BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Prescott Park Arts Festival - ECPv6.17.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Prescott Park Arts Festival
X-ORIGINAL-URL:https://www.prescottpark.org
X-WR-CALDESC:Events for Prescott Park Arts Festival
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250717T190000
DTEND;TZID=America/New_York:20250717T190000
DTSTAMP:20250626T184927Z
CREATED:20250422T162310Z
LAST-MODIFIED:20250626T184927Z
UID:10000891-1752778800-1752778800@www.prescottpark.org
SUMMARY:Shemekia Copeland with Erin Harpe Country Blues Duo
DESCRIPTION:Shemekia Copeland\nBlame It On Eve\nBio written by Marc Lipkin\n\n“Shemekia Copeland is the greatest blues singer of her generation.” –The Washington Post\n\n“Shemekia Copeland has established herself as one of the leading blues artists of our time. Profound and truly powerful…inviting you to think and to party.” –NPR Music\n\n“Shemekia Copeland gets her message across loud and clear. She transcends with a mix of styles including gospel\, rock\, blues\, soul\, and Americana\, proudly representing her generation with style and grace in a voice too strong to be ignored.” –No Depression\n\nShemekia Copeland possesses one of the most instantly recognizable and deeply soulful roots music voices of our time. The multi-GRAMMY nominee is beloved and honored worldwide for the fearlessness\, honesty and humor of her revelatory songs\, as well as for her winning\, engaging personality. The Chicago Tribune says\, “Copeland is the greatest female blues vocalist working today. There’s no mistaking the majesty of her instrument\, nor the ferocity of her delivery.”  \n\nOn Copeland’s new album\, Blame It On Eve\, the songs all hit hard\, with jaw-dropping performances that instantly take hold and command repeated listening. “There’s serious business on the new album\,” Copeland says\, “but there are a lot of smiles here too\, a lot of joyous moments. It’s my blues for sure but it’s the brighter side. Issues are always important to me\, but so is rocking\, dancing and just having fun. And that’s something we all can all agree on.”\n\nBlame It On Eve was recorded in Nashville and produced by instrumentalist/songwriter Will Kimbrough (who also produced her previous three albums). It features 12 new songs that tackle subjects as important as a woman’s right to choose and climate change\, but also leaves space for Copeland to have fun and unwind. From the autobiographical\, rocking blues boogie Tough Mother to the anthemic title track’s good-humored but serious focus on reproductive self-determination to the happy hour of Wine O’Clock\, Copeland is inspired throughout. \n\nFamed multi-instrumentalist Jerry Douglas adds his dobro to the fascinating\, true story of Tee Tot  Payne\, the obscure early 20th century Alabama musician who taught Hank Williams the blues\, and sacred steel player DaShawn Hickman brings his magic to the feisty and uplifting Tell The Devil.  Shemekia’s friend\, roots-rocker Alejandro Escovedo\, joins in on the anguished\, celestial query Is There Anybody Up There?. On the sad lover’s tale Belle Sorciere\, Copeland sings the chorus in French\, with the haunting melody composed by Pascal Danae of the Paris-based band Delgres (who were recently featured on the cover of Rolling Stone France). Copeland’s blistering\, deep blues delivery of Down On Bended Knee—by her late father\, the great bluesman Johnny Copeland—sets up the thought-provoking closer Heaven Help Us All\, a song originally made famous first by Stevie Wonder and later by Ray Charles. Taken as a whole\, the passionate\, charismatic\, joyous and at times confrontational Blame It On Eve is bound to become among the most celebrated releases of Copeland’s impressive\, still-unfolding career. \n\nBorn and raised in Harlem in 1979\, Shemekia Copeland first stepped on stage with her famous father at New York’s Cotton Club when she was eight. Upon release of her Alligator Records debut Turn The Heat Up in 1998 when she was only 18\, Copeland instantly became a blues and R&B force to be reckoned with. The New York Times and CNN\, among many others\, praised her talent\, larger-than-life personality\, dynamic\, authoritative voice and true star power. With each subsequent release\, Copeland’s music continued to evolve. From her debut through 2005’s The Soul Truth\, Shemekia earned eight Blues Music Awards and a host of Living Blues Awards. 2000’s Wicked received the first of her five GRAMMY nominations. After two successful releases on Telarc (including 2012’s GRAMMY-nominated 33 1/3)\, Copeland returned to Alligator Records in 2015 with the GRAMMY-nominated\, Blues Music Award-winning Outskirts Of Love\, melding blues with more rootsy\, Americana sounds. \n\nWith 2018’s America’s Child\, Copeland brought out the first of her celebrated trilogy of albums concerning the state of the world\, sung from her perspective as a young\, Black woman and new mother. MOJO magazine named America’s Child the #1 blues release of 2018. It won both the Blues Music Award and the Living Blues Award for Album Of The Year.  In addition to earning a GRAMMY Award nomination\, Copeland’s groundbreaking 2020 follow-up\, Uncivil War\, was named the 2020 Blues Album Of The Year by DownBeat\, MOJO and Living Blues magazines. “Shemekia Copeland is a powerhouse\,” said Rolling Stone. “She can do no wrong.” She received her fifth GRAMMY nomination for Done Come Too Far\, which closed the trilogy with a searing set of truth-to-power\, rock and Hill Country blues-fueled songs. “Shemekia Copeland is an antidote to artifice\,” said The Philadelphia Inquirer. “She is a commanding presence\, a powerhouse vocalist delivering the truth.” \n\nCopeland has performed thousands of gigs at clubs\, festivals and concert halls all over the world\, and has appeared in films\, on national television\, NPR\, and has been the subject of major feature stories in hundreds of magazines\, newspapers and internet publications. She’s sung with Bonnie Raitt\, Keith Richards\, Carlos Santana\, Dr. John\, James Cotton and many others\, and has shared a bill with The Rolling Stones. She entertained U.S. troops in Iraq and Kuwait in 2008\, a trip she says\, “that opened my eyes to the larger world around me and my place in it.” In 2012\, she performed with B.B. King\, Mick Jagger\, Buddy Guy\, Trombone Shorty\, Gary Clark\, Jr. and others at the White House for President and Mrs. Obama. She has showcased on PBS’s Austin City Limits\, was featured in a six-minute story on the PBS News Hour and was the subject of a major Washington Post Sunday magazine piece. In April 2022\, she performed at the United Nations General Assembly Hall to a worldwide audience of millions as part of International Jazz Day celebrations. In 2023\, Copeland guested on the GRAMMY Award-winning compilation album\, Basie Swings The Blues\, on the Candid label. She continues to receive regular radio airplay on stations all over the globe. Additionally\, Copeland hosts her own popular daily blues radio show on SiriusXM’s Bluesville. \n\nForbes declared\, “Shemekia is fearless\, honest and hopeful…she holds back nothing as she delivers hard-hitting musical truths.” The late John Prine paid her a huge compliment when he said\, “She simply doesn’t sound like anybody else.” And none other than Copeland’s friend\, the legendary Mavis Staples\, announced\, “I am so happy Shemekia is delivering these songs that the world needs to hear. Her voice is strong and soulful\, and her message comes from her heart.”\n\nWith Blame It On Eve\, Copeland embarks on what she calls “a vacation from all the heaviness.” Blame It On Eve contains plenty of Copeland’s trademark bold and courageous songs\, but here Copeland is also looking to unplug from the weight of world. “My last three records have dealt with breaking news\,” she says. “This record is for people like me who want a break from the news.”\n \n \n\nwith Erin Harpe Country Blues Duo …featuring Jim Countryman\nErin Harpe Country Blues Duo has been called “today’s country blues at its very best” by Living Blues Magazine\, who crowned Erin “one of the finest fingerpicking acoustic blues singers in the land”. The group’s captivating sound showcases Erin’s exceptional vocals and mastery of finger-style blues guitar – which she does while also playing foot percussion & kazoo! Rounding out the pair’s full-band sound\, Jim Countryman provides grooving bass and backing vocals. The two boast a career studded with numerous accolades\, and miles of musical highway. In fact\, they just recently returned from a wildly successful tour in the UK & Spain! \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/shemekia-copeland
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/2025/04/PPAF_7-17_Shemekia-Copeland-Square-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250723T190000
DTEND;TZID=America/New_York:20250723T190000
DTSTAMP:20250626T185316Z
CREATED:20250422T184902Z
LAST-MODIFIED:20250626T185316Z
UID:10000892-1753297200-1753297200@www.prescottpark.org
SUMMARY:Neal Francis with Smushie
DESCRIPTION:The latest album from Neal Francis\, Return To Zero\, emerged from the kind of visionary fever dream that only the most masterful and inventive artists are capable of bringing to life. Amid a grueling tour schedule that found him playing nearly 400 shows from 2021 to 2024\, the Chicago-based singer/songwriter/pianist immersed himself in creating a beautifully strange entangling of timeless rock & roll and ’70s-era dance music\, merging supremely heavy guitar riffs with lush and pulsating grooves—all constructed sans digital programming\, in keeping with his devotion to all things analog. Worlds away from the glitzy fantasia of archetypal disco\, Return To Zero inhabits a far moodier atmosphere and ultimately makes for the most thrilling manifestation of Francis’ peerless musicality yet. \nEqual parts heady and hedonistic\, pensive and euphoric\, Francis’ third studio LP echoes both his deep-rooted psych-rock sensibilities and a lifelong affinity for classic funk. “I’ve always been intrigued by music that toes the line between funk and rock\,” notes Francis. “In the past I’ve asked myself things like\, ‘What would it sound like if Thin Lizzy cut a disco record?’ It’s something I’ve been fascinated with for a very long time\, so I finally decided to really go for it.” \nThe follow-up to his 2023 double live album and concert film Francis Comes Alive\, Return To Zero marks Francis’ first full-length studio effort since In Plain Sight—a 2021 release acclaimed by the likes of leading rock critic Steven Hyden\, who praised its “throwback big-band sound that recalls the highs of 1970s funk and swamp rock.” With his past work also including his 2019 debut album Changes (hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6)\, Francis began playing piano at the young age of four and became an in-demand sideman while still a teenager\, touring with revered blues artists and beloved instrumental band The Heard before embarking on his solo career. Over the years\, he’s sold out headline shows all across the globe\, supported the likes of Wilco\, Black Pumas\, and My Morning Jacket\, appeared at major festivals such as Bonnaroo\, Fuji Rock\,  and Lollapalooza\, and even performed at historic venues like Carnegie Hall. \nLike all of his studio work so far (including his 2022 EP Sentimental Garbage)\, Return To Zero finds Francis co-producing alongside his frequent collaborator Sergio Rios and recording live with members of his touring band (drummer Collin O’Brien\, bassist Mike Starr\, guitarist Kellen Boersma)\, elegantly showcasing his prodigious talent and dazzling originality as a keyboard player. Mainly created at Rios’ L.A. studio\, the album’s grandiose yet warmly inviting sound also took shape from his close collaboration with composer/conductor Dom Frigo (who aided Francis by transcribing the LP’s symphonic string sections)\, Say She She (a Brooklyn-based psychedelic-soul trio who adorn a number of songs with their beguiling backing vocals)\, and a stacked lineup of co-writers that includes Queens of the Stone Age bassist Michael Shuman and Wild Belle co-founder Elliot Bergman. \nIn the making of his most ambitious work to date\, Francis faced countless moments of creative frustration—a factor that eventually gave the album its title. “I was cutting a lot of the vocals at home\, using a hybrid process where I’d bounce the tracks from my computer to a tape machine and then record the vocals to tape\,” he explains. “I’d be in my vocal booth in the closet with all our winter coats\, and every time I needed to start over I’d press this button that says ‘RTZ\,’ which stands for ‘Return To Zero.’ I was doing take after take and pressing that button over and over—it was a huge pain\, but it also linked up with what I’ve learned in my meditation practice: no matter how frustrated you get\, just remain calm and take inventory\, and then begin again.”  \nAlthough executing Return To Zero’s highly elaborate arrangements often involved a very time-intensive trial-and-error approach\, the album-opening “Need You Again” surfaced from an immediate burst of inspiration after Francis attended a DJ set by Derrick Carter (a Chicago house legend who created a 12-inch remix of “BNYLV” from In Plain Sight). “My girlfriend and I went out to a queer dance party called Queen! and stayed till about four in the morning\, and Derrick played a track that was a big rock riff over a funk beat\,” he recalls. “The next day I went into the studio on very little sleep and started working on the demo for ‘Need You Again\,’ and after I finished I couldn’t stop listening to it.” Featuring a guest spot from Grammy-winning guitarist Eric Krasno (Soulive\, Lettuce)\, the result is a glorious entry point into the album’s groove-heavy soundscape\, unfolding in sinewy riffs and larger-than-life rhythms as Francis narrates a tale of ruinous infatuation. “It’s a song about a love affair\, and the experience of projecting magical qualities onto another person and feeling almost addicted or beholden to them\,” he reveals.   \nAnother charmed moment in the album’s creation\, “Broken Glass” was sparked from a session featuring Francis on bass and Shuman on drums\, with the two soon conjuring the hypnotically potent riff that propels the track forward. With its viscerally charged depiction of lust and self-denial\, the darkly majestic epic reaches a stratospheric crescendo at the bridge\, when pounding drums meet with Say She She’s near-operatic harmonies. “Once we had that riff I started filling in some freeform poetry from my notebook\, which had to do with the idea of taking direction in an intimate liaison\,” says Francis. “It all came together so naturally because of how Michael was playing drums\, bringing that Queens of the Stone Age heavy-rock thing I love so much.”  \nOne of the most dance-ready tracks on Return To Zero\, “Back It Up” glides along on glossy synth lines and a playfully swaggering riff\, imbuing a carefree spirit into Francis’ deliberately over-the-top confession of romantic desperation. “That song went through a few different phases before we got to the final iteration\,” he says. “It took me a while to accept that it’s okay to have fun with the lyrics\, instead of making everything so serious all the time.” Meanwhile\, on “What’s Left Of Me\,” Francis presents a gorgeously sprawling power-pop anthem built on his resplendent piano work. Co-written with Nashville-based songwriter Chris Gelbuda\, the track arose from a piano-and-vocal demo captured at Chicago’s Fine Arts Building\, soon evolving into a piercingly candid reflection on life on the road. “Chris and I are good friends and we got to talking about the challenges of being in a committed relationship while you’re on tour\,” says Francis. “A lot of these songs were influenced by Electric Light Orchestra and the way Jeff Lynne synthesizes classical music and pop songwriting\, and ‘What’s Left Of Me’ was definitely one where I was going for an ELO vibe.” \nPartly inspired by the funk and dance records he typically spins during his sets as an all-vinyl DJ\, Return To Zero also encompasses everything from the spaced-out drama of “Dance Through Life” to the string-laced reverie of “Can’t Get Enough” (a collaboration with Durand Jones & The Indications’ Blake Rhein that is a sublimely mellowed-out homage to acid-jazz pioneer Roy Ayers). In creating such a complex body of work\, Francis found his sense of perseverance repeatedly tested. “Most of these songs were pretty hard-won\,” he says. “There was a feeling of pulling out all the stops to achieve what I was going for\, and in the middle of that I was dealing with some depression and exhaustion. I ended up learning a lot about myself\, and now I feel like I’m in a completely different place in terms of my priorities with mental health.” Despite its more daunting aspects\, the writing and recording of Return To Zero also brought plenty of moments of pleasure\, including composing with strings for the very first time and tracking songs with his longtime bandmates. “All those guys are like my brothers\, and there was a feeling of us working together with an almost athletic desire to get better every time we did a new take\,” Francis says. “Those were really long days at the studio\, but they were also so much fun.”  \nLooking back on the making of Return To Zero\, Francis points to certain crucial lessons absorbed while creating his most extravagantly realized work so far. “One of the main things I’ve learned is that every album is going to be its own journey; I can’t really take the arsenal of things I’ve learned in the past and expect them to save me from any kind of frustration with whatever I make next\,” he says. “Creating art is always going to be a challenge\, which maybe goes back to why AI-created music is never going to be all that compelling—. The best I can do is use what’s at my disposal and try not to freak out or despair when it gets difficult\, and hopefully end up making something that gives people joy.” \n \n\nwith Smushie\nSmushie is the solo effort and childhood nickname of songwriter and multi-instrumentalist Austin Koenigstein. A New Yorker by origin\, Koenigstein moved to Chicago in 2019\, where he has since distinguished himself with a volcanic live act and a torrent of self-produced material. Smushie’s music strikes at conventions of genre and tribe\, at once casting an R&B pocket against wailing CBGB vocals\, at any given show transforming folk numbers into pounding four-on-the-floor booty-busters\, with the aid of searing guitar lines and a towering rhythm section. Rich in both humor and urgency\, his songs leap into confrontation\, touching on class divides\, loss of innocence\, bad-faith clowns\, surreal landscapes\, and the nuclear potential of a good time. His shows are\, above all\, fun. In 2023\, Smushie released his debut album\, Doofus Casanova\, quickly following it up with two EPs and a collaborative LP. His sophomore solo full-length record is slated for release in early 2025. \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/neal-francis
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/2025/04/PPAF-25_7-23_Neal-Francis-Square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250725T190000
DTEND;TZID=America/New_York:20250725T190000
DTSTAMP:20250725T164651Z
CREATED:20250422T192306Z
LAST-MODIFIED:20250725T164651Z
UID:10000893-1753470000-1753470000@www.prescottpark.org
SUMMARY:Trampled by Turtles with Sneaky Miles
