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DTSTART;TZID=America/New_York:20260803T190000
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DTSTAMP:20260610T082315
CREATED:20260505T185804Z
LAST-MODIFIED:20260603T005333Z
UID:10001001-1785783600-1785783600@www.prescottpark.org
SUMMARY:Josh Ritter
DESCRIPTION:Josh Ritter is a renowned singer\, songwriter\, musician\, artist and best-selling author. One of today’s most thoughtful and prolific voices\, he has released eleven studio albums including 2019’s widely acclaimed ‘Fever Breaks’ of which NPR Music praised\, “He remains a hydrant of ideas while embodying an endless capacity for empathy and indignation\, often within a single song.” \nHis twelfth studio album ‘I Believe in You\, My Honeydew’ will be out 9/12/25. New songs “You Won’t Dig My Grave” and “Truth is a Dimension (Both Invisible and Blinding)” from the forthcoming record are out now. Two-plus decades into his celebrated career\, Ritter has written music that has transcended generations including luminaries such as Bob Dylan\, Joan Baez\, and Bob Weir covering his songs. \nIn addition to his work as a musician\, Ritter is also a national best-selling author\, having released two novels to date: 2021’s The Great Glorious Goddamn of It All and 2011’s Bright’s Passage. Released to critical attention\, Stephen King wrote in The New York Times Book Review that Bright’s Passage “shines with a compressed lyricism that recalls Ray Bradbury in his prime…This is the work of a gifted novelist.” \n“Josh Ritter remains at the top of his game two decades into a highlight-strewn career. He’d be forgiven for loosening his grip\, but his hand has never felt surer.” \n– NPR Music \n“Harking back to Bob Dylan\, Bruce Springsteen and maybe a little Mark Knopfler\, Mr. Ritter has always been a slinger of serious ideas and high-flown imagery.” \n– The New York Times\n \n“Mysterious\, melancholy\, melodic…and those are only the M’s.” \n– Stephen King in Entertainment Weekly \n \n  \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/josh-ritter
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-10.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260805T190000
DTEND;TZID=America/New_York:20260805T190000
DTSTAMP:20260610T082315
CREATED:20260505T200712Z
LAST-MODIFIED:20260603T005353Z
UID:10001002-1785956400-1785956400@www.prescottpark.org
SUMMARY:Devon Gilfillian
DESCRIPTION:Time Will Tell is the album that Devon Gilfillian has been preparing to make his entire life. But some things needed to happen first—namely\, he needed his life to change\, for the road to wind\nthrough a few curves and over a few bumps before the classically modern and magnetic soul singer could write these songs. He needed to confront his family’s mortality. He needed to endure a relationship whose cracks nearly broke him. He needed to take control of the way he made his records\, to believe that he and his closest confidants had what it took to shape the record of his life. Here’s how they did just that. \nYou should first know that Devon’s father\, Nelson Gilfillian\, likes to keep it clean. A father of three now at the edge of 70\, he hits the gym five times a week and generally watches what he eats. Though he raised his kids just west of Philadelphia\, he lives now just east of Nashville\, in the rural outskirts of Lebanon. A lifelong musician and wedding singer\, Nelson’s one indulgence these days might be his Wednesday night trips into the city\, where he plays congas in a weekly R&B and jazz jam at the Flamingo Cocktail Club. \nDevon\, then\, was stunned and confused when his mom called in September 2023 to say that Nelson\, then 67\, had suffered a heart attack. His own father had died at that age\, but the prognosis for Nelson seemed much better—a few stints\, then back home to Lebanon. Nelson is the reason Devon is a musician\, having taken the kid to guitar lessons and fed him the great records. So the son did what he assumed the father would want: He walked onstage in Portsmouth\, New Hampshire\, played his show\, and flew home the next morning. \nIn a matter of weeks\, Gilfillian wrote “Glad to Be Here\,” a bittersweet and beautiful ode to existence\, to slowing down long enough to remember what a gift it is to be alive at all. Like the sun slipping through closed curtains on a cold day\, “Glad to Be Here” is the aching and grateful country-soul centerpiece of Time Will Tell\, his fourth album and honest account of the extreme highs and lows that come with living. Nelson’s health scare coincided with the protracted and painful end of a long relationship that Gilfillian steadily realized was making him worse in almost every way