia, www.kimmelculturalcampus.org) now through March 20.

“Oklahoma!” marks the first production to re-open the Forrest Theatre since the COVID pandemic shut everything down.

The Forrest Theatre, which is owned by The Shubert Organization, is presenting this touring production in partnership with the Kimmel Cultural Campus. “Oklahoma!” first played the Forrest Theatre in 1945 and last played the venue on October 6, 1979.

Rodgers & Hammerstein’s “Oklahoma!” is one of the quintessential American musicals. For 15 years (1946-1961), it held the record as the longest running show on Broadway and, at one time, the National Tour of “Oklahoma!” held the record as the longest continual tour.

Even though it has been more than 75 years since the hit musical made its Broadway debut (March 31, 1943, at the St. James Theatre), it is still as popular as ever. The new national tour has been playing to full houses in theaters around the country.

The show is set in the early 1900s on a farm that is about three hours from the closest town. It’s right before Oklahoma became a state — a few years after the land rush.

“Oklahoma!” is a story about Laurey, the girl that is in love with Curly. It’s a love story between the two — and there’s an evil farmhand (Jud) who also is in love with Laurey.

Aunt Eller (Laurey’s aunt) has a strong hand in everything. Laurey’s two best friends– Ado Annie and Will Parker — add comic relief.

This revival is “Oklahoma!” as it has never been seen before.

The production has been re-imagined for the 21st century. However, not a word of text was changed in the script from the original Rodgers & Hammerstein 1943 musical. Directed by Daniel Fish, this production won the Tony Award for Best Revival of a Musical.

“We’ve been out on tour since mid-October,” said Hennessy Winkler (Will Parker), during a recent phone interview from a tour stop in Buffalo, New York.

“I auditioned during the lockdown period – recorded auditions. It was before everyone knew the pandemic was going to last so long.

“I got called in for the role of Will Parker. I knew the movie. It was my dad’s favorite musical.

“I grew up in Maui and was ‘The Little Drummer Boy’ when I was six. I used to get on my grandmother’s mantle and do shows for people.

“I majored in theatre at Marymount University. I’ve always been a theater nerd who loved golden musicals.

“I’m so grateful to have gotten this job. I was a fan of Daniel Fish before I auditioned.”

This new revival by Fish includes a small 12-person cast with no chorus or ensemble. Dancing and choreography are limited. A seven-piece bluegrass band performs on stage. The Grammy-nominated score re-orchestrates some of the most classic songs in American theatre history, resulting in a refreshing modern take on the famous score.

Stripped down to reveal the darker psychological truths at its core, this new revival tells the story of a community banding together against an outsider…. the production is also funny, sexy, provocative and probing.

“Oklahoma!” has always been a story about a community coming together, and this production uses scenic and lighting design to evoke a sense of togetherness. There are moments the lights are left up, moments of total darkness, and a visible band center stage.

The show has long been celebrated as an iconic piece of musical theatre, uniting audiences with the idea of a perfect America. But viewed anew in the context of a country still struggling with racial, economic and gender equity, sharply divided by political beliefs, this production pushes back on the notion of a perfect nation — instead suggesting the idea that America is still very much a work in progress.

“With ‘Oklahoma!,’ there is a darkness I’ve always been captivated with,” said Winkler. “I was obsessed that Daniel has taken ‘Oklahoma!’ in this direction. He just brought the darkness into the light. He’s taken what’s already there and turned it a little.

“This is a dream role for me. I’m very much like this character. Daniel is simple. He’s slow on the uptake but he gets there. He loves his girl, and he loves dancing.”

Fish was deliberate and specific about the number of guns presented on stage — and the look and sound of each. The guns used on stage are prop guns and no live ammunition is ever kept on site or on stage. The touring company has been trained in gun safety with experts.

According to a press release for the show, “Oklahoma!” is proud to the first gun-neutral show on Broadway and National Tour. For every visible gun in the show (on stage and around the theatre), “Oklahoma!” will make a minimum donation of $100 per gun on behalf of the show to Gun Neutral’s 501c3 non-profit.