DESCRIPTION:Trampled by Turtles are from Duluth\, Minnesota\, where frontman Dave Simonett initially formed the group as a side project in 2003. At the time\, Simonett had lost most of his music gear\, thanks to a group of enterprising car thieves who’d ransacked his vehicle while he played a show with his previous band. Left with nothing more than an acoustic guitar\, he began piecing together a new band\, this time taking inspiration from bluegrass\, folk\, and other genres that didn’t rely on amplification. \nSimonett hadn’t played any bluegrass music before\, and he filled his lineup with other newcomers to the genre\, including fiddler Ryan Young (who’d previously played drums in a speed metal act) and bassist Tim Saxhaug. Along with mandolinist Erik Berry and banjo player Dave Carroll\, the group began carving out a fast\, frenetic sound that owed as much to rock & roll as bluegrass. \nThere crossover appeal has landed them on the #1 spot of Billboard’s Bluegrass Charts on every record they’ve released while playing marquee festivals like Coachella\, ACL Fest\, and Lollapalooza. Countless tours with diverse artists ranging Shakey Graves\, Zach Bryan\, Wilco\, Caamp\, Mt Joy\, Willie Nelson\, Avett Brothers\, Lord Huron and many more have followed solidifying a loyal fanbase. Their last full length album Alpenglow was produced by Wilco’s Jeff Tweedy. 2025 began with the band releasing a cover of Bon Iver’s “From Emma” with Caamp’s Taylor Meier (aka Sumbuck) on lead vocals. A few new collaborations are set to be announced in the coming weeks. \n \n\nwith Sneaky Miles\nIndie folk band\, Sneaky Miles\, formed in the fall of 2019. The trio found each other through Open Mic nights at the University of New Hampshire. Since forming\, the group has quickly become a local powerhouse in the NH Seacoast music scene. Though the band started as a trio\, they have recently teamed up with more members to feature drums\, bass\, and pedal steel. Sneaky Miles is known for their high energy performance and a sound that is greater than the sum of its parts. \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/trampled-by-turtles
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/2025/07/Trampled-The-Park-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250730T190000
DTEND;TZID=America/New_York:20250730T190000
DTSTAMP:20250730T145935Z
CREATED:20250424T140955Z
LAST-MODIFIED:20250730T145935Z
UID:10000896-1753902000-1753902000@www.prescottpark.org
SUMMARY:The Mallett Brothers + Griffin William Sherry
DESCRIPTION:  \n \n“Founded in 2009\, The Mallett Brothers Band have had multiple lineup changes and stylistic shifts over the years\, but they’ve remained steadfast in delivering heartfelt songs with emotional lyricism\, vivid imagery\, and dynamic musical tones…” – No Depression \nThe Mallett Brothers Band is an independent rock and roll / Americana / country band from Maine. Their busy tour schedule since forming in 2009 has helped them to build a dedicated fanbase across the U.S. and beyond while still calling the state of Maine their home. With a style that ranges from alt-country to Americana\, country\, jam and roots rock\, theirs is a musical melting pot that’s influenced equally by the singer/songwriter tradition as by harder rock\, classic country and psychedelic sounds. \n \n\n+ Griffin William Sherry\n\nGriffin William Sherry\, the Maine-born singer\, songwriter\, and guitarist\, is known for his ability to craft stories that resonate deeply\, whether they’re shared around a campfire or at a summer festival. After spending twelve years fronting The Ghost of Paul Revere\, Griffin steps into the spotlight as a solo artist with his debut album\, “Hundred Mile Wilderness”. His music\, characterized by a powerful vocal delivery and no-frills instrumentation\, delves into the joys and challenges of small-town life and the personal journey of self-discovery. Through songs filled with raw honesty and eloquent lyricism\, Griffin continues to explore life’s big questions\, inviting listeners to pause and appreciate the moment. Now\, with a new chapter unfolding\, he’s more determined than ever to tell his story in his own voice. \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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-mallett-brothers-griffin-william-sherry
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/2025/04/PPAF_7-30_The-Mallet-Brothers-Square-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250801T190000
DTEND;TZID=America/New_York:20250801T190000
DTSTAMP:20250626T190003Z
CREATED:20250425T160844Z
LAST-MODIFIED:20250626T190003Z
UID:10000909-1754074800-1754074800@www.prescottpark.org
SUMMARY:Jobi Riccio with Ward Hayden & The Outliers
DESCRIPTION:Born and raised in Morrison\, Colorado – a tourist town in the foothills outside of Denver that’s home to Red Rocks Amphitheater – Jobi Riccio grew up surrounded by music and found inspiration in artists ranging from Sheryl Crow to Joni Mitchell. Sonically\, Jobi’s music exists between worlds\, melding the classic craftsmanship of her songwriting with modern indie-leaning production to forge a lush\, expansive sound that feels traditional and experimental all at once.   \nShe has received significant acclaim for her songwriting\, including winning the 2019 NewSong Music Competition and the 2019 Lee Villiare Scholarship from her alma mater Berklee College of Music. More recently Jobi was awarded the 2023 Newport Folk Festival John Prine Fellowship\, chosen as a 2024 Luck Reunion Artist On The Rise and is nominated for the Americana Music Association’s 2024 Americana Honors and Awards in the category of Emerging Artist of the Year.  \nHer debut album\, Whiplash (out now on Yep Roc)\, has garnered praise from The New York Times\, Billboard\, NPR\, and The Nashville Scene to name a few. “This is the kind of album where you leave knowing an artist better than you ever thought you could in less than 40 minutes\, and learn a thing or two about yourself in the process” Says Marissa R. Moss\, who named Whiplash her number one Country album of 2023 for Stereogum. Not one to be confined into any one mold\, Riccio’s Whiplash introduces influences from a variety of genres\, while still holding space for her love for all decades of country and americana music.  \n \n\nwith Ward Hayden & The Outliers\nAs any fan of this prolific Massachusetts-born band knows\, whether you’re a newcomer or whether you first heard Hayden when he first arrived on the Boston scene as the charismatic leader of the multi-Boston Music Award-winning outfit Girls Guns & Glory\, the music on “Little by Little” is outfitted in the inimitable Outliers’ style. That is to say\, with a marvelously effective\, updated dose of Country & Western flavor; tasty instrumental flourishes thanks to Tyler Marshall’s and Sam Crawford’s restrained-yet-ripping guitar licks (the latter also employs lap steel guitar). And a supple rhythm section supplied by bass player-multi-instrumentalist Greg Hall (who co-produced the album with Hayden) and drummer-percussionist Patrick Brown\, plus a select handful of the Outliers musical collaborators who lent their talents to this recording. All told\, the musicianship here is so comfortably tight you could bounce a jukebox quarter off of it – that is\, if jukeboxes still took quarters. \n \n \n  \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/jobi-riccio
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/2025/04/PPAF-25_8-01_Jobi-Square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250804T190000
DTEND;TZID=America/New_York:20250804T190000
DTSTAMP:20250626T190836Z
CREATED:20250425T161557Z
LAST-MODIFIED:20250626T190836Z
UID:10000910-1754334000-1754334000@www.prescottpark.org
SUMMARY:Town Mountain with Crowe Boys
DESCRIPTION:Hailing from Asheville\, North Carolina\, Town Mountain is the sum of all its vast and intricate influences — this bastion of alt-country rebellion and honky-tonk attitude pushed through the hardscrabble Southern Appalachian lens of its origin. \n“For us\, it’s all about the interaction between the audience and the band — doing whatever we can onstage to facilitate that two-way street of energy and emotion\,” says mandolinist Phil Barker. “Whether it’s a danceable groove or a particular lyric in a song\, we’re projecting what we’re going through in our daily lives\, and we feel that other people can attest to that\, as well — it’s all about making that connection.” \nAmid a renewed sense of self is the group’s latest album\, Lines in the Levee\, a collage of sound and scope running the gamut of the musical spectrum in the same template of freedom and focus found in the round-robin fashion of the musical institution that is The Band — a solidarity also found in the incendiary live shows Town Mountain is now revered for from coast-to-coast\, this devil-may-care gang of strings and swagger. \n“This is the sound we’ve been working towards since the inception of the band\,” says guitarist Robert Greer. “We realized we needed to do what’s best for us. We’re being true to ourselves. It isn’t a departure\, it’s an evolution — the gate is wide open right now.” \n“We’ve always had such a reverence and respect for those first and second-generation bluegrass bands\, and it was that sound that initially inspired all of us to get together\,” Barker adds. “And that will always be part of our sound. But\, we also need to grow as artists\, and as individuals — for us\, that means bringing in a wider palette of sonic influences.” \nFormed by Greer and banjoist Jesse Langlais over 15 years ago on a ridge high above the Asheville skyline\, the sturdy foundation of Town Mountain came into play with the addition of Barker not long into the band’s tenure. From there\, the group pulled in fiddle virtuoso Bobby Britt and bassist Zach Smith. And though the road has been long\, it’s also been bountiful. \n“It’s definitely been a slow climb. But\, it’s been a climb nonetheless\, where each new opportunity is filled with a sense of gratitude — to be able to make music\, to be able to play music with your friends\,” Barker says. “And to be able to bring music to the people\, and have them want to show up and listen to it? Well\, we’re thankful for that every single day.” \nLines in the Levee also marks the band’s debut album release for famed Nashville label\, New West Records. Well-known and championed as a fiercely independent act\, the members of Town Mountain felt an immediate kinship with the record label — this genuine bond of creative fulfillment and sustained artistic growth to ensure the long game for the ensemble. \n“We’ve always wanted to have a relationship with a label that felt right\, and New West felt right\,” Langlais says. “New West came to some of our shows and the ball started rolling. They knew they wanted to work with us\, and we knew we wanted to work with them. New West lets the artist steer the ship and that’s what we were looking for — to have the autonomy to do what we want\, but also have a great label behind us.” \nRecorded at Ronnie’s Place (part of the Sound Stage Studios) on Music Row in the heart of Nashville\, Lines in the Levee is a bona fide workshop in the seamless blend of Americana\, country\, bluegrass and folk roots — this crossroads of deep influences and cultivated visions each member of Town Mountain brings to the table. \n“The studio has been part of Nashville for over 50 years\, and there’s a certain mojo that comes from a space like that — you’re literally stepping into history and that history is in the air when you hit the record button\,” Langlais says. \nThe album also cements the standing of drummer Miles Miller (of Sturgill Simpson musical lore) a creative force of nature\, one who throws several more logs of ideas and inspiration onto the fire that burns brightly within the group — onstage and in the studio. \n“When we were looking to add percussion to our sound\, Miles was the guy we wanted. We’ve been good friends for a long time\, and it just seemed like the natural fit to have him join us\,” Greer says. “He’s a fantastic drummer who really elevates the music so high. And he truly understands how to bring drums into a string band setting\,something not a lot of people can do.” \nLines in the Levee is also a moment in time for Town Mountain to take pause and glance over its shoulder at the road to the here and now. It’s this whirlwind blur of people\, places and things that fly by\, especially when your hardscrabble existence is spent along that lost highway — bouncing from town to town\, show to show\, all in an effort to turn long-held dreams into a daily reality. \n“Right from the beginning\, it’s always been about camaraderie and the creation of something unique\, where we haven’t let any of the bumps on the music business road get us down too much\,” Langlais says. “And I think we feel really comfortable with where the Town Mountain sound is right now — that’s a damn good feeling.” \n \n\nwith Crowe Boys\nCrowe Boys have been making music since both could pick up an instrument. Their music was an integral part of their family’s traveling lifestyle. While aspects of their career have changed over the years\, the underlying message of their music has not. Being positive and sharing hope has always been their trademark. Now\, a couple of decades later\, that is still the case. \nTheir journey took an exciting turn when they crossed paths with Andrew Campanelli\, drummer for the multi-platinum band The Revivalists\, who recognized the magic in their sound and stepped in as their producer. Together\, they began recording a collection of songs\, sharing the journey in real-time on social media. \nThen\, in early 2024\, a casual TikTok post featuring their song “Where Did I Go Wrong” went viral\, changing everything. The raw\, heartfelt clip exploded\, racking up tens of millions of views and earning the Crowe Boys thousands of new fans overnight. Their authentic rise caught the attention of Universal Music Group Nashville\, who signed the duo shortly after. With over 600K followers across social media\, the Crowe Boys’ rapidly growing fanbase is a testament to their genuine connection with their audience. \nWith new music and tours planned through the end of 2024 and into 2025\, the Crowe Boys are just getting started. \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/town-mountain
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/2025/04/PPAF_8-4_Town-Mountain-Square-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250806T190000
DTEND;TZID=America/New_York:20250806T190000
DTSTAMP:20250801T155858Z
CREATED:20250425T162451Z
LAST-MODIFIED:20250801T155858Z
UID:10000911-1754506800-1754506800@www.prescottpark.org
SUMMARY:Darlingside with Tall Heights
DESCRIPTION:Darlingside – Everything Is Alive \nEverything Is Alive\, Darlingside’s fourth LP\, marks a subtle but remarkable departure for the Boston-based quartet NPR once described as “exquisitely arranged\, literary minded\, baroque folk-pop.” While the album retains much of the lushness and sophistication of Extralife (2018) and Fish Pond Fish (2020)\, the band’s latest work decisively exposes and differentiates the individual voices of the four songwriters—a daring reinvention for a group known for ubiquitous vocal harmonies. Grappling with change both personal and universal\, with quandaries domestic and existential\, Everything Is Alive is an album about loss and the struggle for a semblance of redemption.  \n  \nComprised of Don Mitchell\, Auyon Mukharji\, Harris Paseltiner and David Senft\, four likeminded multi-instrumentalists who first met at Williams College in 2009\, Darlingside’s career has been defined by the elegance of their compositions and the unity of their four voices. Their talent for harmony and melodic world-building is part of what garnered praise from outlets like NPR\, Rolling Stone and The New Yorker\, and what has created demand worldwide for their extraordinary live performances. Becoming beautifully unindividualized has\, in other words\, worked very well for Darlingside in the past. With a vigor and discipline more common to graduate-level writing workshops than to indie rock\, Darlingside has\, over the years\, experimented with all manners of idiosyncratic methods for elevating and upholding a truly democratic process of songwriting—processes that include multiple rounds of group writing and recording exercises—all with the aim of escaping the trap that bands with multiple songwriters often fall into: ego-driven infighting and artistic incoherence.  \n  \nOn Everything Is Alive\, then\, Darlingside is taking a risk. Nudged by the limitations created by pandemic isolation\, as well as through other more voluntary catalysts\, the album\, which was produced and recorded by the band and mixed by Tucker Martine (My Morning Jacket\, Sufjan Stevens\, Iron and Wine)\, foregrounds in a sustained and heretofore untried way the individual voices of each member. Where once the harmonies formed a hard-won sonic unification\, Everything Is Alive showcases the four singers as they alternate (more or less) song for song\, an approach that rewards listeners with a sense of personal ownership and\, therefore\, a new degree of intimacy and nuance. \n  \nDon’t misunderstand: Everything Is Alive is still very much a collaborative effort—many of the same meticulous rituals and exercises went into this effort as went into Extralife and Fish Pond Fish. The difference here is that the band has given itself permission to plumb new depths\, to add extra dimension to what was already a highly dialed-in aesthetic. And the results are compelling\, not only due to the intimacy itself\, but for the way such intimacy is counterpointed or juxtaposed against Darlingside’s trademark lusciousness. Present still are the beds of enveloping harmonies\, as in the stunning (mostly) a cappella “How Long Again.” Retained also are the textured polyrhythms\, the infectious body percussion\, a triumphant horn section to bolster the earworm chorus of “Baking Soda” and a sobering cello quartet to elevate the heartbreak of “Lose The Keys.” The difference is that on Everything Is Alive these moments have been set against quieter\, and thus contrasting\, depths of solitude and vulnerability.  \n  \nIn this way\, Everything Is Alive\, which was begun in 2021\, seems a continuation of 2020’s Fish Pond Fish. A sequel\, perhaps; the second half of a COVID double album. Where Fish Pond Fish built its lush sonic landscape around vibrant images of woolgathering\, fruit picking and returning home\, Everything Is Alive confronts the multitude of challenges that arise when “home at last” becomes “when\, dear god\, will I be free of this stasis and grief?” Lose the keys\, the marbles\, lose a parent/lose the count\, lose the plot/it’s the losing that counts/is it not sings Mitchell on “Lose the Keys.” Elsewhere one encounters images of walking in circles\, of domestic frustration\, and of unabashedly falling apart\, all of which work together as an acknowledgment of a despair that must be confronted before redemption can be made possible. “Am I almost out of the dark?” asks Senft on “Can’t Help Falling Apart”—a track that\, it turns out\, helped Senft arrive at the realization that he could not continue as a touring member of the band.  \n  \nIn other places on the album\, such as opening track “Green Light\,” a propensity for retreating into the self is refuted by an attempt to discern the small but tangible glory of the world before us. The song meditates on the humble beauty contained within things as (seemingly) drab as sidewalks and concrete and rust. Built on an iPhone memo of a strumming mandocello\, “Green Light” is notable for another reason: in its mantra-like worldliness it is unlike anything Darlingside has done before. Reminiscent of George Harrison circa “Within You Without You\,” the track\, itself a creative leap\, signals the heretofore untrod territory the album at large goes on to explore. \n  \nVivid images and striking turns of phrase abound on Everything Is Alive. Expectations are commonly inverted or exploded—exploded curiously\, with nuance\, but exploded no less—as in these lines from “All The Lights In The City”: maybe working is what makes us live\, or maybe it’s living/sky is always hanging blue above the cloud/but the path of no resistance will wear you out. On “Sea Dogs\,” the track that contains the album’s title\, Paseltiner sings over an effervescent dreamscape: I can’t wake up all the time/or even half the time or/even be on time. Such lines capture the disorientation and desperation that pervade this album. And yet\, later in the same song\, come the lines which align poignantly with the song’s dreamy sonic context: when up in the clouds are sea dogs/and kites and big white basketballs/the backyard is thickening/ how is it everything/ everything is alive/alive\, alive. “Sea Dogs” is both the album’s thesis and a bridge to Fish Pond Fish\, modifying that album’s motifs about nature as a reflection of the self to ask whether nature is not also a means of escaping or transcending the confines of selfhood altogether.  \n  \nIt’s a rare thing and becoming rarer by the day: a group of musicians with that emulsifying magic to make the whole greater than the sum of its parts. And to see Darlingside perform live is to confirm this special chemistry. With the release of Everything Is Alive the band will\, for the first time\, take to the road without Dave Senft. Instead of filling his spot directly\, the band has wisely chosen to honor the special chemistry of the foursome by letting those arrangements live on the recordings without obligation to faithfully recreate them onstage. While Dave remains a contributing member of the band\, on tour Darlingside will perform in a completely different configuration altogether—a configuration that will\, at times\, include the album’s drummer Ben Burns\, singer Molly Parden\, and others—proving again how the group can adroitly rearrange themselves for the breaking of a new and different day.  \n \n  \n\nwith Tall Heights\nTall Heights wants to share a moment with you. A moment in New England\, a moment on Earth. With their 2024 release\, Softly Softly\, Paul Wright (cello/vocals) and Tim Harrington (guitar/vocals) reject isolation; both the universal experience of the early 2020s\, and its sound recording definition where different instruments are recorded separately. Harrington explains\, “The opposite of isolation in recording is bleed\, where you hear the drums and guitar through the vocal mic because everything is happening in the same room. It’s risky because you can’t easily change it later. You’re stuck with whatever you get. Bleeding is just the perfect word for it. It’s scary and it sometimes hurts.” \nAfter the pandemic\, Ben Folds invited the Boston-based duo to Nashville to make his latest album\, “What Matters Most” (New West 2023). Following this month-long apprenticeship under Folds\, Tall Heights became focused on records that testify to a specific place and time. They started drawing inspiration from classic Simon and Garfunkel albums like Bookends and Bridge Over Troubled Water. Their focus narrowed to “something pretty simple actually\,” Wright explains\, “to capture a real moment with real people in an actual room.” \nFor 10 days in rural Massachusetts\, the childhood friends captured brand new songs in an old fashioned way. “It was us two plus a cousin\, some old friends\, a guy we found on TikTok\, a flutist we once saw on stage with Kishi Bashi–the latter two we had never actually met in person– Paul’s wife\, a studio engineer\, and an intern” Harrington fondly remembers. The songs document fall in New England\, family crisis\, love\, climate change\, and even undertake a school shooting on the title track. The album maintains their unique vocal blend\, which has earned them nearly half a billion streams\, but it feels more spontaneous and timeless than their previous work. Harrington sums it up: “We aimed to create something you might effortlessly accept as true. In today’s skeptical world of pandemics\, politics\, and AI\, my hunch is we’re all craving it like that.” \nIn the spirit of sharing\, Tall Heights decided to flout the norms of today’s music industry by offering Softly Softly to their fans 3 months early. They created a 10 day digital immersion called “The Endless Autumn Experience” that fans could opt into for free. Thousands flocked to Endless Autumn\, gaining instant access to the new album and hours of behind-the-scenes content\, exclusive offers and opportunities\, and direct access to Tim and Paul themselves. “Endless Autumn really kinda fixed me\,” says Wright\, “These damn algorithms can really beat a guy up. So it just feels so good to reach out directly to people who actually care and have that relationship person-to-person.” Softly Softly is out everywhere October 18\, 2024. \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/darlingside
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/2025/04/PPAF-25_8-6_Darlingside-Square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250811T160000
DTEND;TZID=America/New_York:20250811T170000
DTSTAMP:20250727T221818Z
CREATED:20250601T213332Z
LAST-MODIFIED:20250727T221818Z
UID:10000956-1754928000-1754931600@www.prescottpark.org
SUMMARY:Mr. Aaron
DESCRIPTION:  \n  \nCount on a thrilling musical adventure with award winning musician Mr. Aaron! Recently awarded “Best Children’s Performer” from New Hampshire Magazine\, Mr. Aaron never fails to delight audiences of all ages. Kids and grown-ups alike dance and laugh along to hits from his latest release\, “Get Aquatic!”\, pop favorites\, and kids classics. You’ll hear the different musical instruments like the guitar\, saxophone\, cajon\, harmonica\, and more! \nWith years of experience performing\, Mr. Aaron brings unparalleled energy\, enthusiasm and creativity to his concerts\, albums\, and videos. After nearly 10 years as a professional musician in New York City\, Jones and his family moved to Concord\, NH\, to have a baby and open a recording studio. He’s released 5 full length albums of music for kids\, and published two picture books. Mr. Aaron has delighted and inspired children and families all along the east coast. When he’s not performing for kids\, he performs with Bosey Joe\, toured with 90’s alt-rockers Luscious Jackson\, and has been seen on The Late Show with David Letterman\, and VH1. \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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! \n 
URL:https://www.prescottpark.org/event/mr-aaron-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/2025/06/aaron-811.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250813T190000
DTEND;TZID=America/New_York:20250813T190000
DTSTAMP:20250813T165822Z
CREATED:20250425T180508Z
LAST-MODIFIED:20250813T165822Z
UID:10000912-1755111600-1755111600@www.prescottpark.org
SUMMARY:The Martin Sexton Abbey Road Show
DESCRIPTION:THE MARTIN SEXTON ABBEY ROAD SHOW \nMartin Sexton puts his signature style on his rendition of this iconic Beatles album combining what Rolling Stone calls his “soul-marinated voice” with his inventive guitar prowess.   \nWe are all invited to Come Together to experience these brilliant songs celebrated in such a compelling reimagined way.  \nAmerica comes together in the music of Martin Sexton. Our hearts mend\, our political and philosophical differences melt away\, and the various strains of our roots music entangle. Of Sexton\, The New York Times says: “His unpretentious heartiness helps him focus on every soul singer’s goal: to amplify the sound of the ordinary heart.” \nSexton has remained true to his mission of sharing peace and harmony throughout his 10 albums\, and in countless incendiary live performances. He has thus built a loyal following of fans\, including critics and superstar artists. He is without a doubt what Billboard calls: “The real thing.” \nThese days\, people are coming together to revel in Sexton’s musicality for his Martin Sexton Abbey Road Show. This is a live show extravaganza in which he performs the iconic Beatles’ album in its entirety followed by a set of mainly original music. Currently\, Sexton is also working on his 11th album\, which will be his first full-length album in 10 years. \nSexton is a songwriter’s songwriter\, with a multi-octave voice that knows no bounds. Acoustic Guitar Magazine calls him a: “Master of dynamics\, reducing a room to silence with his blustering baritone\, then teasing that silence with a fluttering falsetto.” \nSexton’s career in music has unfolded like the stories in one of his sweetly redemptive songs. He got his start busking on streets and performing at open mics. Since then\, he has gone on to be praised by modern legends such as John Mayer and Dave Matthews\, who calls him one of his favorite singer- songwriters. Sexton’s songs of grappling and gratitude were the soundtrack to John Mayer’s early gigging years\, and made an indelible impact on the budding songwriter. Mayer says: “This is the music of my LIFE.” \nSexton has headlined venues from The Fillmore to Carnegie Hall\, and his songs have appeared in television series such as Scrubs\, Parenthood\, Masters of Sex\, and in numerous films. His dynamically emotive live show has earned him critical raves and an engaged and loyal following. The Wall Street Journal says: “Mr. Sexton as an impassioned performer can bring women and men to tears when they see him live.” \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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-martin-sexton-abbey-road-show
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/2025/04/Martin-in-the-Park-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250815T190000
DTEND;TZID=America/New_York:20250815T190000
DTSTAMP:20250626T191929Z
CREATED:20250425T181342Z
LAST-MODIFIED:20250626T191929Z
UID:10000913-1755284400-1755284400@www.prescottpark.org
SUMMARY:Trousdale with Jenny Owen Youngs
DESCRIPTION:For Trousdale—the trio of Quinn D’Andrea\, Georgia Greene\, and Lauren Jones—the ache of growing through change resonates deeply. Like certain long nights of childhood where growing pains can feel like every inch is aching\, cramping\, pinching\, Trousdale understands the feeling that comes with facing down existential anxiety\, and matters of the heart. “We can acknowledge the strides we’ve made and be grateful\, but we’ve talked a lot about how tired we are\,” Jones says with a laugh. “We’ve been thinking a lot about the tension that comes with change\, wanting it\, fighting it\, embracing it\, but learning to thrive in that moment.” On Trousdale’s upcoming LP\, Growing Pains (due April 11th) the band works through those struggles to find strength\, courage\, and growth in each other. “From what was\, something new can always grow.” D’Andrea says. \nOpening on a ripping electric guitar and bolstered by their trademark harmonies\, the title track and lead single perfectly encapsulates those feelings in the life of Trousdale. “I’m making it through the tough times when it feels like I’ve been burning out/ Trying to build up the muscle so the hustle doesn’t pull me down\,” they sing\, a limber bass line drawing each new syllable forward. The album was recorded largely live in the room and co-produced by the band and John Mark Nelson\, a songwriter who has also co-written and produced songs for Suki Waterhouse and Shaboozey\, as well as engineered tracks for the likes of Taylor Swift and Mitski. Songs like “Growing Pains” highlight just how much warmth and depth lent to Trousdale’s already golden tones. “This song was about what we feel every day in this band\, what we’re going through as a band\,” Greene says. “This is our shared experience\, being exhausted but finding beauty together.” \nTrousdale’s debut album\, 2023’s Out of My Mind\, earned raves from the likes of the Boston Globe\, Consequence\, and Atwood Magazine for its powerful songwriting\, immaculate harmonies\, and ability to bridge gaps between country and indie pop. The group further honed those strengths on the road\, finding deeper grooves and learning how to further highlight each of their voices individually. That process continued when writing Growing Pains\, when the three songwriters set off to write rough ideas on their own\, then refining and finishing them in the room together. “We can be vulnerable and share our feelings\, but none of us has to feel like our heart is on the line alone\,” D’Andrea explains. “We’re all adding to each other’s ideas\, drawing from personal experiences and then expanding them into something more people can connect with.” \nTo that end\, second single “Secondhand Smoke” feels every ounce of personal specifics in its story of an abusive relationship\, but elevates into something far more haunting. There’s an icy chill to the acoustic guitar\, the pain ringing softly into the night as the trio take on the perspective of a woman struggling to find hope: “Does it make me a fighter\, does it make me a fool?/ Is it a matter of time til I burn with you?” Greene recalls the intense energy in the room as they finished writing the song\, the trio and co-writers Mags Duval and Adam Yaron talking through their own experiences with people who have destructive personalities. “As a creative\, working with brilliant people like this can make these experiences feel very real\,” she says. “It’s easier to get into that space with everyone’s voices ringing out together.” \nWhile those songwriters proved brilliant collaborators\, the trio credit John Mark Nelson as a particularly powerful aide in seeing the album through its growing pains. “He’s always thinking about the big picture and staying out of the weeds\, but getting in the weeds has always been our bread and butter\,” Jones laughs. “We used to live in the weeds. But John Mark helped us focus on the album as a whole.”  \nThat lesson shows both in the totality of Growing Pains and in the summery charm of a track like “Over and Over”. Nelson shared a rough sketch of the track\, and Trousdale eagerly carved out their own version: a tale of running into an ex and trying to decipher how you feel about everyone moving on. “There’s never a good time to run into your ex \, and it’s even worse when they’re bragging about how well they’re doing now\,” Greene explains. D’Andrea points to the way the track leaps between tight-knit harmonies and lead vocal flourishes as emblematic of the new heights Trousdale has reached. “Every time we record and we’re in the vocal booth\, we’re all getting better and figuring out what we need\,” she says. “We know how to accentuate the writing and make sure we’re hitting a song’s fullest potential.” \nPart of that reach came from expanding their sonic palette and using a larger band. “We made charts for a full band and went in with concrete ideas of where each song could go\,” Greene says. “We have such incredible musicians on the record and knew they would run with it. It just feels way more organic and fresh than we’ve done before—less takes\, less editing\, and less chances to overthink things .” \nAs good as Trousdale sounds when they lean into their gold-hued pop\, the group work their country flair into the material more masterfully than ever before. There are shades of Leann Rimes to the groovy\, swaying “Lonely Night”\, a track determined to push any listener out of their solo funk: “A little taste of the high life/ Cause I don’t need another lonely night.” The heartbeat-ballad “Want Me Back”\, meanwhile\, took inspiration from Lady A and finds the trio hoping that an ex might be regretting the breakup. “I went into our recording session thinking the song would end up straight country\, and Quinn and Georgia thought it would be straight pop\,” Jones explains. “Our bassist worked some doo-wop into the mix\, and we found something really special to lean into.” \nAcross 12 remarkable tracks\, Growing Pains stares down all the weight of its title\, a trio of strong\, independent women facing the threats of loneliness\, broken hearts\, loss\, and more\, and converting it into transformative\, uplifting music. And as the album closes on the dazzling “Last Bloom”\, Trousdale basks in the light at the end of every tunnel. “What it was will grow into something new\,” they sing\, radiating at the end of the journey. “It’s a reminder that even in the coldest moments\, renewal is always possible\,” D’Andrea explains. “The song was inspired by Lauren trimming her houseplants\, and I was inspired by the idea that letting go of what no longer serves us can help something new take root.”  \n \n\nwith Jenny Owen Youngs\nIn the decade since Jenny Owen Youngs last released a full-length album\, she’s toured the world\, co-written a #1 hit single\, launched a wildly popular podcast\, landed a book deal\, placed songs in a slew of films and television series\, moved from Brooklyn to Los Angeles to coastal Maine\, and gotten married\, divorced\, and married again. She’s done everything\, it seems\, except release another album. \n“After writing a zillion songs with other artists and immersing myself in other people’s voices for ten years\, I finally started to get excited about making my own music again\,” she explains. “It was like I took this extended sorbet course\, and after that palate cleanser\, I was ready to dig back in.” \nWith her exceptional new Yep Roc debut\, Avalanche\, Youngs delivers a main course worthy of the wait. Written with a series of friends including S. Carey\, Madi Diaz\, The Antlers’ Peter Silberman\, and Christian Lee Hutson and recorded with producer Josh Kaufman (Bonny Light Horseman\, The Hold Steady\, Cassandra Jenkins\, Josh Ritter)\, the collection is an achingly beautiful exploration of loss\, resilience\, and growth from an artist who’s experienced more than her fair share of each in recent years. The songs are deceptively serene here\, layering Youngs’ infectious pop sensibilities atop lush\, dreamy arrangements that often belie the swift emotional currents lurking underneath. The performances\, meanwhile\, are riveting and nuanced to match\, gentle yet insistent as they reckon with the pain of regret and the joy of redemption\, sometimes in the very same breath. The result is the most raw and arresting release of Youngs’ remarkable career\, a brutally honest\, deeply vulnerable work of self-reflection that learns to make peace with the past as it transforms doubt and grief into hope and transcendence. \n“There’s a good deal of heartbreak and disappointment in this music\,” Youngs explains\, “but it ultimately gives way to excitement and promise\, to the incredible\, immeasurable bliss of falling in love and finding yourself again. These songs travel the whole emotional spectrum.” \nThat kind of range has been Youngs’ calling card from the very start. Born and raised in rural New Jersey\, she fell in love with The Beatles at an early age before eventually finding her way to The Cranberries and Elliott Smith in high school. Her self-recorded debut\, Batten Down The Hatches\, landed a high-profile sync in the Showtime series Weeds and led to a deal with Nettwerk Records\, which re-released the album along with her 2009 follow-up\, Transmitter Failure. Widespread acclaim and dates with the likes of Regina Spektor\, Ingrid Michaelson\, Frank Turner\, and Aimee Mann followed\, but by the time Youngs released her third album\, 2012’s An Unwavering Band Of Light\, she was ready for a change of pace\, moving to LA to focus on writing for other artists and for film and TV. In 2016\, Youngs co-wrote Pitbull’s “Bad Man\,” which debuted at the 58th annual Grammy Awards; in 2017\, she co-wrote Shungudzo’s “Come On Back\,” which was featured in the Fifty Shades Freed soundtrack; and in 2018\, she co-wrote Panic! At The Disco’s smash hit “High Hopes\,” which went five-times platinum and broke the record for most weeks atop Billboard’s Hot Rock Songs chart. Along the way\, Youngs also launched Buffering The Vampire Slayer\, an episode-by-episode podcast devoted to Buffy The Vampire Slayer that attracted more than 160\,000 monthly listeners and led to a book deal with St. Martin’s Press. Youngs recently launched a new series with her podcasting partner/ex-wife called The eX-Files and has a narrative fiction podcast due out next year\, as well. \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/trousdale