that counted. The dozen songs of Time Will Tell first document the work it took for him to reach the end of that road—and\, then\, the sense of liberation and burgeoning joy he has found at the start of a new one. Time Will Tell does what classic soul and country records often do best: share the troubled state of someone’s heart in exquisite detail and look for a way forward. \nNot long after Gilfillian moved to Nashville a dozen years ago\, he wrote a song for his parents—his mom\, Ginny\, specifically. They were still up north\, and he missed them. It was called “Home\,” the first tune he’d written that he felt like he could share without qualms. It was a breakthrough for Gilfillian\, who suddenly understood that writing and singing could function as therapy\, that his talents were a ready-made outlet for his troubles and maybe his triumphs. That sensibility was clear on Gilfillian’s first three albums\, especially the ecstatic eruptions of 2023’s Love You Anyway. Even his full-length\, friend-studded cover of Marvin Gaye’s What’s Going On\, released amid the turmoil of 2020\, felt personal in that way\, like he was looking for a sanctuary of his own in song. \nBut that idea became something of a life raft for Gilfillian in the intervening years. As he struggled to save a relationship into which he’d put so much time and love\, he found himself writing about differences that he slowly recognized as irreconcilable. Gilfillian\, for instance\, is a morning person; as he realized his partner truly blossomed at night\, he mourned the distance that lifestyle discrepancy created between them with “Moonflower\,” a neo-soul wonder about respecting but regretting what makes someone themselves. And on “Black Dog Rabbit Hole\,” he took frank stock of the impact the tension was having on his own wellbeing\, how he was using his own depression and addiction as an escape hatch for an increasingly bad situation. \nGilfillian and his longtime drummer and friend Jonathan Smalt intuitively understood that the best way to capture the feelings in these songs was to cut them as quickly as possible. Gilfillian and Smalt have worked with several ace producers in the past\, including Shawn Everett and Jeremy Lutito\, but they felt like they finally knew enough to try it themselves. They asked Dave Cobb if they could borrow Nashville’s legendary RCA Studio A\, then recruited a few ace engineers and producers—Reid Leslie\, Michael Harris\, Ran Jackson—to help man the varispeed tape machines and make a few key calls. They built a band of session aces and strong sets of string and horn players\, then tracked most of the vocals with single takes. Neal H Pogue\, the producer legendary for his work with the likes of OutKast and TLC\, was so passionate about Gilfillian’s demos that he enlisted as executive producer\, eventually mixing the album himself. Everyone wanted the songs to feel like the epiphanies that had shaped them\, for the recordings to reflect the realness of Gilfillian’s circumstances when he wrote them. \nIt absolutely worked. “Black Dog Rabbit Hole” is a riveting hard rock snapshot of mania\, Gilfillian’s voice switching between falsetto frailty and a tormented bellow as he tries to find his way out of a spiral. Gilfillian has never made anything quite so raw\, quite so cutting. With its gospel surges\, ringing bells\, and jittery guitars\, “Hold On (Hourglass)” races like a nervous heart\, a sleepless and agitated Gilfillian wondering if his commitment to holding on is just a way of fooling himself. On “IRL\,” where a boom-bap beat undergirds an organ’s psychedelic whirr before the whole thing snaps into a funk strut\, Gilfillian gets stuck in the conflict between leaving and staying\, between indulging what his body wants and his mind needs. The song is so unmitigated it feels like you’re listening to a real-time argument he’s having with himself about his future. These aren’t breakup songs so much as exacting maps of Gilfillian’s relatable inner conflicts as he tries to find ways to be happy—ways of being\, like his father\, simply glad to be here at all. \nGilfillian ends Time Will Tell not with an apology but with a permission slip. As magnetic as a Cat Stevens staple but as warm as a Sam Cooke ballad\, “You Can Hate Me Now” acknowledges that no end is ever easy\, that all the effort in the world still won’t make a split feel smooth. “There’s no other way underneath the pain\,” he sings\, his voice trying not to break beneath the strain. Given the song title\, it is staggering how likable Gilfillian seems in this moment\, how vulnerable he is being about his own failure and frailty. “We just gotta go through\,” he continues. What else is there in life or on an album like Time Will Tell than to go through? To get to where we’re going\, we’ve got to suffer a little. Time Will Tell is the sound of Gilfillian doing exactly that but realizing what a blessing it is to be here at all\, with the chance to hurt and learn and ultimately move on. \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/devon-gilfillian