Some things about “Oklahoma!” never change.

Audiences love the down-home characters and the timeless appeal of a love story. But, perhaps more than anything else, they love the music — classic songs such as “Oh, What A Beautiful Mornin’,” “People Will Say We’re In Love,” “The Surrey With The Fringe On Top” and, of course, the title track “Oklahoma!”

Video link for “Oklahoma!” – https://youtu.be/A9FXCGRRGRY.

“Oklahoma!” will run now through March 20 at the Forrest Theatre. Ticket prices start at $47.

Uptown! Knauer Performing Arts Center (226 North High Street, West Chester, www.uptownwestchester.org) is celebrating Women’s History Month with a special performance by Two-Time Grammy® Winner Rickie Lee Jones om March 13.

Is Celebrating Women’s History Month With Special Performance By Two-Time Grammy® Winner Rickie Lee Jones.

Jones has spent a lifetime dancing with her muse. She is the most iconic American female singer-songwriter of her time, a woman who outlasted all her adversaries — including youth and self-destruction.

Her artistry was once again showcased with her most recent album release, “Kicks.” The album spans two decades (50s-70s) of pop, rock and jazz, presenting her unique and sophisticated interpretations of songs that were pivotal to her musical journey.

By the time she was 19, Jones was living in Los Angeles, waiting tables and occasionally playing music in out of the way coffee houses and bars. All the while, she was developing her unique aesthetic — music that was sometimes spoken, often beautifully sung, and always emotionally accessible.

Around this time, Jones’ song, “Easy Money,” caught the attention of one musician and then the music industry. The song was recorded by Lowell George (founding member of Little Feat) on his solo album, “Thanks, I’ll Eat It Here.” Shortly thereafter, Warner Brothers auditioned Jones and quickly signed her to the label.

Jones has been a major force in the music scene for more than five decades and more than 20 albums.

In the 70s, Jones won Grammy® Awards in two categories — Best Jazz Vocal Performance, Duo or Group and Best New Artist. Jones was also listed as number 30 in VH1’s 100 Greatest Women in Rock & Roll in 1999 while her album, “Pirates,” reached Number 49 on NPR’s list of the 150 Greatest Albums Made by Women.

Jones’ most recent artistic offering is her memoir, “Last Chance Texaco:  The Chronicles of an American Troubadour” (Grove Press).

“Last Chance Texaco” is the first ever no-holds-barred account of the life of Jones in her own words.  It is a tale of desperate chances and impossible triumphs — an adventure story of a girl who beat the odds and grew up to become one of the most legendary artists of her time, turning adversity and hopelessness into timeless music.

With candor and lyricism, Jones takes readers on a singular journey through her nomadic childhood, to her years as a teenage runaway, through her legendary love affair with Tom Waits and ultimately her longevity as the hardest working woman in rock and roll.

Jones’ stories are rich with the infamous characters of her early songs — “Weasel and the White Boys Cool,” “Danny’s All-Star Joint,” and “Easy Money” — but long before her notoriety in show business, there was a vaudevillian cast of hitchhikers, bank robbers, jail breaks, drug mules, a pimp with a heart of gold and tales of her fabled ancestors.

The song “Last Chance Texaco” was a song from her debut album, “Rickie Lee Jones” (Warner Bros. Records, 1979). The LP was recorded with a crew of all-star musicians including Dr. John, Fred Tackett, Michael McDonald, Randy Newman, Tom Scott, Buzz Feiten, Andy Newmark and Johnny Mandel. At the 22nd Annual Grammy Awards, the song was nominated for Best Female Rock Vocal Performance.

The show at Uptown! Knauer Performing Arts Center on March 13 will start at 7:30 p.m. Tickets are $62.

Other upcoming shows at Uptown! Knauer Performing Arts Center are Whiskey Rovers (March 17), Boston Comedy Festival’s Saint Patrick’s Comedy Spectacular (March 18), Dueling Pianos (March 24), and David Liebman & The Dalí String Quartet featuring WCU Criterions Jazz Ensemble (March 25).