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/2025/04/PPAF-25_8-15_Trousdale-Square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250816T190000
DTEND;TZID=America/New_York:20250816T190000
DTSTAMP:20250626T192730Z
CREATED:20250425T183224Z
LAST-MODIFIED:20250626T192730Z
UID:10000914-1755370800-1755370800@www.prescottpark.org
SUMMARY:Vincent Neil Emerson with Kassi Valazza
DESCRIPTION:Vincent Neil Emerson has become a staple among folk and country music fans nationwide\, celebrated for his honest tales of life on the road\, heartbreak\, and struggles of all sorts. His first LP\, Fried Chicken & Evil Women\, from 2019\, established him as a refreshing voice in the modern country music landscape. The songs from that first album were charming and playful songs\, but didn’t reveal the entirety of Emerson’s story. \nOn his brilliant new album\, The Golden Crystal Kingdom\, Emerson transcends the role of a honky-tonk country singer and becomes a chronicler of his history. The album is a bold continuation of the story he tells on Vincent Neil Emerson\, with songs like the title track exploring the feelings he was left with after his days spent playing in Texas honky-tonks and dancehalls\, and the track “The Time of The Rambler\,” inspired by the early days of living in his car and busking on the streets. \nHe was born and partly raised in East Texas\, around his Choctaw-Apache family\, and spent most of his life moving around the state. Raised by a single mother\, he lost his father to suicide when he was nine. Emerson dealt with those feelings of abandonment and loss on his self-titled album\, with the track “Learning to Drown” in particular. \nHis grandmother and grandfather brought the family to Texas when Emerson’s mother was a child\, leaving their ancestral Choctaw-Apache homelands in Louisiana behind to try and build a better life for themselves and their children. Emerson always identified with his Native American roots\, but it wasn’t until 2021’s self-titled album that he examined and tried to shed light on the devastating history of his tribe with the song “Ballad of the Choctaw Apache.” \nSonically\, The Golden Crystal Kingdom finds Emerson expanding his scope into rock and roll territory\, tapping into the storied sounds of folk music gone electric\, and following in the footsteps of artists like Bob Dylan and Neil Young. On the album\, Emerson retains his diamond- sharp storytelling while imbuing the work with a freewheeling rock and roll aesthetic\, creating an album as fun as his live shows and as cathartic as his previous work. \nWith production from Shooter Jennings\, Emerson wanted to establish some sounds as touchstones but emphasized following his own intuition for the aesthetics of his record. “I didn’t really want to model this record after anybody else’s music\, but I’ve been heavily influenced by a lot of old rock and roll music from the sixties and seventies singer-songwriter music\,” Emerson explains. \nThe album wasn’t necessarily created as an opposing force to the country and folk sounds his fans have come to expect\, but he did want to make a record that showcased another side of himself as a writer. He also leaned on friends and collaborators like Jennings\, Steve Earle\, and Rodney Crowell to help him flesh out this album. \nEmerson has been able to call these one-time heroes friends and mentors\, and it is these relationships that have helped the songwriter find his confidence in writing about his personal history and standing up for the causes he believes in. Emerson wrote “Man From Uvalde” after the horrific and tragic mass shooting in the city of Uvalde\, Texas\, and he was initially hesitant to include the track on The Golden Crystal Kingdom. “It’s a daunting thing to try to dive into social issues in songwriting because I wasn’t sure how people would really take it\,” Emerson says. “I recorded a rough demo version of the song\, and I sent it to Steve [Earle]. I just wanted to get his thoughts on it and see if it was worth anything. He got back to me\, and he said he really liked the song and thought it was great. He gave me a few ideas and ways to look at the subject differently\, and it really helped me finish the song. That encouragement gave me the confidence to include it on the album.” \nThe Golden Crystal Kingdom also pays tribute to some of the peers Emerson cut his teeth with in the music scene. He covers the Charley Crockett song\, “Time of the Cottonwood Trees\,” and is quick to pay tribute to his labelmate and dear friend Colter Wall. “Those two had my back since day one. They’ve been some of my biggest supporters\, and they’ve always inspired me to write better songs and encouraged me to pursue this\,” Emerson reflects. “Especially at a time when I was starting out and I didn’t really have a lot of encouragement or even self-confidence to do this\, they were always there for me.” \nAs a kid who grew up in a trailer with a single mother\, went through bouts of homelessness as a young man\, and grinded through countless shows to get where he’s at\, Vincent Neil Emerson is never quick to praise his own work ethic. He always refers to the friends\, family members\, and collaborators who have shown their faith in his vision. \nBut humility doesn’t mean Emerson isn’t one of the hardest working\, most talented songwriters to emerge from the alt-country underground in years. His style is one of a kind\, and his ability to blend tales of the everyman with tributes to his past\, present\, and future make him a peerless songwriter. On The Golden Crystal Kingdom\, Vincent Neil Emerson carries on the torch of his singer-songwriter forebears while infusing the legacy with his unique and thrilling point of view. \n \n\nwith Kassi Valazza\n“Sometimes it takes four or five tries to realize something just isn’t working\,” says Kassi Valazza. “I wrote this after my thirteenth try.” She’s referring to the song “Roll On” specifically\, but the stagnating pull of repeating patterns—and the brutalizing work of breaking them—inform every song on her new album From Newman Street. “In songwriting and in life\, you can’t keep expecting the same thing to work every time.” \nValazza grew up between Prescott and Phoenix\, Arizona. She penned her first song at age ten but in those early efforts to perform\, found herself halted by stage fright of a clinical level. “I’ve gone to therapy for it\,” she says\, half-laughing. She didn’t stop writing music but she let less paralyzing means of expression lead the way\, eventually enrolling in arts school for painting\, an illustrative instinct that inevitably reveals itself in her vivid songwriting. It wasn’t until she relocated to the Pacific Northwest as an adult that Valazza picked back up the proverbial—and actual—guitar. \n“Zach Bryson was kind of like the honky tonk ambassador of Portland when I got there\,” Valazza says. “He was so welcoming and encouraging.” She discovered an inspiring\, supportive artistic community\, a less rigid relationship with musical output\, and then—vocal nodules. “It was actually kind of the best thing that could have happened\, because I learned about the crossover of physical and mental that takes place in performance.” Recovery entailed recognizing the reflexive functions of the voice in response to anxiety; as is the case throughout the human body\, stress reactions can be damaging. “Because I suddenly understood what was happening with my voice\, I could handle it\, wield it. I felt more confident.” Valazza recorded an album with Bryson in an old-house-turned-studio. It was an informal\, friendly endeavor\, though not at all small. “I think probably thirty people contributed\,” she says. “I listen back to that album and I think ‘this was me learning how to do this.’ I can hear that moment in time.” \nValazza’s debut Dear Dead Days fused the Southwest’s rustic romance with the Pacific Northwest’s rocky realism and garnered Valazza a cult following. She landed a deal with Fluff & Gravy\, a label known for launching earthy\, emerging treasures like Anna Tivel and Margo Cilker\, and toured with folk favorites including Melissa Carper and Riddy Arman. Her sophomore album Kassi Valazza Knows Nothing followed\, a glimmering set of sonic talismans among Ann Powers’ Favorite Songs of 2023 for NPR and Bandcamp’s Best Country Music of 2023\, with praise from KEXP\, Uncut\, MOJO\, and Brooklyn Vegan to boot. \nBy the time Valazza was ready to record her third album\, she had spent a decade in Portland—and that\, she realized\, was enough. “As someone with anxiety\, I always want to know what’s going to happen\,” she says. “But knowing can be limiting. Getting comfortable with the uncomfortable\, that’s growth. That’s what this album’s about\, really.” \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/vincent-neil-emerson
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/2025/04/PPAF-25_8-16_Vincent-Neil-Emerson-Square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250818T160000
DTEND;TZID=America/New_York:20250818T170000
DTSTAMP:20250815T022559Z
CREATED:20250601T214940Z
LAST-MODIFIED:20250815T022559Z
UID:10000959-1755532800-1755536400@www.prescottpark.org
SUMMARY:Miss Alli
DESCRIPTION:Experience the joy of music with Miss Alli! An interactive performance of music and movement for all ages! Join Miss Alli as we adventure through Disney classics and contemporary music\, while incorporating silks\, percussion and creative play. Alli Beaudry is a New Hampshire native and an award winning singer\, songwriter and performer. Beaudry is a former Berklee College of Music voice faculty with a decade of experience. She also holds a degree in Vocal Performance from Berklee. Music with Miss Alli\, her newest musical project is an all ages\, interactive show that focuses on the connection between movement\, music and community. \n\n  \nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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! \n 
URL:https://www.prescottpark.org/event/miss-alli
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/2025/08/Miss-Alli-818.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250821T190000
DTEND;TZID=America/New_York:20250821T190000
DTSTAMP:20250627T154138Z
CREATED:20250425T184932Z
LAST-MODIFIED:20250627T154138Z
UID:10000915-1755802800-1755802800@www.prescottpark.org
SUMMARY:Andrew Duhon with Ava Valianti
DESCRIPTION:There’s a mystical allure to the road. Innately literal and figurative\, it is both the blacktop and the connective tissue between people\, places\, and cultures. The opportunity to venture beyond what’s known and comfortable into what’s possible. A rugged romanticism of packing up a standard issue Chevy Express tour van with instruments\, scuffed amps\, overflowing merch boxes\, and a trio of musicians setting sail to share Duhon’s songs with anyone who will listen. For a young Andrew Duhon\, the road was the connection from “No Man’s Land” to the “Promised Land.” A chance to truly connect with former strangers through song. To feel equal kinship with the good ol’ boys in Beaumont\, TX and the hippies and artists in Bellingham\, WA. But with that comes a weight. Duhon has a knack for telling the kind of stories that clearly cost the writer something to tell\, the kind of honesty that feels noble and never half hearted. Entertaining? Sure\, but when a song written by a stranger heals you\, even in the smallest way\, that’s a connection beyond entertainment\, and that is the journey Andrew Duhon sets out on from his home in Louisiana.  His songs are about recognizing our story as much as they are about telling his\, and his coast to coast pursuits have given him a clearer view of the American Landscape than most are privy to.  \n  \n  \nBut after years of voyaging off to every corner of the country\, a new sensation arises with each return to New Orleans. The fondness for home returns and\, for the moment\, forgives the potholes and the incompetence of local politics to focus on those familiar sights\, sounds\, and singular culture of Louisiana from the old European feeling of The French Quarter to the rural cane fields of Cajun country where his father’s side resides\, now noticing the changes after every stretch of time spent away. And from that familiar return comes The Parish Record\, a snapshot of life venturing from and returning to one of America’s purest cultural vignettes\, and the beauty\, conflict\, and stories that come with it. \n  \nThe Parish Record was recorded at Dockside Studios in Maurice\, LA\, where deep in Cajun country sits a wood-panel barn engulfed in oak and cypress trees along the slow butterscotch bayou pace of the Vermillion River. In this isolated hub of Acadiana\, Andrew Duhon embarked with his trio of most trusted musicians – Myles Weeks (James Hunter Six\, Eric Lindell) on Bass\, Jim Kolacek (Feufollet) on Drums\, and Daniel Walker (Heart\, Ann Wilson\, Amy Ray) on Keys – to harness of the sound and feeling of their surroundings. Justin Tockett\, the house engineer at Dockside is also\, as Duhon claims\, his secret weapon.  From Duhon\, “Justin’s production is the most underrated thing in the room\, and his spirit is peaceful and literally at home at that studio.  There’s a cat on his lap most of the time he’s mixing. I mean\, come on…  That’s the feeling I wanted to feel when making this record from what felt like home to me. It wasn’t time to hit Nashville or try out something new on this one.  It was about believing in the songs from where the songs came from.”  This new collection speaks of Louisiana and carries the weight synonymous with Duhon records: deep\, evocative narratives that take listeners on a journey through a character’s skin\, heart-wrenching ballads which bare the songwriter’s soul\, and hard-driving bluesy rockers that rise in counterbalance to the weight of the lyric. \n  \n  \nThe Parish record begins\, both on Side A and Side B\, with a new flavor to Duhon’s repertoire. On either side of the record\, a drop of the needle will bring on a grimy\, distorted guitar intro. On side A\, this leads into “Waco Kool Aid\,” a biting look into the groupthink nature of today’s political landscape where “the truth is\, the truth is obsolete\,” and culminating in an ‘aha!’ moment putting the joke squarely on us\, the listener. On side B\, “Shotgun Religion” pulls from Duhon’s Catholic suburbia upbringing that seemed to have claimed the nature of love for itself\, only managing to create militant division that enforced the world view of the entitled.  As he tells it “Pride is a monkey on a young boy’s back and he’s leaving the safety of the cul de sac with an itchy trigger finger and a split second decision. Shotgun religion…” \n  \nThe album proceeds on softer notes with a selection of romantic ballads including “Hand Me Down Love\,” “Girl From Plaquemine\,” “Almost Forever\,” and the deep-hearted farewell of “Just In Case.” All with a twinge of nostalgia and a truer\, more complicated love than fairytale would claim. Sonically\, each ballad takes on a role in comprising the musical landscape of Louisiana\, through the jazz inspired piano fills of “Hand Me Down Love\,” to the back porch cajun country guitar picking in “Girl From Plaquemine” and the old school country western  heartstrings of “Almost Forever.” \n  \nNo closer can you get to home than Duhon’s song about his mother\, “Another House.” The song tells the story of Duhon’s mother’s journey with Dementia\, a journey first evident to Duhon when his mother began feeling not at home and insisting they go to ‘the other house’ that didn’t exist.  In the song he is speaking with his father\, “the only thing that matters now\, is she believes there’s another house\,” a sorrowful and brutally honest admission from son to father\, neither of which shared their mother’s faith\, but resolving in the end “We know better these days than to correct her.  We just walk with her together.”  Departing from the band accompaniment\, the song was recorded with Duhon alone on his acoustic guitar.  On the third morning of recording at Dockside in Maurice\, LA\, while the band stayed sleeping\, Duhon and the engineer went in to track this most intimate and bittersweet story of the collection.  \n  \nAnother unique flavor to The Parish Record is the presence of a cover\, the first Duhon has ever recorded. “Bayou La Batre\,” a song originally written and performed by Jimmy Louis\, a Florida Country-Blues crooner\, whose album\, “The Best Of This Deal” (1977)\, Andrew found buried in the dollar bin of his favorite Alabama record shop. The song encapsulates the journey home to New Orleans in such a way that feels like it was written for this album\, despite the writer preceding this record’s release by nearly half a century. \n  \nSmack in the middle of the album is “Man On The Marquee\,” a story from Andrew’s college years of stumbling into a local dive to see a seasoned songsmith perform his wares\, and detailing every aspect of the performance in romantic fashion\, from the signage on the walls\, to the majesty of seeing him walking onto the stage under the spotlight\, to the humanity of the emotions conveyed through the songs\, and the beautiful yet bittersweet monotony of traveling alone to the next town while leaving behind an audience for whom the experience was just a blip of joyous distraction. Reminiscent of Jackson Brown’s “The Load Out\,” the song takes on a semi-autobiographical tone as Andrew himself has taken on that role as the traveling troubadour\, moving from town to town\, sharing his deepest emotions through song\, and moving on to “that distant light that spelled it right. Somewhere else tomorrow night\, he’ll be the man on the marquee.”  \nWherever the winding roads of America’s highways take him\, New Orleans follows. With all of its cultural idiosyncrasies\, political turmoil\, and all of the harsh memories associated with the place he’s most intimately familiar\, comes a beauty from the holistically honest stories able to be told and the collection of sonic of influences that can only be forged from immersing himself in such a rich a culture. The Parish Record serves as the latest vehicle through which Andrew can spread the gospel to every new place he ventures of a life lived in the flawed\, divergent\, singularly magnificent bayou he’s called home. \n \n\nwith Ava Valianti\nAva Valianti is a 15-year-old singer-songwriter from Newbury\, Massachusetts\, blending pop and indie influences into a sound that’s raw\, heartfelt\, and unmistakably her own. With a voice that balances aching vulnerability and indie edge\, Ava crafts songs that linger — equal parts emotional confession and infectious melody. \nSince her 2023 debut with bubble wrap\, Ava has built an international audience through singles like Middle Ground\, January\, Wishing Well\, Laugh Track\, and Distant\, earning spins on over 200 radio stations\, two New England Music Award nominations\, and runner-up honors at the International Acoustic Music Awards. \nHer latest single\, Buttercups\, out July 11\, 2025\, marks a striking new chapter. Starting with an intimate acoustic arrangement\, the song blossoms into a powerful pop-rock anthem that captures the fragile dance between longing and betrayal. With fearless honesty and vivid imagery\, Ava clings to the sweetness of memories — the cinnamon smell\, the creaky doors\, the buttercups — even as trust unravels. \nAs she gears up for her highly anticipated debut EP this fall\, Ava continues to prove she’s a standout voice in pop’s next generation\, unafraid to tackle the messy complexities of young love\, loss\, and resilience. Whether she’s performing to sold-out rooms or writing songs in her bedroom\, Ava Valianti is an artist to watch. \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/andrew-duhon