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-Devon-Gilfillian-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260806T190000
DTEND;TZID=America/New_York:20260806T190000
DTSTAMP:20260610T082315
CREATED:20260507T143458Z
LAST-MODIFIED:20260603T005213Z
UID:10001003-1786042800-1786042800@www.prescottpark.org
SUMMARY:Maggie Rose
DESCRIPTION:The latest album from Maggie Rose\, Half Moon reveals the rare magic of hard-won momentum meeting a creative spirit in peak bloom. After devoting more than a decade to deepening her craft and unlocking the full force of her extraordinary voice\, the Nashville-based singer/songwriter experienced a rapid rise in recognition\, including scoring back-to-back GRAMMY nominations for her 2024 LP No One Gets Out Alive and 2025 single “Poison In My Well” and earning an Emerging Act Of The Year nod from the Americana Music Association in 2025. Rather than succumbing to the pressure of heightened expectation\, Rose immersed herself in the making of her new album with effusive abandon. With its lovely alchemy of soulful symphonic pop\, R&B\, and Americana\, Half Moon arrives as a document of divine expansion and self-discovery—ultimately extending an invitation to embrace every facet of ourselves with grace\, courage\, and a wide-open heart. \n  \n“At first it felt strange to receive all these accolades I’d been wanting for a long time—instead of grounding me\, it made me feel anxious\,” says Rose\, who made her acclaimed full-length debut with 2013’s Cut to Impress. “But then the new songs started pouring out\, and it felt like such a gift. I realized the recognition had come at a time when I was finally able to fully articulate who I am through my music\, because of how my voice and my songwriting have evolved over the years. So if people are looking at me more closely\, I’m glad they’re looking now.” \n  \nCo-produced by Lawrence Rothman (Amanda Shires\, Margo Price) and Daniel Tashian (Kacey Musgraves\, Leon Bridges)\, Half Moon took shape through a charmed and fluid process that began with the three musicians meeting up every few weeks to write in Tashian’s home studio\, taking advantage of his abundant stash of instruments (e.g.\, Mellotron\, upright bass\, a saloon-style piano). “We’d leave each session with these beautiful\, fully conceived demos\, and after a few songs it became apparent that something special was happening\,” says Rose\, who was eight months pregnant at the outset of the album’s creation. As they gave voice to the complexities of her inner life—her lived experience of womanhood\, the sacredness of her closest bonds\, the thrill and overwhelm of expecting her first child—the trio of collaborators surrendered to a shared journey Rothman sums up as “a year-long wild ride of writing\, producing\, crying\, laughing\, babies being born\, and dreams coming to life.” Tashian\, meanwhile\, compares their creative kinship to “a bunch of kids building sandcastles on a beach and just enjoying the sunshine…We were all passengers\, and the songs were taking us wherever they wanted to go.” \n  \nSix months after the birth of her son Graham\, Rose headed to the historic RCA Studio A in Nashville and recorded Half Moon with an elite lineup of over two dozen musicians\, finding the album’s true cohesion through the kinetic energy of people gathering in a room and giving the songs their fullest life. Along with top-tier players like guitarist Tom Bukovac (Emmylou Harris\, Stevie Nicks)\, bassist Dennis Crouch (Elvis Costello\, Robert Plant & Alison Krauss)\, and keyboardist Peter Levin (The Highwomen\, Jason Isbell & the 400 Unit)\, that lineup included Rose’s touring band: percussionist Tim Burkhead\, bassist Judd Fuller\, guitarist M.P. Gannon\, and multi-instrumentalist Cav Mims. The follow-up to her 2025 EP Cocoon\, Rose’s fifth studio LP marks a bold departure from the rootsy soul of No One Gets Out Alive—a Best Americana Album GRAMMY nominee featured on best-of-the-year lists from the likes of Rolling Stone. Thanks in part to its lavish string arrangements and velvety horns\, Half Moon unfolds with both sophisticated ease and daring grandiosity—a direct reflection of her newly widened emotional world. “There’s a bigness to this music that was really exciting to explore\,” says Rose\, who names the orchestral pop of the Brill Building era among her touchstones for the album. “I think that has everything to do with this album coming from a moment when I was feeling a depth of love I’d never felt before\, and the subject matter being more awe-inspiring than anything I’d ever had to work with.The sound is orchestral and wide-ranging because I was trying to capture and portray the duality within the album.”     \n  \nPartly recorded at Sound Emporium Studios\, Half Moon takes its title from its soul-searching centerpiece\, written just two days before Graham was born. “My labor was induced so I knew he’d be born under a full pink moon\, which led to Lawrence and Daniel and I talking about the link between the phases of the moon and the way we see ourselves\,” Rose recalls. A low-lit reverie adorned in sumptuous strings and spellbinding piano melodies\, “Half Moon” inhabits a moody intensity as Rose muses on the nature of identity. “At the time I was overcome with emotion; there was so much love and excitement\, but also fear and anxiety about what parts of myself I might lose and not be able to reclaim\,” she says. “As I was working through all that\, it helped me to think about how the moon is always whole—it’s just presented to us in different ways at different times\, like all the many aspects of ourselves that we’re constantly trying to navigate.” \n  \nA gorgeous showcase for the vocal prowess that’s found her hailed as one of the finest singers in Nashville\, Half Moon begins with the slow-burning grandeur of “Used To It”—a rapturous expression of longing and lust\, spotlighting an artist in total command of her inimitable voice. “Even before most of the album was written\, I knew I wanted ‘Used To It’ to be the first track\,” says Rose. “It felt like the start of a new thread for me; there’s something elegant and elevated in its structure\, but it’s got some teeth as well. From a sonic standpoint\, I wanted it to open the record because it feels like an unwrapping: there’s a smoldering\, simmering build-up to a bombastic ending\, pulling the listener into the album’s journey.” Next\, on the wildly fun “Red Shoes\,” Rose’s vocals take on a joyful ferocity as she delivers a dance-ready anthem of unapologetic pleasure. “It’s a song about forgetting your responsibilities and everything happening in the world and just going out and having a good time\, which I think we all deserve\,” she says. And on “The Mission\,” Rose strikes a winning balance of assured sensuality and playful flirtation—a dynamic echoed in the groove-driven track’s glossy guitar tones\, effervescent strings\, and vibrant hand percussion. “There’s a confidence to ‘The Mission’ that feels really good to me\,” says Rose. “At the core it’s a love song\, but it’s also about owning your sexuality and however that manifests for you.”  \n  \nWhile Half Moon’s A-side radiates a lighthearted vitality\, its B-side brings nuanced introspection and tender emotionality to tracks like “Gentle Man”—an acoustic-guitar-led meditation on the trappings of masculinity. The album’s latter half also includes “Hiding In Plain Sight\,” a wistful piece of self-reflection penned with country luminary Natalie Hemby (one of her few co-writers on the LP apart from Rothman and Tashian). For Rose\, the album intimately chronicles a season of profound personal transformation—a period in time she refers to as “this amazing moment of expecting and then giving birth\, and re-emerging with a completely new part of my identity.” In sharing Half Moon with the world\, she hopes to provide listeners with a similar sense of refuge and release. “We’re in an extremely vulnerable time\, so I hope this record gives people space to feel whatever they need to feel\,” says Rose. “I hope it helps everyone to be more gentle with themselves and give themselves grace—and reminds them that\, just like the moon\, we don’t need to shine full and bright all of the time to do what we’re meant to do. Like the moon\, the whole of us is always there but just revealed differently depending on the light.” \n \n  \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/maggie-rose
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-Maggie-Rose.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260812T190000
DTEND;TZID=America/New_York:20260812T190000
DTSTAMP:20260610T082315
CREATED:20260507T151248Z
LAST-MODIFIED:20260603T005425Z
UID:10001004-1786561200-1786561200@www.prescottpark.org
SUMMARY:Ryan Montbleau Band