Jamey’s House of Music (32 South Lansdowne Avenue, Lansdowne, 215-477-9985, www.jameyshouseofmusic.com) will host Denise King on March 11 and Michael Braunfeld on March 12.

Additionally, every week there is a “THURSDAY NIGHT JAZZ JAM” featuring the Dave Reiter Trio and a “SUNDAY BLUES BRUNCH & JAM” featuring the Philly Blues Kings with Maci Miller.

The Ardmore Music Hall (23 East Lancaster Avenue, Ardmore, 610-649-8389, www.ardmoremusic.com) will present Spirit of NOLA on March 11, Kiefer Sutherland on March 12, and Benefit For Derek Dorsey on March 13 and 15.

118 North (118 North Wayne Avenue, Wayne, www.118northwayne.com) will host The Commissions on March 12, Wally Smith’s Organ Trio on March 13 and Galway Guild on March 16.

The Keswick Theater (291 N. Keswick Avenue, Glenside, 215-572-7650, www.keswicktheatre.com) will host Al Franken on March 12 and Tower of Power on March 13.

The Sellersville Theater (24 West Temple Avenue, Sellersville, 215-257-5808, www.st94.com) will present Kaki King on March 11, Mikey Junior on March 12, Pat Travers on March 13, German Lopez on March 14, John Lodge on March 15 and Edwin McCain on March 16.

Brooklyn Bowl (1009 Canal Street, Philadelphia, www.brooklynbowl.com/philadelphia) will host Red Baraat on March 10.

Fillmore Philadelphia (1100 Canal Street, Philadelphia, 215-309-0150, www.thefillmorephilly.com)

10 Briston Maroney on March 10, Maisle Peters on March 11, Conan Gray on March 13, St. Paul and Broken Bones on March  15 and Cowboy Tears on March 16.

PhilaMOCA (531 North 12th Street, Philadelphia, 267-519-9651, www.philamoca.org) will present Rick Maguire on March 10 and Paul Cherry on March 11.

Rrazz Room (6426 Lower York Road, New Hope, 888-596-1027, www.TheRrazzRoom.com) will host Judy Gold on March 12 and 13.

Annenberg Center (3680 Walnut Street, Philadelphia, https://annenbergcenter.org/events) will present Circa on March 11 and 12.

City Winery (990 Filbert Street, Philadelphia, citywinery.com/philadelphia) presents Shannon McNally on March 10, Joshua Radin on March 11, Poguetry on March12, Crash Test Dummies on March 14 and Such on March 16.

The Met (858 North Broad Street, Philadelphia, http://themetphilly.com) will host Rezz on March 11, George Lopez on March 12 and Brit Floyd on March 16.

Theatre of the Living Arts (334 South Street, Philadelphia, 215-222-1011, http://www.lnphilly.com) will present Kim Gordon on March 16.

Johnny Brenda’s (1201 North Frankford Avenue, Philadelphia, 215-739-9684,

www.johnnybrendas.com) hosts Geese on March 11, Wilderado on March 12 and Ryley Walker on March15.

Union Transfer (1026 Spring Garden Street, Philadelphia, 215-232-2100, www.utphilly.com) will have Galactic on March 11 and The Tallest Man on Earth on March 12.

Franklin Music Hall (421 North Seventh Street, Philadelphia, http://franklin.musichallphiladelphia.org/) hosts Ministry on March 9 and Killswitch Engage on March 12.

Punch Line Philly (33 East Laurel Street, Philadelphia, 215-606-6555, http://www.punchlinephilly.com) presents Joe DeRosa from March 10-12 and Chris Redd on March 13.

The American Music Theatre (2425 Lincoln Highway East, Lancaster, 800-0 648-4102, www.AMTshows.com) hosts The Oak Ridge Boys on March 12 and The Irish Tenors on March 13.

Tellus 360 (24 East King Street, Lancaster, 717-393-1660, www.tellus360.com) presents Clap Your Hands Say Yeah on March 15.