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/2025/04/PPAF_8-21_Andrew-Duhon-Square-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250822T190000
DTEND;TZID=America/New_York:20250822T190000
DTSTAMP:20250822T193903Z
CREATED:20250425T185707Z
LAST-MODIFIED:20250822T193903Z
UID:10000916-1755889200-1755889200@www.prescottpark.org
SUMMARY:GoldFord with Reckoners
DESCRIPTION:GoldFord is a singer-songwriter known for his soulful\, emotive music that blends classic and modern pop and soul styles. With over 50 million streams on his hit song “Orange Blossoms\,” GoldFord has garnered support from artists like Sam Smith\, SZA\, Noah Kahan and James Blake\, who have championed his music. Noah Kahan personally invited GoldFord to perform his\nfestival Out of The Blue in January of 2025. GoldFord was personally invited to perform at the Dr King Awards in Atlanta Georgia by Bernice King. GoldFord’s first headlining tour of North America has sold out the majority of the venues ranging from 500-1000 capacity. This Fall\, he’ll continue to tour throughout the US and Europe. \nGoldFord’s musical journey is marked by a dedication to mental health and mindfulness education. He partners with organizations such as Whole School Mindfulness and Give to Give to address mental health issues and promote healing solutions. His music has been featured in popular TV shows and commercials such as Grey’s Anatomy\, Coca-Cola\, Station 19\, Jeep\, and the Super Bowl LVII\, further cementing his mainstream appeal. \n \n\n\nwith Reckoners\nA little bit of soul and a whole lotta’ rock ‘n’ roll! Reckoners is an all-star music group featuring some of the top players in the Boston music scene who have worked with and along side some of the best in the business. Fronting the group is the great Tim Gearan on vocals & guitar. Assembled and leading the band is the extraordinary guitarist Johnny Trama (Bettye LaVette\, The Silks\, Dub Apocalypse\, The B3 Kings). Holding down the rhythm section on drums is the masterful Tom Arey (Peter Wolf\, The J. Geils Band\, G. Love). On bass is the one and only Marc Hickox (Bettye LaVette\, Charlie Musselwhite)\, and on keyboards\, the very talented Darby Wolf (Bettye LaVette\, Rubblebucket). Paying homage to the roots of early soul and classic rock\, their songs and vibe make you experience something new and original yet completely familiar. Do not miss Reckoners coming to a town near you soon! \n \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/goldford
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/2025/08/GoldFord-in-The-Park.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250823T120000
DTEND;TZID=America/New_York:20250823T120000
DTSTAMP:20250728T183747Z
CREATED:20250611T205419Z
LAST-MODIFIED:20250728T183747Z
UID:10000961-1755950400-1755950400@www.prescottpark.org
SUMMARY:42nd Annual Seacoast Jazz Festival featuring Matt Wilson’s Good Trouble
DESCRIPTION:The 42nd Annual Seacoast Jazz Festival\, in partnership with Seacoast Jazz Society is back on the Wilcox Main Stage. \n\nPrescott Park Arts Festival\, in partnership with Seacoast Jazz Society\, is delighted to present the 42nd Annual Seacoast Jazz Festival featuring a host of local\, regional\, and international talent\, amplifying the different styles of jazz. The festival has a tremendous history on the seacoast. The first festival was held in 1983 under the name\, Portsmouth Jazz Festival. For over 25 years\, it was known as the Tommy Gallant Jazz Festival\, to honor legendary local jazz pianist and composer\, Tommy Gallant. In recent years it has become the Seacoast Jazz Festival in the hopes to expand the jazz festival’s reach in the future as a destination event featuring acclaimed jazz artists from around the globe. The Seacoast Jazz Society was formed in 1990 and its mission is to promote jazz through community outreach and education\, to support local musicians\, and to provide scholarships for young artists. For more information about the Seacoast Jazz Society\, or to donate\, please visit www.seacoastjazz.org. \n42nd Annual Seacoast Jazz Festival featuring Matt Wilson’s Good Trouble\nLine-up \n12 PM: Sax Summit featuring Charlie Jennison \n1:15 PM: Yulia Musayelyan Quartet \n2:30 PM: Vintage Vocal Quartet \n3:45 PM: New Hampshire Jazz Orchestra \n5PM: Matt Wilson’s Good Trouble \n* Rain Date: Sunday\, August 24 \nPlease note: the line-up is subject to change in the event of moving to the Rain Date \n\nFeaturing Matt Wilson’s Good Trouble at 5PM\n \nMatt Wilson has released thirteen albums as a leader\, appeared on more than 400 others as a sideman and has played with an impressive array of some of the most legendary names in jazz\, including Wynton Marsalis\, Lee Konitz\, Joe Lovano\, Pat Metheny\, Dewey Redman\, Charlie Haden\, John Scofield\, Joanne Brackeen and Herbie Hancock\, just to name a few. Wilson’s commitment to jazz goes far beyond his estimable skills as a drummer and bandleader. Also a renowned educator\, he is on a tireless mission to foster a lively and deep connection between music and people\, whether they be playing or listening to it. To that end\, he is extremely passionate about bringing jazz to new audiences and inspiring students to be as individualistic and imaginative as possible. \nThe quintet features a dynamic two-horn frontline with longtime collaborator Jeff Lederer on tenor saxophone and new addition Tia Fuller on alto\, while the rhythm section is rounded out with pianist/vocalist Dawn Clement and bassist Ben Allison\, players capable of serious chops within a variety of musical contexts.\n\n\n \n\n12PM: Sax Summit featuring Charlie Jennison\n\n\nCharlie Jennison\, Marc LaForce\, Nick Mainella – saxes\, David Newsam – guitar\, John Hunter – bass\, Les Harris Jr – drums \nThe Seacoast area is fortunate that multi-woodwind master and pianist Charlie Jennison has made his home here. This year he appears at the Seacoast Jazz Festival in a Saxophone Summit with two colleagues and students\, Oyster River High’s music director and saxophonist Marc LaForce and Soggy Po’ Boys tenor sax Nick Mainella. Longtime colleagues and area greats David Newsam (guitar)\, John Hunter (bass)\, and Les Harris\, Jr (drums) round out the band. \nMulti-instrumentalist Charlie Jennison plays lead alto sax\, flute and soprano sax with the Seacoast Big Band and is also a member of the Capitol Jazz Orchestra that plays frequently at the Capital Center for the Arts in Concord\, NH. Currently working with vocalist Johanna Landis\, he can be found gigging around Portsmouth. \nFor more than 30 years\, Charlie worked with Exeter\, NH based jazz pianist Tommy Gallant\, a teacher at the Berklee School of Music and an alumnus of Woody Herman’s band\, who heavily influenced Charlie’s growth as a musician and music educator. Charlie also studied with such major jazz figures as Jerry Bergonzi\, Charlie Mariano\, Jerry Coker\, and Ted Casher. \nA versatile educator\, whether presenting jazz performances & workshops for libraries\, jazz societies\, & schools throughout the New England region or coaching a jazz combo\, directing a jazz band\, or giving a lecture on the history of jazz in the NH Seacoast\, Charlie brings his love for music to all things jazz-related. \nCurrently teaching at Phillips Exeter Academy where he is a member of the faculty jazz quartet\, Charlie also offers private instruction on classical and jazz saxophone for all levels of experience\, as well as jazz piano instruction for beginning and intermediate players. \n  \n \n\n\n\n\n\n1:15 PM: Yulia Musayelyan Quartet\n\nYulia Musayelyan – flute\, Maxim Lubarsky – piano\, Fernando Huergo – bass\, Gen Yoshimura – drums \nYulia Musayelyan is a flutist and composer\, originally from Moscow\, Russia. She has recorded on over 35 albums as sideman and has toured the US\, UK\, Europe\, Central and South America with various musical projects.\nHer releases as leader and co-leader include ‘Caminos’ (2009 Blue Music Group)\, ‘Landscapes’ (with Macayú Trio\, 2019)\, “Unsaid” (2020\, Next Level)\, and “Oblivion’ (2021\, ZOHO Music). \n \n\n\n2:30 PM: Vintage Vocal Quartet\nDavid Thorne Scott – voice/bass guitar\, Taylor O’Donnell – voice/piano\, Chris Humphrey – voice/trombone/drums\, Paul Pampinella – voice/guitar\n\n\nThe Vintage Vocal Quartet is coming to fill your ears and your heart with the sweet swinging harmonies of the Swing Era\, when jazz music was pop music. Sentimental\, sophisticated\, and danceable.\n\nThe Vintage Vocal Quartet sings while playing piano\, guitar\, bass and trombone/drums. They are dialed into the sound of groups like Glenn Miller’s Modernaires\, the Nat King Cole Trio\, the Andrews Sisters\, and Tommy Dorsey’s Pied Pipers; as well as singers like Bing Crosby\, Frank Sinatra\, and Ella Fitzgerald. \nWhen founder David Thorne Scott did a tour performing with the legendary Four Freshmen\, he saw that vintage music hits the spot for 21st century audiences. He came home to Boston and called up guitarist Paul Pampinella of the groundbreaking a cappella group Vox One and pianist Taylor O’Donnell\, whose versatile voice can deliver jazz to funk with a whisper to a wail. Add trombonist and swing drummer Chris Humphrey and you’ve got yourself a four piece harmony machine.\n\nGet ready to swing with the Vintage Vocal Quartet\, who will be playing a few songs with Skip Poole’s big band as well!\n\n\n \n\n\n\n3:45 PM: New Hampshire Jazz Orchestra\nThe NH Jazz Orchestra’s (NHJO) mission is to connect some of the most talented musicians in the region to audiences that appreciate the excitement and performance of authentic Big Band music. The orchestra was built on the belief that music has the power to inspire\, connect\, and give back. It’s more than just a big band – it’s a musical movement dedicated to excellence\, community\, and the future of jazz. Founded in the Fall of 2021\, the orchestra stands out not only for its high-caliber performances\, but also for its commitment to outreach and education. \nWith a mission to inspire audiences and support young musicians\, the NHJO blends tradition with innovation\, bringing the power of live big band music to concert halls\, festivals\, and school events across the region. What makes this ensemble especially unique is its dedication to giving back. Through benefit performances\, educational workshops\, and mentorship\, the ensemble actively invests in the next generation of musicians. Every performance is more than entertainment – it’s an opportunity to connect\, uplift\, and ensure that this art form continues to thrive for years to come. Passion\, purpose\, and collaboration define this one-of-a-kind ensemble\, making it a true gem in New England’s music scene. For more information\, please visit www.cplivemusic.com. \nCLAYTON “SKIP” POOLE\, MUSIC DIRECTOR\nClayton\, (or “Skip” as he is known to his family and friends)\, has enjoyed over 47 years of bringing top quality music to audiences all around the United States. He has founded and conducted multiple music groups including the nationally acclaimed Capital Jazz Orchestra and\, most recently\, The NH Jazz Orchestra. \nOver the course of his elaborate music career\, Clayton has worked with such musical luminaries as Mel Tormé\, Rosemary Clooney\, Johnny Mathis\, Andy Williams\, Dionne Warwick\, Cab Calloway\, Maynard Ferguson\, Frank Foster\, “Wild” Bill Davis and many other major music stars. \nIn 2011\, Clayton was invited to join the late musicologist Gunther Schuller on a lecture panel at the Berklee School of Music in Boston to discuss the influence of Paul Whiteman on the early jazz period. Skip’s comments have been published in the book “Paul Whiteman – Pioneer in American Music” by Don Rayno. \nAs Music Director of The Capital Jazz Orchestra\, he has worked with The Four Freshmen\, Delfeayo Marsalis\, Trumpeter Byron Stripling\, Basie drummer Butch Miles\, Grammy award winner John Pizzarelli and vocalist Carmen Bradford. Additionally\, Skip has toured nationally with the CJO featuring NYC clarinet virtuoso and Benny Goodman alumnus\, Ken Peplowski. \nIn this current season with The New Hampshire Jazz Orchestra\, Skip has invited both internationally known composer/arranger Dr. Eric Richards and Grammy winning trumpeter Bryan Davis\, currently lead trumpet with both the Duke Ellington Orchestra and the 8-Bit big band as featured guests of the NHJO. \nRecently\, Skip\, his son CJ and the NHJO have been featured in NH Magazine and have also been a highlighted story on the WMUR-TV show “Chronicle”. Additionally\, Mr. Poole is now co-producing a unique monthly podcast highlighting stories from years of working with name stars and mavens of the jazz genre entitled “Big Band Backstage” with host Laura Knoy. The show is available through www.cplivemusic.com\, YouTube\, and Spotify. \nTHE NEW HAMPSHIRE JAZZ ORCHESTRA\nClayton “Skip” Poole\, Music Director \nPERSONNEL: \nReed I –Greg Mostovoy                         Trumpet I – Bob Maccini\nReed II – Kelsey Wynn                          Trumpet II – Bob Couturier\nReed III – Lisa Noordergraaf                   Trumpet III – Rob Cary\nReed IV – Charlie Jennison                  Trumpet IV – Mike Sheehan\nReed V – Don Davis                               Trumpet V – Justin O’Donnell \nTrombone I – Bryan House                          Guitar – Bob Arpin\nTrombone II – Alexander Richards                Double Bass – CJ Poole\nTrombone III – Max Lalos                            Piano – Nick Valiton\nTrombone IV – Drew Coraccio                    Drums – Jim Lattini\nTuba – Hailley McConnell \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/42nd-annual-seacoast-jazz-festival-featuring-matt-wilsons-good-trouble
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/2025/06/PPAF_8-23_Jazz-Fest-Square-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250828T190000
DTEND;TZID=America/New_York:20250828T190000
DTSTAMP:20250630T224941Z
CREATED:20250507T150726Z
LAST-MODIFIED:20250630T224941Z
UID:10000954-1756407600-1756407600@www.prescottpark.org
SUMMARY:Neighbor with One Time Weekend
DESCRIPTION:DOWN HOME FESTIVAL\n \nNeighbor is a dynamic quartet that blends ambitious compositions\, soulful balladry\, and fearless improvisations to create a unique musical experience. Featuring Richard James (vocals\, keys) Rob Compa (guitar)\, Dan Kelly (bass) and Dean Johnston (drums)\, together they fuel the groove and lay a solid foundation for Neighbor’s “down home” sound. \nThe band’s creative incubation began in early 2019 with a weekly residency that grew in large part by the passion of their fans\, the “Neighbors”\, who continue to inspire the band as the fan base has expanded across the country. This dedicated community and ongoing connection to fans has become a cornerstone of Neighbor’s success every time they step on stage. \nWith a diverse catalog of hundreds of songs\, the musical juggernaut Neighbor has become one of the most exciting and unpredictable live bands on the music scene today. Not boxed in by a single genre\, their songwriting brings elements of Americana\, Funk\, Rock\, Jazz\, Soul and more. The band is putting pen to paper once again as they head back into the studio to begin work on their second album. \nCome see what’s good in the Neighborhood. \n \n\nwith One Time Weekend\nIntroducing One Time Weekend – the band redefining progressive rock. With a growing catalog of studio albums and live releases\, and quite literally hundreds of shows OTW has attracted a loyal following of fans. As one fan puts it: “It’s hard to define this band. It’s a little bit of everything. Whatever it is\, we like it.”\n​Shred\, funk\, metal\, jam. Take these four ingredients and sauté them in a sauce of songwriting and groove\, and you might create something that tastes like OTW. Known for their electrifying live shows\, One Time Weekend delivers an unforgettable high-energy experience at every performance. Every One Time Weekend show is an adventure—no two performances are the same\, and no two songs sound alike. It’s rock\, it’s experimental\, it’s everything in between\, and it’s always a ride worth taking. \nFormed in 2016\, the band has never stopped moving. With the intention of building their community\, OTW has created a following across the northeastern United States\, and thanks to streaming—a global following of dedicated listeners. They created an annual celebration dubbed “Masquerade Of Madness” in their hometown of Hartford\, CT. “The Masquerade is more than a show\, it’s a community gathering. It is an expose of the arts from visual to auditory inspired by the likes of Scotland’s Fringe Festival. It is a chance to lose yourself in something amazing.” Combining the talents of local/national touring musicians\, visual/performing artists and their own community of fans Masquerade Of Madness is quickly becoming their favorite part of the year. Past musical guests have included members of Twiddle\, Trombone Shorty\, Brandon “Taz” Niederauer\, Funky Dawgz Brass Band & more.\nWith the addition of percussionist Alex Giosa in 2023 and guitarist/singer Sam McGarrity in 2025\, One Time Weekend has only gotten tighter\, more dedicated to their craft and hungry to show the people what they can do. Have you heard? \n \n \n  \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/neighbor
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/2025/05/PPAF_8-28_Neighbor-Square-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250829T190000
DTEND;TZID=America/New_York:20250829T190000
DTSTAMP:20260108T203226Z
CREATED:20250728T193513Z
LAST-MODIFIED:20260108T203226Z
UID:10000974-1756494000-1756494000@www.prescottpark.org
SUMMARY:Canceled: Tom Rush and accompanist Monica Rizzio with Brendan Cleary