DESCRIPTION:A relentless road warrior and masterful wordsmith\, Ryan Montbleau has spent the better part of thirty years cultivating a devoted audience on the strength of his ecstatic live shows and exhilarating sonic versatility. He’s collaborated with artists as diverse as Trombone Shorty\, Galactic\, Steel Pulse\, Tall Heights\, Martin Sexton\, Anders Osborne\, and George Porter\, Jr; shared bills with the likes of Tedeschi Trucks Band\, Ani DiFranco\, Todd Snider\, The Wood Brothers\, Rodrigo y Gabriela\, and Mavis Staples; and racked up more than 150 million streams on Spotify alone. NPR’s Mountain Stage compared his “eloquent\, soulful songwriting” to Bill Withers and James Taylor\, while Relix celebrated his “poetic Americana\,” and The Boston Herald raved that “he’s made a career of confident\, danceable positivity.” \n  \nMontbleau’s freewheeling new album finds him exploring the full spectrum of his influences like never before\, touching on folk\, rock\, funk\, soul\, hip-hop\, and reggae\, all with a preternatural ease that belies the intensely focused craftsmanship behind it. The songs are sprawling and unpredictable\, grappling with a modern world perpetually teetering on the edge of chaos\, but the performances are relentlessly optimistic\, insisting on hope and joy in the face of it all. The result is Montbleau’s most vulnerable and cathartic work yet\, an album that acknowledges the inevitability of doubt and pain while at the same time celebrating our limitless capacity for growth and love. \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/ryan-montbleau-band
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-11.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260813T190000
DTEND;TZID=America/New_York:20260813T190000
DTSTAMP:20260610T082315
CREATED:20260513T163427Z
LAST-MODIFIED:20260603T005611Z
UID:10001008-1786647600-1786647600@www.prescottpark.org
SUMMARY:Allen Stone
DESCRIPTION:Allen Stone\, a soul/R&B luminary\, has enraptured global audiences with his electrifying performances and soulful melodies\, embodying the essence of classic soul legends. His genre-defying style\, blending funk\, gospel\, folk-rock\, and soul\, has garnered critical acclaim and a devoted following. Stone’s journey to musical stardom commenced in Chewelah\, Washington\, where his upbringing immersed him in gospel music as a pastor’s son. Relocating to Seattle\, he tirelessly toured the West Coast in his ’87 Buick\, swiftly gaining acclaim for his dynamic live shows\, often playing up to 200 dates annually alongside luminaries such as Stevie Wonder\, Al Green\, Dave Matthews Band\, Erykah Badu\, and Gary Clark Jr. Notably\, and Chris Stapleton\, further solidifying his status as a tour de force in the music industry. Alongside his prolific touring schedule\, Stone has graced national television screens\, including The Kelly Clarkson Show\, Jimmy Kimmel Live\, The Today show\, and a Celebrity Mentor on ABC’s American Idol.  Stone continues to garner critical acclaim with his latest body of work\, Mystery\, featuring the title track in collaboration with PJ Morton. This release brings infectious rhythms and emotional depth\, solidifying Stone’s place as a powerful voice in modern soul music. You can see on the road this summer with Chris Stapleton and Lainey Wilson on the Great American Road Show.  \n  \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/allen-stone-2
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-12.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260815T190000
DTEND;TZID=America/New_York:20260815T190000
DTSTAMP:20260610T082315
CREATED:20260522T163806Z
LAST-MODIFIED:20260603T005743Z
UID:10001015-1786820400-1786820400@www.prescottpark.org
SUMMARY:Caiola
DESCRIPTION:Jordan Caiola (CAI•OLA) is a songwriter/musician/producer based out of Philadelphia. He founded the indie rock band Mo Lowda & The Humble in 2010 and due to its intense touring schedule\, the band became his main priority along with his side project NightSeason (founded 2016)- an indie/electro-pop producer duo. Though he always felt writing folk songs was his true “wheelhouse”\, it wasn’t until the nationwide lockdown in early 2020 that he finally put aside the time to record a collection of those songs for his first solo album ‘Only Real When Shared’.  Now\, Caiola tours year-round with both Mo Lowda and his solo project.  His second solo record was released in 2024. \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/caiola
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-Caiola.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260819T190000
DTEND;TZID=America/New_York:20260819T190000
DTSTAMP:20260610T082315
CREATED:20260513T163731Z
LAST-MODIFIED:20260603T010022Z
UID:10001009-1787166000-1787166000@www.prescottpark.org
SUMMARY:Madi Diaz