DESCRIPTION:Tom Rush\n“My husband … didn’t give me a great deal of encouragement regarding my writing. But Tom Rush did. Tom would say\, “Do you have any new songs?” I’d play him a batch and he’d say\, “Any more?” I always held the ones out that I felt were too sensitive\, or too feminine\, and those would always be the ones he chose. Because of Tom\, I began to get noticed.”\n– Joni Mitchell \nTom Rush is a gifted musician and performer\, whose shows offer a musical celebration…a journey into the tradition and spectrum of what music has been\, can be\, and will become. His distinctive guitar style\, wry humor and warm\, expressive voice have made him both a legend and a lure to audiences around the world. His shows are filled with the rib-aching laughter of terrific story-telling\, the sweet melancholy of ballads and the passion of gritty blues. \nRush’s impact on the American music scene has been profound. He helped shape the folk revival in the ’60s and the renaissance of the ’80s and ’90s\, his music having left its stamp on generations of artists. James Taylor told Rolling Stone\, “Tom was not only one of my early heroes\, but also one of my main influences.” Country music star Garth Brooks has credited Rush with being one of his top five musical influences. Rush has long championed emerging artists. His early recordings introduced the world to the work of Joni Mitchell\, Jackson Browne and James Taylor\, and in more recent years his Club 47 concerts have brought artists such as Nanci Griffith and Shawn Colvin to wider audiences when they were just beginning to build their own reputations. \nTom Rush began his musical career in the early ’60s playing the Boston-area clubs while a Harvard student. The Club 47 was the flagship of the coffee house fleet\, and he was soon holding down a weekly spot there\, learning from the legendary artists who came to play\, honing his skills and growing into his talent. He had released two albums by the time he graduated. \nRush displayed then\, as he does today\, an uncanny knack for finding wonderful songs\, and writing his own – many of which have become classics re-interpreted by new generations. (It is testimony to the universality of his appeal that his songs have been folk hits\, country hits\, heavy metal and rap hits.) Signed by Elektra in 1965\, Rush made three albums for them\, culminating in The Circle Game\, which\, according to Rolling Stone\, ushered in the singer/songwriter era. \nIn the early ’70s\, folk turned to folk-rock\, and Rush\, ever adaptable\, saw more room to stretch out. Recording now for Columbia\, he toured tirelessly with a five man band\, playing concerts across the country. Endless promotional tours\, interviews\, television appearances\, and recording sessions added up to five very successful but exhausting years\, after which Tom decided to take a break and “recharge” his creative side at his New Hampshire farm. \nRush returned with a splash in 1981\, selling out Boston’s prestigious Symphony Hall in advance. Time off had not only rekindled Rush’s love of music\, it had re-ignited music audiences’ love of Rush. \nHe instinctively knew that his listeners were interested in both the old and the new\, and set out to create a musical forum like the Club 47 of the early sixties to allow artists and newcomers to share the same stage. In 1982\, he tried it out at Symphony Hall. The show was such a hit it became an annual event\, growing to fill two\, then three nights\, and the Club 47 series was born. Crafting concerts that combined well known artists such as Bonnie Raitt or Emmylou Harris with (then) unknowns like Alison Krauss or Mark O’ Connor\, Rush took the show on the road. From the ’80s to the present day\, Club 47 events have filled the nation’s finest halls to rave reviews\, and have been broadcast as national specials on PBS and NPR. \nIn 1999\, Columbia/Legacy released a Tom Rush retrospective album that covers his recorded musical history from 1962 to the present\, including tracks recorded for Columbia\, Elektra\, Prestige and his independent years. Entitled “The Very Best of Tom Rush: No Regrets”\, the 17-track compilation includes as a bonus a brand new Tom Rush composition\, “River Song\,” which features vocal contributions from Grammy winners Shawn Colvin and Marc Cohn. \nA live CD\, “Trolling for Owls” released in 2003 and published by Tom’s NIGHTLIGHT RECORDINGS\, captures Tom’s complete performance and includes\, for the first time\, some of the spoken stories that have endeared him to audiences. \n“How I Play (some of) My Favorite Songs”\, a DVD released in 2005 by Homespun Tapes. It shows how he plays ten of the memorable songs and guitar arrangements that have long made him one of America’s most beloved performers. \nIn 2009\, Tom recorded his first studio CD in 35 years. Recorded in Nashville\, “What I Know” was produced by Tom’s long-time friend Jim Rooney and includes original Tom Rush material\, as well as harmonies by Emmylou Harris\, Bonnie Bramlett and Nanci Griffith. \nToday\, Tom Rush lives in New Hampshire when he’s not touring. His voice has grown even richer and more melodic with training\, and his music\, like a fine wine\, has matured and ripened in the blending of traditional and modern influences. He’s doing what he loves\, and what audiences love him for: writing and playing …passionately\, tenderly…knitting together the musical traditions and talents of our times. \n \nand accompanist Monica Rizzio\nWith a perspective equally influenced by her Texas roots and her Cape Cod home\, Americana singer-songwriter Monica Rizzio has emerged as one of the finest talents in the East Coast music scene. Monica released her debut album\, aptly named Washashore Cowgirl\, in 2016; where it was Monica’s solo introduction after a decade in the trio Tripping Lily\, Sunshine is Free is her expansion — after time spent on the road\, she realized it was time for her to start collaborating again and recorded the album in Nashville with producer Michael Rinne and a stacked lineup of guest musicians. Throughout the eleven tracks on Sunshine Is Free\, Monica appreciates the little things in life and looks for silver linings where necessary. It’s clear she has a keen ability to connect; her songs are often autobiographical but delivered through a fictional approach that aids in creating a universal experience for the listener — whether it’s expressed using her trademark sense of humor or with such striking honesty that the pain in her voice is tangible. \n \n\nwith Brendan Cleary\nBrendan Cleary is a lifelong musician\, guitarist\, vocalist\, and composer with a deep love for American roots music. Born and raised in New Jersey\, his journey with music began at a young age\, playing in every setting he could find and any stage that would have him. He honed his craft through years of hard work and passion which eventually led him to Berklee College of Music\, where he studied songwriting. \nIt was there that Brendan discovered a deep love for creating music that resonates with the American heartland and a connection he’s carried with him ever since. His mentors and instructors at Berklee helped him sharpen his approach to the creative process. But after two years he put his education on hold\, as a new chapter of life opened for him in Music City\, Nashville\, TN. \nSurrounded by a rich history of Country\, Blues and Roots music traditions\, Brendan spent years performing live nearly every day on Nashville’s famed Broadway strip. Long days and nights in honky-tonks and blues bars old and new helped him master his live presence\, and his unique guitar style began to take shape. Personally describing his sound as a mix of acoustic fingerstyle blues and traditional folk\, his right-hand rhythm brings a driving force to his playing\, adding robust layers and textures to every single phrase. \nInfluenced by a diverse range of musicians\, Brendan’s heroes include Tom Waits\, Malcolm Holcombe\, Gillian Welch & David Rawlings\, Keb’ Mo’\, Eric Bibb\, Chris Smither\, and Dr. John. He draws comparisons to artist such as Tom Rush\, Chris Stapleton\, Ryan Adams\, and Jason Isbell\, who have all left an indelible mark on Brendan’s own approach to songwriting and live performance. \nHis voice is a mixture or distinctive tenor overtones with a touch of grit\, that keep pace with his music\, embraced by lyrics that weave stories which resonate deeply with his growing legion of listeners. A back story which includes recovering from alcohol and drug addiction means he has walked in the shoes of a troubled life. His truths are his own and paint pictures of lives that everyone can imagine. Whether it’s the tale of a troubled young man in “Liquor Boy\,” the aching regret of lost love in “Olivia\,” or the open-road spirit of “Soundbox\,” his music captures the deep emotional bonds that tie us to our pasts\, our loves\, and our losses. \nBrendan Cleary’s music is like a warm ray of sunshine on a cold day; comforting\, familiar\, and brimming with soul. Sharing stories and songs that have shaped his life\, he is opening his heart to America’s Northeast and making the darkest of days bright and clear. \nBrendan has had the honor of appearing regularly on the legendary Tom Rush’s “Rockport Sundays” weekly podcast. Brendan’s songs have also earned him a place as a finalist in the NH Music Collective Singer Songwriter Competition 2024. \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/tom-rush
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/2025/07/Tom-Rush-Weather.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250830T190000
DTEND;TZID=America/New_York:20250830T190000
DTSTAMP:20260320T152233Z
CREATED:20250425T191154Z
LAST-MODIFIED:20260320T152233Z
UID:10000917-1756580400-1756580400@www.prescottpark.org
SUMMARY:An Evening with Dawes
DESCRIPTION:For the first time in almost a decade\, brothers Taylor and Griffin Goldsmith grace the cover of a Dawes record. It’s just the two of them this time\, and as such\, Oh Brother marks a distinctive new chapter for the California rock band — one that is both introspective and accessible\, all while maintaining their beloved sense of sincerity. \nOh Brother steers Dawes decidedly forward\, honoring 15 years of Taylor and Griffin’s musical relationship\, as well as the next era of their band. Each of the nine songs began with just Taylor on guitar and vocals and Griffin on drums. They initially tracked each one live together\, before adding in additional instrumentation and collaborating with touring guitarist Trevor Menear in the studio. Additionally\, Oh Brother is the first record the brothers have co-produced\, working alongside longtime friend Mike Viola. \nAt this point in the Goldsmith’s career\, Dawes has cemented itself as one of the most earnest\, no-bullshit musical acts out there. They’re a band that can move seamlessly between folk rock\, piano ballads\, and sprawling jams while maintaining both an immediately recognizable sound and a freedom from expectations. Even as the Goldsmith brothers navigates new chapters in their personal and professional lives\, Oh Brother shows how they remain creative\, ambitious\, and inspired — what it means to be lifers in a band together. \n  \n \n\nReservations\nTable and blanket reservations are non-refundable\, but can be transferred to another available date in the 2025 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/dawes
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/2025/08/Dawes-in-The-Park-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260622T190000
DTEND;TZID=America/New_York:20260622T190000
DTSTAMP:20260622T190358Z
CREATED:20260429T184830Z
LAST-MODIFIED:20260622T190358Z
UID:10000993-1782154800-1782154800@www.prescottpark.org
SUMMARY:Chaparelle with Jon Nolan & Good Co.- MOVED TO 3S ARTSPACE
DESCRIPTION:In a harmonious union\, singer-songwriters Zella Day and Jesse Woods come together to reveal their highly anticipated collaboration\, “Chaparelle”. Esteemed for their exceptional vocal prowess and celebrated contributions to their distinct genres\, Zella and Jesse craft a musical tapestry that harkens back to legendary duets of icons like George and Tammy or Gram and Emmylou. This partnership channels the enduring allure of Country music’s golden age\, weaving a melodic narrative that resonates with themes of love and the indomitable Texan essence. \n \n  \n\nwith Jon Nolan & Good Co.\n \nJon Nolan is a New England songwriter and founding member of Americana stalwarts Say ZuZu (Strolling Bones/New West Records). With his latest project\, Slow Cooker (out September 2025)\, Nolan turns inward—crafting vivid\, lived-in songs about small-town moments\, connection\, and the quiet beauty of everyday life. Backed by his band\, Jon Nolan & Good Co.\, he blends folk warmth\, pop shimmer\, and country grit into something timeless and inviting. The result feels less like a performance and more like an open door. \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/chaparelle
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/2026/04/SQUARE-9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260624T190000
DTEND;TZID=America/New_York:20260624T190000
DTSTAMP:20260623T200632Z
CREATED:20260601T141528Z
LAST-MODIFIED:20260623T200632Z
UID:10001043-1782327600-1782327600@www.prescottpark.org
SUMMARY:Ralph Stanley II & the Clinch Mountain Boys with Farayi
DESCRIPTION:If you were to gather together an average cross-section of people and ask them if they thought it would be an advantage for a performer to be the child of a legend\, most would probably conclude that it would have to be a definite plus. After all\, the doors of opportunity would be quicker to open\, and the spotlight of public attention that so many artists spend years trying to cultivate would be yours because…well…just because. Famous by default\, so to speak and doubtless those are real\, tangible advantages. But then there’s the downside- pressure. The learning curve\, the whole growth process with all its potential missteps and pitfalls\, is a public document. Most artists get to take those perilous first steps of their careers in relative anonymity\, a nameless face in the crowd.\nAs one might expect for the son of a renowned banjo player\, the first instrument Ralph II ever held was a banjo. At the ripe old age of three\, Ralph (or simply “Two” as he is called by his family and friends)\, had his first lesson from the elder Stanley\, learning a simple finger roll. It turned out\, however\, that he would not be following in his father’s footsteps\, when it came to choice of instrument. He soon fell under the spell of the undisputed king of boyhood musical desires\, the guitar. He spotted one under his sister’s bed\, and according to Ralph\, “I wanted to play it. When I was five years old\, I started with the guitar and I’ve been playing it ever since”. \nBut despite his interest in the guitar\, and the fact that he was occasionally traveling with the Clinch Mountain Boys on the road\, he had not yet developed an ambition to play professionally. It took until age twelve and an old 1977 video of the late Keith Whitley during his tenure as lead singer for the Clinch Mountain Boys\, to inspire him to become a professional musician. After seeing Whitley with the elder Stanley\, he was hooked and spent hours in the family basement honing his skills\, and weathering the comparisons to his late Uncle Carter. His persistence paid off\, and he took the stage as lead singer with Ralph Sr. and the Clinch Mountain Boys in June of 1995. Since then\, he has earned the respect of Stanley fans everywhere\, and has garnered praise as a strong new artist in his own right. \nOn May 26\, 2017\, Stanley Family Records released the self-titled album by Ralph Stanley & The Clinch Mountain Boys. This is the first recording released since Ralph II honored his father’s wishes by taking over the Clinch Mountain boys name. These big shoes are being filled by the talents of Clinch Mountain Boys Curtis Coleman on banjo\, Alex Leach on guitar\, Randall Hibbitts on the upright bass\, and Stanley Efaw on fiddle and mandolin. \nRalph II has had 2 Grammy nominations on previous albums he recorded with Rebel Records. In 2002 he earned his first Grammy along with his father. Dr. Ralph Stanley for their collaboration with Jim Lauderdale on “Lost in the Lonesome Pines.” Ralph II has proven to be an accomplished songwriter and has 6 solo albums under his belt\, along with the highly acclaimed duet album with his father titled “Side by Side.” When not traveling\, Ralph II enjoys his time at home with his wife Kristi and their children Taylor and Ralph III. \n \n  \n\nwith Farayi\nWith her warm\, soulful voice\, Farayi has captivated audiences around the globe as a Grammy-nominated vocalist with Danilo Pérez’s Global Messengers. Now\, she’s returning to her musical roots\, embarking on a new chapter of her journey. The child of a Zimbabwean immigrant and a white American mother\, Farayi grew up in a small\, rural town in Southern Idaho\, playing the fiddle and absorbing the culture of seemingly conflicting communities. Her goal is to bring all of the diverse sounds and experiences of her life into her music: the Gospel of the church she grew up in\, the American folk music and hymns of her childhood\, and the blues and jazz she studied\, all woven into pure\, resonant songs that allow her effortless vocals to shine. Now a Salt Lick Incubator award-winner\, Farayi is stepping out as a solo artist on her much anticipated debut recording project produced by Alain Mallet [Phil Woods\, Paul Simon\, Paquito D’Rivera\, Marc Johnson\, and Madeleine Peyroux.] Her writing showcases very accessible themes with a unique compositional intelligence\, demonstrated in songs like “Tonight”. When she is not performing and recording\, Farayi shares her vast musical knowledge as a professor at various esteemed institutions including Berklee College of Music and New England Conservatory. In an interview with The Boston Globe\, Farayi says\, “Seeing my students be so brave and confident\, so artistic and free…they’re the ones who actually inspired me to pursue my artistic career.” Whether she is engaging with her audience through performance or education\, Farayi is driven by the desire to make people feel seen and at home in their otherness. \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/ralph-stanley-ii-the-clinch-mountain-boys
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/2026/06/SQUARE-Ralph-Stanley-II-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260628T160000
DTEND;TZID=America/New_York:20260628T170000
DTSTAMP:20260627T202544Z
CREATED:20260605T185458Z
LAST-MODIFIED:20260627T202544Z
UID:10001045-1782662400-1782666000@www.prescottpark.org
SUMMARY:Mister G
DESCRIPTION:Ben Gundersheimer (MISTER G) and Kat Jamieson (MISSUS G) perform their Latin Grammy Award-winning bilingual music at major venues and festivals around the world including Lollapalooza\, Austin City Limits and the Smithsonian National Museum of Natural History. Penguin Random House has published five picture books based on their original songs with one more forthcoming.  Whether performing at the National Climate Rally or an orphanage in Mexico City\, their dynamic\, interactive performances aim to dissolve borders and foster cross-cultural connections through the power of story and song. \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! \n 
URL:https://www.prescottpark.org/event/mister-g-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/2026/06/Mister-G-6_28.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260629T190000
DTEND;TZID=America/New_York:20260629T190000
DTSTAMP:20260619T203812Z
CREATED:20260430T143224Z
LAST-MODIFIED:20260619T203812Z
UID:10000996-1782759600-1782759600@www.prescottpark.org
SUMMARY:An Evening of Beatles Music with The Walrus
DESCRIPTION:“The Beatles get a mind-blowing tribute.” \n-RollingStone \n  \nThe Walrus has been faithfully and energetically recreating the music of The Beatles (proper and solo works) since 2002. \nAll members are active recording and touring artists and have been featured in multiple glowing Rolling Stone articles and reviews. \nCore members Spencer Albee\, Zach Jones\, Sean Morin\, Jon Roods\, Anna Lombard\, and Andrew Hodgkins dig in to the music of The Beatles with as much reverence as possible\, and lean in to the rock energy of the live performance. \nIn short\, this is a rock show. \nNo wigs\, no accents\, and just a little too loud. \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/an-evening-of-beatles-music-with-the-walrus
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/2026/04/SQUARE-ROS.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260701T190000
DTEND;TZID=America/New_York:20260701T190000
DTSTAMP:20260629T144721Z
CREATED:20260430T161422Z
LAST-MODIFIED:20260629T144721Z
UID:10000997-1782932400-1782932400@www.prescottpark.org
SUMMARY:The Dip with Tre. Charles