DESCRIPTION:Madi Diaz is an artist who cuts to the emotional core of her own experiences with startling precision. Her last two albums\, 2021’s History of a Feeling and 2024’s two-time Grammy-nominated Weird Faith\, set off a breakthrough for the professional songwriter. These records won over critics\, audiences\, and other collaborators with well-crafted songs and a compelling arc: first there’s the difficult breakup\, then a mourning period and slowly\, a sense of reinvention; when love comes around again\, Weird Faith seemed to say\, it’s worth fighting through the fear and uncertainty. Fatal Optimist\, the Nashville singer-songwriter’s forthcoming LP\, could be considered the final chapter in this heartache trilogy\, and also its rawest entry. This time Diaz is asking audiences to lean closer in to hear what she has to say. \nAfter ending a relationship with someone she once envisioned marrying\, Diaz turned away from everyone and everything she knew and took herself to an island. This heartbreak felt different. Every one of them does. Admittedly\, she was embarrassed to be in this position again. How was she going to write about this? “I put myself on an island\,” Diaz wrote in her journal during that time. “I was already describing myself as an emotional island swimming in so much of an ocean of feelings… It was the perfect physical manifestation\, alone with all of my disappointment.” She began to navigate isolation\, and the good things that can come from it. Although people often warn others about isolating\, Madi’s time alone emerged as a powerful\, insightful period of introspection. Rage\, embarrassment and romantic grief shifted into inner wholeness and the pieces of Fatal Optimist started falling into place. “I didn’t know that I hadn’t chosen myself yet\,” she says. “The only person I’m never gonna leave is myself.” \nSolitude called to Diaz again during the initial recording sessions for Fatal Optimist. After entering a New Jersey studio with friends to flesh out the songs\, she later realized it wasn’t right. The album needed to sound like isolation\, to mirror her experience of being completely alone. She wanted to capture the sound of self-soothing. Diaz started over in Southern California with a new co-producer\, Gabe Wax (Soccer Mommy\, Zach Bryan) at his Infinite Family Studio. “This was the first time in my career that I stayed in this heavy place with the songs after leaving the studio\,” she says\, “rather than trying to escape it.” While you’ll find subtle accompaniment from an occasional baritone guitar or bass\, Fatal Optimist comes down to Diaz alone in a room with her acoustic guitar. This is her Unplugged moment\, her stripped-down version\, the Madi Diaz album most likely to haunt you with its starkness. Simplicity can be much more difficult to nail than camouflaging a song with layers of production. It is exactly what these songs needed. \nSong by song\, she traces the phases of dissolution and rebirth like the moon waxing and waning in the night sky for all to see. Opener “Hope Less” unpacks the experience of being offered less than you deserve and trying miserably to shrink your needs. On “Ambivalence\,” Diaz makes a meal out of a shitty feeling and turns that four-syllable word into a quietly anthemic chorus about not being sure if crumbs are enough. The romantic spell is fully broken on “Feel Something\,” where Diaz captures the futility of reaching for emotional connection after it’s already been lost. Instead of calling her ex she wrote this song. It captures the oscillating emotions of post-break-up limbo with energetic acoustic strumming\, and languid electric guitar. \nThe sparse\, devastating “Heavy Metal” was a late addition to the album. It pulls off the songwriting trick of cleverly repurposing a common phrase into a personal mantra: her heart is not precious like gold or silver\, it’s built to endure pain and battle like heavy metal and her mother. Here her voice aches with vulnerability. “I really wanted to write a song that feels as hardcore as I am\,” she says. “I am emotionally heavy metal\, but everything comes out soft.” \nIt’s not like there aren’t moments of weakness\, backslides\, as Diaz waits for time to heal all wounds. She chronicles her not-so-proud moments with just as much gall-force clarity\, grabbing the listener from the very first line on melancholic country song “Why’d You Have to Bring Me Flowers”: “My toxic trait is hanging on\, your toxic trait is showing up.” Just because Diaz chose herself doesn’t mean her heart isn’t broken\, too. But she takes it as a sign that\, at her core\, she still believes in love. \nThe closing title track speaks to her innate hope for something magical despite all the known risks. Here\, Diaz is enveloped by a noisy\, full-band rock sound for the first time on the album\, as if to switch from black and white to technicolor just in time for the story’s cathartic ending. “Making the record felt like walking through fire alone\,” she explains of the sonic shift\, “the reward was getting my friends back and the color back into my world and getting to have this communal sound.” \nIn Diaz’s words\, “Fatal Optimism is the innate hope for something magical. It’s the weird faith that kicks in while knowing that there is just plain risk that comes with wanting someone or something. It’s when you have no control over the outcome\, but still choose to experience every moment that happens\, and put your whole heart in it.” \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/madi-diaz
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-Madi-Diaz.jpg
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DTSTART;TZID=America/New_York:20260821T190000
DTEND;TZID=America/New_York:20260821T190000
DTSTAMP:20260610T082315
CREATED:20260513T165134Z
LAST-MODIFIED:20260603T010045Z
UID:10001010-1787338800-1787338800@www.prescottpark.org
SUMMARY:Fantastic Cat
DESCRIPTION:Fantastic Cat almost died. Each member also individually (but at separate times) faced devastating heartbreak\, went to jail\, got sober\, almost quit music entirely\, reconnected with a long-estranged family member\, started making music again\, hit rock bottom\, had a chance encounter with a mysterious stranger who changed their perspective on life\, almost quit music entirely a second time\, reconciled their progressive\, liberal ways with their strict\, conservative upbringing\, and embraced the raw power of their sexuality. It was quite a summer. \nAnd sure\, you may be reading this right now saying\, “Wow\, that kind of sounds like the band just basically jammed every bio cliché they could think of into a single paragraph without anything to back it up in a pathetically transparent attempt to generate press coverage.” But that kind of cynical thinking is exactly why GQ owns Pitchfork now (or whatever the hell happened there). \nAnyway\, it’s all real\, and if it makes for the kind of inspirational headline that editors and advertisers alike both find highly clickable\, then so be it. \nYou see\, two years ago\, Fantastic Cat was nothing more than a little-known rock and roll band with a cult following (their fans were primarily members of Heaven’s Gate). That all changed with the release of their award-eligible debut\, The Very Best Of Fantastic Cat\, which garnered the kind of press you simply can’t make up. USA Today proclaimed\, “we don’t have a music writer anymore\,” while NPR received multiple copies of the album in the mail\, and The New York Times’ Jon Pareles declared\, “I’m currently out of the office and will respond when I return.” \nSuccess went to the supergroup’s head\, though\, and through a series of dramatic events almost too unbelievable to recount in specific\, verifiable detail\, they nearly lost everything\, only to triumphantly overcome their seemingly insurmountable setbacks in a way that just begs for a Judd Apatow-produced HBO Max documentary (or at the very least\, a decent Spotify playlist placement somewhere closer to the top than the bottom). \nToday\, Fantastic Cat is back and older than ever\, taking America (and the nicer parts of Europe) by storm with their smash hit new album\, Now That’s What I Call Fantastic Cat\, which\, as of this writing\, hasn’t technically been released yet\, but seems almost certain to be a huge success based on industry trends and corporate forecasting. \nGalvanized by a transformative journey into the spiritual vortices of the Pocono Mountains\, the band found inspiration for their sophomore effort in the world of mind-expanding psychedelics: they dropped antacids\, experimented with mushrooms (primarily porcini)\, and even began microdosing a variety of hard seltzers. The result was an album that could only be described as “Christopher Cross crossed with Kris Kristofferson\,” a bewildering blend of stepdad rock and inlaw country destined to solidify their status as your least favorite songwriter’s favorite songwriters. But no one hit the record button\, and the sessions went mercifully undocumented. \nInstead\, the album they turned in to the label is an entirely different collection\, one that meets (but does not exceed) the minimum Grammy® eligibility requirements in all major televised categories. Now That’s What I Call Fantastic Cat! \n  \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/fantastic-cat
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260828T190000