DESCRIPTION:  \n \nThe Dip is a Seattle-based Rhythm and Blues band that is known for its poignant songwriting\, detailed arrangements\, and vintage sound. Featuring a three-piece horn section\, the group’s music harkens back to earlier soul and funk influences while hinting at the jazz foundations that brought the band’s members together.  \nWith a distinct sonic character that has drawn in millions of listeners to date\, The Dip released their latest\, fourth full-length studio album ‘Love Direction’ in July 2024. It is their second with Dualtone Records\, the follow-up to 2022’s ‘Sticking With It’ which landed at #1 on the Billboard Current R&B Albums Chart. \nThe band headlined and sold out shows at iconic venues across the country last year including San Francisco’s legendary Fillmore\, Washington DC’s 9:30 Club\, Webster Hall in New York\, Austin’s historic Scoot Inn\, two nights at Thalia Hall in Chicago and two hometown shows at The Showbox in Seattle. They have also had the opportunity to support new friends like The Black Pumas and The Teskey Brothers\, while also appearing at major festivals including Bonnaroo and Outside Lands. \n\n “One of the most exciting and joyous acts to emerge in recent years” \n– KEXP \n“For those who think the finer days of brass\, rock\, jazz and funk are behind us\, be schooled by The Dip”\n– Entertainment Today \n“Signature head-bobbing rhythms and vein-shaking guitars” \n– American Songwriter \n  \n \n  \n\nwith Tre. Charles\nTre. Charles is an alternative/indie soul artist blending emotive vocals\, introspective lyrics\, and atmospheric\, soul-rooted production. A nomadic\, self-taught troubadour raised across the East Coast\, his sound reflects a life shaped by constant movement\, culture\, and emotional searching—forever rooted in soul. \nOften compared to Sampha\, Hozier\, and James Blake\, alongside classic influences like Marvin Gaye\, Bill Withers\, and Lauryn Hill\, his music is known for its immersive\, reverb-rich “wave therapy”\nquality—cinematic\, intimate\, and emotionally grounding. \nRejecting the idea that formal accreditation defines artistic accomplishment\, Charles has built his career through authenticity and impact\, performing on major stages including Newport Jazz Festival\, TEDx\, and NPR features. His work and presence have earned co-signs from GRAMMY-winning artists such as Son Little\, Tank and the Bangas\, and Cedric Burnside\, as well as hip-hop legends Digable Planets and Arrested Development\, with whom he has toured as direct support on sold-out runs. Endorsed by D’Angelico Guitars and Supro\, his artistry has reached global audiences across festivals\, venues\, and conferences alike. \nWith projects like Currently. (2023) and Here We Are. (2025)\, Tre. Charles continues to create music centered on vulnerability\, the process\, and emotional truth—now entering a new era of expanded vision and artistry. \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-dip
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/2026/04/SQUARE-The-Dip.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260706T190000
DTEND;TZID=America/New_York:20260706T190000
DTSTAMP:20260624T174504Z
CREATED:20260429T184856Z
LAST-MODIFIED:20260624T174504Z
UID:10000994-1783364400-1783364400@www.prescottpark.org
SUMMARY:Infinity Song with Gretchen Klempa
DESCRIPTION:Infinity Song is a Soft Rock band based in New York City\, comprised of 4 siblings: Abraham\, Angel\, Israel\, and Momo Boyd. With a blend of tight vocal harmonies\, dreamy lyricism\, and sublime guitar riffs\, the band creates a transcendent experience for the audience on every stage and in their recorded music. \nHomeschooled academically and musically\, along with their 5 other brothers and sisters\, by parents who founded the Boys & Girls Choirs of Detroit\, the siblings have been performing in front of audiences since Pre-K. Raised on classical\, gospel\, and jazz\, they draw inspiration from artists like Pat Methany\, Marvin Gaye\, and The Winans Family. \nInfinity Song’s journey began in 2006 when the Boyd patriarch\, John Boyd\, moved the family from Detroit to New York. The group performed all over the city\, from the Metropolitan Museum of Art to Times Square\, with Central Park’s Bethesda Fountain becoming their primary stage for the next 12 years. Over time\, they turned casual park visitors into loyal fans\, eventually being introduced to JAY-Z. \nIn 2016\, the band was signed to Roc Nation by JAY-Z\, who encouraged them to stay true to their unique sound. In 2020\, they made a giant splash with their debut album Mad Love\, which\, combined with several viral videos\, amassed millions of views and earned the attention of Hollywood’s biggest names. \nInfinity Song’s recent success marks a bold chapter in their musical evolution\, which they’ve described as their Metamorphosis. Their expanded sound\, blending elements of soft rock\, pop\, and soulful melodies\, has captured the attention of a global audience. The band’s breakout moment came with the viral success of Hater’s Anthem\, a track that has been endorsed by Pop star Doja Cat and shared by millions of people worldwide. Leading many listeners to compare the band to legendary 70s groups such as Fifth Dimension\, The Mamas and The Papas\, and ABBA. \nBut their journey didn’t stop there. Slow Burn and Sinking Boat\, two additional singles from their Metamorphosis era\, also became viral sensations\, fueling their rise to new heights and captivating even more fans. \nIn 2024\, the band embarked on a successful world tour\, playing sold-out shows in Los Angeles\, Toronto\, London\, Manchester\, Brussels\, Berlin\, Paris\, and more. They also graced the stages of major festivals such as Bonnaroo\, Lollapalooza\, and Pitchfork Paris – further solidifying their place in the global music scene. The band’s 2024 achievement\, a LIVE album\, captures the magic of their dynamic performances and continues to fuel excitement for their upcoming tours & singles. \nIn 2025\, Infinity Song set out on their highly anticipated World Tour II\, expanding their global reach and elevating their reputation as one of the most genre-blending live acts of the decade. The tour included standout performances at major international festivals such as the Latitude Festival and Helsinki Festival\, as well as shows across Tokyo and Osaka\, Japan and other countries. \nTheir North American leg brought them to several sold-out shows with audiences across Canada\, along with major U.S. cities including New York\, Los Angeles\, Chicago\, Houston\, and many others. The tour marked a defining moment in the band’s evolution\, revealing the depth of their global fanbase and their unmatched ability to command stages of every size. Energized by this new chapter\, Infinity Song is poised to make an even bigger mark in the year to come. \n  \n \n\nwith Gretchen Kelmpa\nOriginally from the Seacoast area\, Gretchen Klempa played throughout New England as the front woman of Gretchen & The Pickpockets. Klempa relocated to Los Angeles to expand her work as a solo artist. Klempa merges the songwriting traditions of folk and pop sensibilities with classic jazz harmonies. \nhttps://ffm.to/gretchenklempa_dogbite \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/infinity-song
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/2026/04/IG-POST-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260715T190000
DTEND;TZID=America/New_York:20260715T190000
DTSTAMP:20260624T190620Z
CREATED:20260430T161952Z
LAST-MODIFIED:20260624T190620Z
UID:10000998-1784142000-1784142000@www.prescottpark.org
SUMMARY:Kashus Culpepper with Samantha McKaige
DESCRIPTION:Alabama-born country crooner Kashus Culpepper encompasses the sound of the South. A student and reverent purveyor of Southern music – country\, soul\, blues\, folk and rock – Culpepper’s husky\, sandpaper growl bellows like a freight train over self-penned stories that are as raw and real as they are haunting. \nFinding his voice in church as young as five years old\, it wasn’t until 2020’s global pandemic that Culpepper went from listener to performer\, picking up a guitar and learning cover songs to play at barrack bonfires in Rota\, Spain during his deployment with the Navy. Covers soon became originals\, and once he landed home on U.S. shores\, Kash played dive bars up and down the Mississippi Gulf Coast\, making a name for himself with the fresh-yet-reminiscent sound that oozes from his very being. \nCrashing into prominence\, Culpepper sold out headline club shows throughout the South before formally releasing a single song. With Nashville taking notice\, Culpepper found a musical home at Big Loud Records. Culpepper has joined Leon Bridges\, Sierra Ferrell and Darius Rucker on tour – embarking this year on a headlining run as well as dates with Wyatt Flores and Eric Church. \nNamed one of the 2026 Shazam Fast Forward Class\, WXPN’s Artist to Watch for January 2026\, 2026 Nashville Scene Artist to Watch\, GRAMMY.com’s 25 Artists to Watch in 2025\, Apple Music Zane Lowe’s 25 Artists for ’25\, 2025 Variety Power of Young Hollywood Impact Report\, Opry NextStage Class of 2025\, Billboard’s February 2025 Country Rookie of the Month\, 2025 Amazon Music Bonfire Artist to Watch\, Apple Music’s February 2025 Country Riser of the Month\, 2025 Pandora Country Artist to Watch and Martin Artist Showcase Class of 2025\, Rolling Stone declares: “If what we’ve heard so far is any indication\, expect 2026 to be a breakthrough year for this Alabama singer.” Culpepper’s debut album Act I is out now. \n \n  \n\nwith Samantha McKaige\nSamantha McKaige is a guitar-playing\, Americana-singing songwriter deeply rooted in folk and rock\, drawing inspiration from the landscapes of her Pacific Northwest home\, the beaches of Northern California\, and the rivers of the Rockies. Heartache and travel weave through her lyrics\, reflecting her love for nature and the outdoors. \n​Her sophomore LP\, “Burning Season”\, is a devastating 11 song ode to a forlorn heartbreak. From piano ballads to guitar-drive\, angry hail marys\, Burning Season captures\, from start to finish\, how it feels to lose a love. It is set to release on May 29th.  \n​As a professional touring artist\, Samantha has shared stages with notable artists such as Hunter Hayes\, Judah and the Lion\, Ethan Regan\, The Brazen Youth\, Ezra Bell\, Lucy Wainwright Roche\, Suzzy Roche\, and Ethan Tasch.  \n​Samantha performs solo or with a full band of talented musicians\, rounding out her sound with electric and steel guitar\, banjo\, mandolin\, fiddle\, trumpet\, keyboard\, backing vocals\, and drums. Paired with her originals\, Samantha also performs uniquely arranged covers of her favorite musicians\, such as Caamp\, Pinegrove\, Bon Iver\, Brandi Carlile\, Arms Length\, Gregory Alan Isakov\, and The Highwomen. \n  \n \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/kashus-culpepper
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/2026/04/SQUARE-Kashus-Culpepper-ROS-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260716T160000
DTEND;TZID=America/New_York:20260716T170000
DTSTAMP:20260610T232231Z
CREATED:20260605T190602Z
LAST-MODIFIED:20260610T232231Z
UID:10001046-1784217600-1784221200@www.prescottpark.org
SUMMARY:Friend Andrea
DESCRIPTION:Friend Andrea\, stage name of Andrea Szirbik Groft\, is a singer-songwriter based in Berwick\, Maine who builds community through music. Through original songs\, interactive music\, storytelling\, and the songwriting process\, she encourages creativity and connection in a way that feels more like friendship than performance. \nSONG SPARKS with Friend Andrea is a joyful\, high-energy music program with plenty of dancing\, movement\, and audience participation that builds community and shows kids that they can write songs too! Andrea’s original songs offer big messages for small humans- embracing creativity\, showing kindness\, and facing challenges- while inviting the group to participate in the\nsongwriting process along the way.  \nWhat to expect: \n\n Songs to move & dance to (shakers\, scarves)\nSongs to participate in (shouting out lyric suggestions\, moving to act out stories)\nTiny moments of “breaking down” what goes into creating a song using language kids\ncan understand\nApplying what we learn about songwriting to start a song together on the spot\, which may become part of the Friend Andrea Collab project\, where co-created songs are sometimes recorded and shared later in live performances or recordings 🙂\n\nThis program is a great fit for children ages 4-9 and their families\, but older or younger children who are interested in participating are welcome too! \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! \n 
URL:https://www.prescottpark.org/event/friend-andrea
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/2026/06/SQUARE-Friend-Andrea.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260720T190000
DTEND;TZID=America/New_York:20260720T190000
DTSTAMP:20260719T223238Z
CREATED:20260513T151312Z
LAST-MODIFIED:20260719T223238Z
UID:10001006-1784574000-1784574000@www.prescottpark.org
SUMMARY:An Evening with Patty Griffin and Kathleen Edwards
DESCRIPTION:Patty Griffin is among the most consequential singer-songwriters of her generation\, a quintessentially American artist whose wide-ranging canon incisively explores the intimate moments and universal emotions that bind us together. \nOver two decades\, the 2x GRAMMY® Award winner – and 7x nominee – and Americana Music Association Lifetime Achievement award winner\, has crafted a remarkable body of work in progress that prompted the New York Times to hail her for “[writing] cameo-carved songs that create complete emotional portraits of specific people…[her] songs have independent lives that continue in your head when the music ends.” \n2019 saw the acclaimed release of the renowned artist’s GRAMMY® Award-winning 10th studio recording\, PATTY GRIFFIN. One of the most deeply personal recordings of Griffin’s remarkable two-decade career and first-ever eponymous LP\, PATTY GRIFFIN made a top 5 debut on Billboard’s “Independent Albums” chart amidst unprecedented worldwide acclaim\, and later\, a prestigious GRAMMY® Award for “Best Folk Album.” \nGriffin’s new album\, CROWN OF ROSES\, is a deeply personal and introspective work that explores themes of identity\, nature\, family\, and womanhood. Emerging from a creative drought during the pandemic\, Griffin found herself re-evaluating the stories she’d long told herself. The result is an eight-track collection that is both sparse and emotionally rich\, blending folk\, Americana\, and blues. With CROWN OF ROSES\, Griffin offers a record that’s both grounded and transcendent — one that invites listeners to release old narratives\, embrace new truths\, and stay truly alive while they’re here. Having crafted a rich catalog that chronicles love and death\, heartache and joy\, connection and detachment\, Patty Griffin continues to push her art forward\, as always imbuing every effort with compassion and craft\, uncanny perception\, and ever-increasing ingenuity. \n \n\n \nAcclaimed singer\, songwriter and performer Kathleen Edwards returns with her highly anticipated new album\, Billionaire\, August 22 on Dualtone Records. Evoking her debut\, Failer\, the new 10-song album is full of Edwards’ trademark lyrical sharpness and unflinching observations and was produced by Jason Isbell and Gena Johnson. \nCelebrated as one of the forebears of modern alt-country and Americana music\, Edwards is beloved by fans and fellow musicians\, and praised by The New York Times for her\, “droll\, observant and unsparing tone that is all her own. In her best lines\, Edwards has the conversational vernacular and emotional eloquence of a great short-story writer.” \nSince debuting in 2003\, Edwards has released five albums\, including 2020’s Total Freedom — her first after stepping away from music for almost a decade. Released to overwhelming acclaim with pieces at The New Yorker\, The New York Times\, Rolling Stone and more\, Pitchfork called it\, “a creative breakthrough\, written solely for the thrill of discovery\,” while Rolling Stone declared it as\, “devastatingly great.” Most recently\, Edwards released a covers EP featuring special guests Isbell\, Bahamas and Daniel Tashian and including renditions of Isbell’s “Traveling Alone\,” Bruce Springsteen’s “Human Touch\,” The Flaming Lips’ “Feeling Yourself Disintegrate\,” Tom Petty’s “Crawling Back To You” and more. She has been nominated for multiple JUNO and Americana Awards and\, in 2012\, was awarded the SOCAN Songwriting Prize. \n \n  \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/patty-griffin-and-kathleen-edwards
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/2026/04/SQUARE-Patty-Griffin-ROS.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260723T190000
DTEND;TZID=America/New_York:20260723T190000
DTSTAMP:20260702T154311Z
CREATED:20260430T165543Z
LAST-MODIFIED:20260702T154311Z
UID:10000999-1784833200-1784833200@www.prescottpark.org
SUMMARY:Tiny Habits with Jules
DESCRIPTION:Tiny Habits were still students in Boston when they began gaining recognition for the harmony-focused song covers recorded in their dorm stairwell and posted to millions of listeners on TikTok. They released their first EP of original songs\, Tiny Things\, in April 2023 and soon earned a spot opening for Gracie Abrams on her ‘Good Riddance Tour’ in North American and Australia. Later that year they hit the road again supporting Noah Kahan in Europe on the ‘Stick Season Tour’. \nSince their debut they have toured with music legends like James Taylor\, Sarah McLachlan\, Lake Street Dive\, and Vance Joy. They performed with Lizzy McAlpine on her Tiny Desk concert\, harmonized with Kacey Musgraves\, Marcus Mumford\, Matty Healy\, and Laufey among many others. The band were recently profiled in The New Yorker which touted them “The Prodigies of Harmonies\,” and count fans from the late great David Crosby to Phoebe Bridgers and Elton John\, who called them “delicious.” Ann Powers of NPR Music exclaimed “Can’t wait for this vocal trio’s debut album to take the world by storm.” \nThe Habits released their debut album ‘All For Something’ via Mom+Pop records in May of 2024. The record has garnered over 50 million streams across all streaming platforms. They closed the album era with a collaboration featuring Lizzy McAlpine on the emotional track ‘For Sale Sign’. The band just returned from performing at Noah Kahan’s ‘Out of the Blue Fest’ in Cancun and are heading into the studio to work on their highly anticipated sophomore record. \n \n\nwith jules\n\njules is a blossoming pop/R&B singer\, songwriter\, and performer. She is known for her powerful and versatile vocal skill and complex vocal layering that is reminiscent of influences such as Ariana Grande\, Victoria Monet\, and SZA. Lyrically\, jules aims to confront the uncomfortably real truths of life\, love\, and womanhood\, balancing vulnerability with tongue-in-cheek bluntness. Her two EPs\, say you won’t blame me and father’s daughter\, are currently available on all streaming platforms. Her most recent single titled “i don’t believe you” juxtaposes raw lyrical vulnerability with an upbeat and danceable R&B groove. You can find her on all social media platforms @joooolessss to stay tuned for all of her upcoming projects. \n \n  \nhttps://open.spotify.com/artist/4MkJZw8QahSr2rMPXHCKez?si=Yz_piBggT1eNryni_e5a6Q \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/tiny-habits
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/2026/04/SQUARE-Tiny-Habits-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260726T160000
DTEND;TZID=America/New_York:20260726T170000
DTSTAMP:20260610T134759Z
CREATED:20260605T191352Z
LAST-MODIFIED:20260610T134759Z
UID:10001047-1785081600-1785085200@www.prescottpark.org
SUMMARY:Miss Alli