DTEND;TZID=America/New_York:20260828T190000
DTSTAMP:20260610T082315
CREATED:20260515T183843Z
LAST-MODIFIED:20260603T010210Z
UID:10001012-1787943600-1787943600@www.prescottpark.org
SUMMARY:Langhorne Slim
DESCRIPTION:Langhorne Slim\, a beloved and acclaimed American singer\, songwriter and performer. Over the last 2 decades he has merged a stew of styles to create a sound that is unique\, powerful and raw. From campfires to dive bars\, and theatres to arenas\, Slim brings an intimacy and edge through his innate ability to connect with his audiences. Though he’s been at this for the better part of his days\, it somehow feels like he’s just getting started. \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/langhorne-slim-2
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-Langhorne-Slim-1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260829T190000
DTEND;TZID=America/New_York:20260829T190000
DTSTAMP:20260610T082315
CREATED:20260515T185350Z
LAST-MODIFIED:20260603T135130Z
UID:10001013-1788030000-1788030000@www.prescottpark.org
SUMMARY:The Devil Makes Three
DESCRIPTION:The Devil Makes Three has always thrived in the spaces between genres\, where the grit of folk\, the soul of blues\, and the rebellious spirit of punk collide. Their music doesn’t just follow the American storytelling tradition—it redefines it. Whether evoking the deep melancholy of Delta blues or the frenetic energy of punk\, their sound is raw\, powerful\, and unmistakably their own. For over two decades\, this genre-defying trio has carved out a place in the American roots scene\, delivering high-energy performances that leave audiences captivated and wanting more. They’ve released seven studio albums and three live recordings\, with their latest\, Spirits\, marking a return to their stripped-down roots. \n  \nFormed in 2002 in Santa Cruz\, California by Pete Bernhard and Cooper McBean\, the trio\, now featuring longtime collaborator MorganEve Swain (taking over on upright bass and vocals for Lucia Turino)\, has continued to evolve musically while staying rooted in their core sound. The Devil Makes Three has built a devoted fanbase by embracing the raw\, unpolished edge of acoustic music\, and their latest album\, Spirits\, adds yet another layer to this ever-expanding sonic palette. \n  \nThe new album\, produced by Grammy-winner Ted Hutt (Old Crow Medicine Show\, Dropkick Murphys\, The Gaslight Anthem and Violent Femmes among others)\, takes listeners through a journey of grief\, addiction\, division\, and personal resilience. Songs like “Lights on Me” and “Spirits” delve into the emotional weight of loss and death\, reflecting Bernhard’s experience of losing close family members and friends during the album’s creation. Meanwhile\, tracks like “Half as High” and “Divide and Conquer” tackle broader social themes\, speaking to the ever-widening economic divide and political fragmentation in today’s volatile climate.  \n  \nWith frequent collaborator MorganEve Swain (from longtime tourmates Brown Bird)  taking over on upright bass and vocals for Lucia Turino on upright bass and vocals—the band recorded Spirits at Dreamland\, a converted church studio outside Woodstock\, New York\, where haunting thunderstorms mirrored the album’s somber\, introspective mood. The result is a powerful collection that marries the band’s signature Americana sound with new depth\, capturing the essence of resilience in the face of adversity. \n  \n“There’s definitely a theme of ghosts and death running through this album\,” says Bernhard\, who reflects on personal loss\, as well as the social and political struggles of our time. “We wanted this record to speak to the challenges people face today\, whether it’s loss\, addiction\, or the divisions tearing people apart.” \n  \nYet\, despite these heavy themes\, The Devil Makes Three maintains their core identity as a rhythm-driven\, live band meant for dancing and celebration. Their shows continue to bring together a diverse and dedicated fanbase\, where revelry and catharsis meet in equal measure. \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2026 season. \nPlease Note: General Admission Donations do not include reserved seating. This is a way to make your gate donation in advance. \nTable reservations seat four.  \nBlanket reservations are placed in the blankets-only area of lawn and do not allow for chair placement. Blankets are roughly 5′ x 5′\, comfortably fitting 2 adults and 1 child.  \nSee you in the park!
URL:https://www.prescottpark.org/event/the-devil-makes-three
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/05/SQUARE-14.jpg
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