DESCRIPTION:Experience the joy of music with Miss Alli! An interactive performance of music and movement for all ages! Join Miss Alli as we adventure through Disney classics and contemporary music\, while incorporating silks\, percussion and creative play. Alli Beaudry is a New Hampshire native and an award winning singer\, songwriter and performer. Beaudry is a former Berklee College of Music voice faculty with a decade of experience. She also holds a degree in Vocal Performance from Berklee. Music with Miss Alli\, her newest musical project is an all ages\, interactive show that focuses on the connection between movement\, music and community. Recent credits include: Dancing Queens\, Footloose & Legends Live On Tribute at the Palace Theatre in Manchester\, NH. She is thrilled to be returning to Prescott Park this Summer! \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! \n 
URL:https://www.prescottpark.org/event/miss-alli-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/2026/06/SQUARE-Miss-Alli.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260729T190000
DTEND;TZID=America/New_York:20260729T190000
DTSTAMP:20260729T165353Z
CREATED:20260430T165728Z
LAST-MODIFIED:20260729T165353Z
UID:10001000-1785351600-1785351600@www.prescottpark.org
SUMMARY:The Lone Bellow with Walker Burroughs- Moved to The Music Hall
DESCRIPTION:With their upcoming sixth studio album\, “What A Time To Be Alive”\, The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams\, Brian Elmquist\, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler Geertsma—the album channels the raw\, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth\, honesty\, and human connection. \nRecorded live in Muscle Shoals\, AL\, after a writing retreat in a converted Kentucky firehouse\, the album is both a celebration and a reckoning: of friendship\, loss\, love\, and resilience. From the gritty\, Stones-tinged opener “After The Rain” to the soul-stirring closer “What A Time To Be Alive\,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies\, heartfelt lyrics\, and genre-blurring arrangements steeped in folk\, rock\, and gospel. \nThe album’s creation was marked by setbacks\, including the theft of early recordings\, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album\, whether in anthems like “Common Folk” and “I’m Here For You\,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.” \nSince their acclaimed 2013 debut\, The Lone Bellow has appeared on The Tonight Show\, Austin City Limits\, and The Late Show\, topped Americana charts\, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album\, they reaffirm their commitment not just to making music\, but to building community—on stage\, in song\, and around the table. \n \n\nwith Walker Burroughs\n\nOriginally from Birmingham\, AL Walker is a singer songwriter based in Nashville\, TN.  He is a graduate of Belmont University with a degree in voice and an emphasis in songwriting. He as toured nationally with Bobby Bones as both his piano player and a featured artist as well as Kris Allen. Walker’s music blends interesting melodies and chords with lyrics that reflect on the joy and the pain of connecting with ourselves\, others and the world around us. \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/the-lone-bellow-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/2026/04/MVD-to-TMH-Lone-Bellow.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260730T160000
DTEND;TZID=America/New_York:20260730T170000
DTSTAMP:20260610T134816Z
CREATED:20260605T184901Z
LAST-MODIFIED:20260610T134816Z
UID:10001044-1785427200-1785430800@www.prescottpark.org
SUMMARY:Mr. Aaron
DESCRIPTION:Mr. Aaron is an award-winning multi-instrumental performer\, writer\, and singer\, and brings his years of experience writing and performing for musical theatre into a musical program that is exciting and engaging for audiences ages 1-10 and their grownups. And when it’s time to really party\, he gets the Mr. Aaron Band together! \nMr. Aaron is joined by longtime collaborator and guitarist\, Eric Bilodeau\, the young drum wizard William Lindberg\, and bass player and vocalist extraordinaire\, David Shore. Together they bring the full sound of the albums to life\, and create a groovy and interactive show that is a blast for all ages. You’ll hear Mr. Aaron originals\, and a few funk/soul and pop covers for good measure. \nHe’s written and released 6 albums of music for kids\, written and published two children’s books\, and was recently named “Best Children’s Performer” by New Hampshire Magazine. After nearly 10 years as a professional musician in New York City\, Jones and his family moved to Concord\, NH\, to have a baby and open a recording studio. A longtime member of kindie band Karen K and the Jitterbugs\, Mr. Aaron has delighted and inspired kids and families all along the east coast. When he’s not performing for kids\, he makes plant music with his electronic band Bosey Joe\, tours with 90’s alt-rockers Luscious Jackson\, and has been seen on The Late Show with David Letterman\, and VH1. Mr. Aaron holds a MFA in Musical Theatre Writing and Opera from NYU’s Tisch School of Art\, and has over a decade of experience performing\, teaching\, and writing music for kids. \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! \n 
URL:https://www.prescottpark.org/event/mr-aaron-3
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/2026/06/SQUARE-Mr.-Aaron.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260803T190000
DTEND;TZID=America/New_York:20260803T190000
DTSTAMP:20260727T191604Z
CREATED:20260505T185804Z
LAST-MODIFIED:20260727T191604Z
UID:10001001-1785783600-1785783600@www.prescottpark.org
SUMMARY:Josh Ritter with Louisa Stancioff
DESCRIPTION:SINGER SONGWRITER FEST\nJosh 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\nwith Louisa Stancioff\n\n\n\n\n\nLOU–WEE–ZA STAN–CHOFF \n\n\n\n\n\n\n\n\n\n\nBorn and raised in the foothills of Western Maine\, Louisa Stancioff learned to entertain herself by singing songs with her sister and playing the piano\, fiddle\, guitar and any other instrument lying around the house. Stancioff grew up learning traditional Balkan music from her paternal grandfather’s side of the family\, and reveled in singing American folk and roots tunes with her friends. She moved through life nomadically in her early adulthood\, living in upstate New York\, Western North Carolina\, Montana and California\, and gathered her songwriting material along the way\, playing in multiple bands throughout those years. \nCurrently settled in Midcoast Maine\, she has toured this iteration of her indie folk band all across the country\, headlining and opening for bands such as Blitzen Trapper\, Pokey Lafarge\, Darlingside\, The Dead Tongues\, Micaela Davis and more. \nBacked by her talented bandmates\, her intelligent and soulful writing pairs with a confident and catchy indie sound drawing on folk\, rock\, pop\, and her own balkan heritage. \nLouisa’s debut album When We Were Looking was released in 2024 under Yep Roc Records. Check out the Official Press Release. \n \n \n\n\n\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-ROS-Josh-Ritter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260805T190000
DTEND;TZID=America/New_York:20260805T190000
DTSTAMP:20260709T204926Z
CREATED:20260505T200712Z
LAST-MODIFIED:20260709T204926Z
UID:10001002-1785956400-1785956400@www.prescottpark.org
SUMMARY:Devon Gilfillian with Julie Rhodes
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\nwith Julie Rhodes\n \nThe ghosts are bleeding through the walls and they’re carrying retro fuzz laced electric guitars. Haunting\, sultry\, and equal parts throwback and modern\, the music of Julie Rhodes pours out of the speakers and leaves behind a dusty\, soul shaking residue that hangs in the air like cigarette smoke in a midnight blues club. \nJulie doesn’t just sing songs. She conjures rooms into silence and then sets them on fire. With a vocal that carries the intimacy of Dionne Warwick\, the swagger of Joss Stone\, and the passionate grit of Sister Rosetta Tharpe\, Julie Rhodes is an absolute powerhouse. There’s a touch of Alabama Shakes in her delivery\, raw\, fearless\, and unfiltered\, but make no mistake\, she’s a throwback artist at her core\, cut from that smoky late 60s vein of female fronted soul and blues. The kind of sound that feels like it was born under amber lights\, played loud through worn out amps\, and delivered by a woman who has lived every word she sings. This is the kind of voice that doesn’t ask for your attention. It takes it. \nMusically\, she’s an epic throwback in the best way. Her 2016 record “Bound To Meet The Devil”\, is reminiscent of early Grace Potter & The Nocturnals (Joey / Nothing But The Water era) in the perfect way – but it takes on a level of pure Rhode Island attitude and grit and throwback timelessness that takes it to a new place.  \nBlues laced heartbreak\, late night swagger\, fiery grit\, and the type of performance that makes you forget you’ve got work in the morning. \n \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/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-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260806T190000
DTEND;TZID=America/New_York:20260806T190000
DTSTAMP:20260711T000718Z
CREATED:20260507T143458Z
LAST-MODIFIED:20260711T000718Z
UID:10001003-1786042800-1786042800@www.prescottpark.org
SUMMARY:Maggie Rose with MP Gannon
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\nwith MP Gannon\nRooted in the rich musical traditions of the ’60s and ’70s\, MP Gannon blends timeless songwriting with soulful musicianship\, carving out a sound that is distinctly his own. While widely recognized for his slide guitar playing\, MP considers songwriting the foundation of his artistry—placing the song above the solo while allowing both to serve one another. \nA respected guitarist and in-demand collaborator\, MP has shared the stage and studio with acclaimed artists including Derek Trucks\, David Ryan Harris\, Tomo Fujita\, Joe Robinson\, and Victor Wooten. Yet it is as a solo artist that MP’s unique musical voice comes into focus\, balancing lyrical depth\, melodic craftsmanship\, and instrumental mastery. \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-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260807T160000
DTEND;TZID=America/New_York:20260807T170000
DTSTAMP:20260610T134956Z
CREATED:20260605T191533Z
LAST-MODIFIED:20260610T134956Z
UID:10001048-1786118400-1786122000@www.prescottpark.org
SUMMARY:RGC Theatre Princess Party
DESCRIPTION:Step into a world of enchantment with RGC Theatre’s Princess Party —a magical theatre performance for children featuring all their favorite princess songs. Join us for an unforgettable afternoon filled with dazzling performances\, sing-alongs\, and interactive fun. Watch your little ones’ eyes light up as incredibly talented performers bring beloved songs to life and immerse themselves in timeless tales of courage and kindness. Perfect for princess fans of all ages\, this enchanting event promises to create memories that will last a lifetime. Don’t miss the chance to experience the magic of theatre for young audiences right in the park! \nAfter 12 years of working onstage and behind the scenes for a variety of New England theatre companies\, founder and executive director Ro Gavin decided to take their experience and create Ro Gavin Collaborative Theatre as a new outlet for the arts in New Hampshire with a focus on presenting theatre that is unconstrained and inclusive. RGC Theatre offers a unique experience for theatre artists by providing an auspicious environment for artists to create with ingenuity. \nRGC Theatre was officially established in 2021 with the support of Nicole Jones and Andrew Pinard.  \n\n\n\n\n\n\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! \n 
URL:https://www.prescottpark.org/event/rgc-theatre-princess-party
LOCATION:Prescott Park\, 105 Marcy St\, Portsmouth\, NH\, 03801\, United States
CATEGORIES:Concert Series,Theatre
ATTACH;FMTTYPE=image/jpeg:https://www.prescottpark.org/wp-content/uploads/2026/06/SQUARE-RGC-Theatre-Princess-Party.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260812T190000
DTEND;TZID=America/New_York:20260812T190000
DTSTAMP:20260710T155530Z
CREATED:20260507T151248Z
LAST-MODIFIED:20260710T155530Z
UID:10001004-1786561200-1786561200@www.prescottpark.org
SUMMARY:Ryan Montbleau Band with Foxglove
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\nwith Foxglove\nFoxglove is a 5-piece indie folk/soul band from southern Maine\, led by singer/songwriter Laura Fox\, who writes about love\, the lack thereof\, and the in-between. Her songs and her voice are soothing and soulful — if you’ve ever loved someone\, you’ll surely connect with her heartfelt lyrics. She’s joined by seasoned players: Winnie Roy\, vocals + acoustic guitar (Old Hat Stringband\, Fox + Roy\, The Hazel Project) Jim Dozet\, electric guitar (Soggy Po’ Boys\, Tourist Attraction) Steve Roy\, upright bass (Old Hat Stringband\, High Range) Rick Habib\, drums (The Kate Redgate Band\, Jon Nolan & Good Co\, North Village) The collaboration with her band has helped to reshape and grow her songs\, bringing in a dynamic nuance — a rich\, rhythmic reframe. \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-Ryan-Montbleau-Band.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260813T190000
DTEND;TZID=America/New_York:20260813T190000
DTSTAMP:20260710T185601Z
CREATED:20260513T163427Z
LAST-MODIFIED:20260710T185601Z
UID:10001008-1786647600-1786647600@www.prescottpark.org
SUMMARY:Allen Stone with Adrienne Mack-Davis
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\nwith Adrienne Mack-Davis\n\n\n\n\nAdrienne Mack‑Davis is a classically trained singer-songwriter from Rochester\, NY whose rich R&B and soul vocals flow effortlessly over hip-hop and dance/pop rhythms. With over 1\,700 live performances worldwide—including festivals like SXSW and A3C—and collaborations with celebrated artists like Talib Kweli\, KRS-One\, and Redman\, Adrienne draws on her global travels and cultural experiences to deliver uplifting\, introspective\, and powerful performances. Her 2023 project Healer and latest single “Marshmallow” showcase her signature blend of heartfelt storytelling\, empowering lyrics\, and genre-defying grooves. \n \n \n\n\n\n\n\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-5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260815T190000
DTEND;TZID=America/New_York:20260815T190000
DTSTAMP:20260722T152406Z
CREATED:20260522T163806Z
LAST-MODIFIED:20260722T152406Z
UID:10001015-1786820400-1786820400@www.prescottpark.org
SUMMARY:Caiola with GoldenOak
DESCRIPTION:INDIE FOLK FEST\n  \n \nJordan 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\nwith GoldenOak\n  \n \nGoldenOak’s music is rooted in the natural landscape. Their songs move in an organic\, grounding direction\, shaped by rich\, folk-influenced sibling harmony. Fronted by siblings Zak and Lena Kendall\, the Maine-based band has built a steady and growing fan base through a sound that feels both intimate and quietly powerful. This approach is clearly reflected in their new album\, All the Light in Autumn. \nThe record deepens GoldenOak’s sound\, building on their indie folk foundation with the addition of drum machines and synths\, while keeping folk-influenced vocal harmonies front and center. Lyrically\, rather than offering easy answers\, All the Light in Autumn invites listeners to slow down and reflect on responsibility\, connection\, and care for the places we live in. The album artwork mirrors this approach\, with nine birds representing the nine songs and the individual stories within them. \nBeyond their recorded work\, GoldenOak tours nationally and has shared the stage with artists such as Hiss Golden Messenger\, Sierra Hull\, and Blitzen Trapper. They also host their own music festival in their hometown of Farmington\, Maine. Under the Oaks Music Festival is a two-day event featuring live music\, workshops\, and camping along the Sandy River. Now in its fourth year\, the festival has become a pillar of the community that the band is building. \n  \n \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/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-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260819T190000
DTEND;TZID=America/New_York:20260819T190000
DTSTAMP:20260710T194458Z
CREATED:20260513T163731Z
LAST-MODIFIED:20260710T194458Z
UID:10001009-1787166000-1787166000@www.prescottpark.org
SUMMARY:Madi Diaz with Abrielle Scharff
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\nwith Abrielle Scharff\nAbrielle Scharff is like the emo Taylor Swift. Her lyrics cut deep\, her stage presence captivates\, her voice soothes\, and her banter amuses. Abby authentically finds a way to make even her most personal stories relatable. You’ll feel as though she’s invited you into her own living room\, conversing with you through song. \nAbrielle’s award-winning music has given her the opportunity to tour overseas and open for major artists such as John Legend\, Patty Griffin\, and Ruston Kelly. She’s played big scale events including the New York & London Coffee Festival\, along with Open Folk in Barcelona\, but finds the most fulfillment in performing intimate live shows. \nConnection is Abby’s favorite part of her career. Book her for your house show\, join her community on patreon\, or just reach out and say hello:) \n \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/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-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260821T190000
DTEND;TZID=America/New_York:20260821T190000
DTSTAMP:20260710T201254Z
CREATED:20260513T165134Z
LAST-MODIFIED:20260710T201254Z
UID:10001010-1787338800-1787338800@www.prescottpark.org
SUMMARY:Fantastic Cat with Jake Thistle
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\nwith Jake Thistle\nJake Thistle has been chasing songs for as long as he can remember. \nWell before albums\, tours\, or national television\, there was a three-year-old boy glued to a Super Bowl halftime show\, mesmerized not by spectacle\, but by the simple power of a guitar and a story. Now 21\, Thistle is stepping into a wider frame\, appearing on the 2026 season of American Idol while releasing his second full-length record – the latest chapter in a story nearly two decades in the making\, now unfolding on the public stage. \nThe groundwork was laid early: Tom Petty and the Heartbreakers set the wheels in motion\, sparking a deep love for classic rock music first as a wide-eyed fan\, and soon after as a young musician determined to understand how those songs were built. By age nine\, Thistle was discovering that spark in himself. Six months after picking up the guitar\, he played his first open mic night in New Jersey\, a foothold that soon turned into a steady run of showcases\, restaurant sets\, and street-corner performances where he learned his craft in real time. As the rooms grew\, so did his commitment to writing songs of his own – and when the pandemic brought live music to a halt\, he turned inward. Taking the downtime as an opportunity to focus\, Thistle self-produced and self-released his debut album\, Down the Line\, in late 2020. The record marked a turning point for his self-image: No longer was he just a young performer cutting his teeth on stage\, but a songwriter stepping forward with his own body of work. A radio performance soon caught the ear of industry veteran Joe Riccitelli\, who signed Thistle to Gold’n Retriever Entertainment and helped usher in the next phase of his career. \n  \n \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-6.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260822T120000
DTEND;TZID=America/New_York:20260822T120000
DTSTAMP:20260724T204129Z
CREATED:20260615T143140Z
LAST-MODIFIED:20260724T204129Z
UID:10001059-1787400000-1787400000@www.prescottpark.org
SUMMARY:43rd Annual Seacoast Jazz Festival
DESCRIPTION:The 43rd Annual Seacoast Jazz Festival\, in partnership with Seacoast Jazz Society\, is back on the Wilcox Main Stage. \n\nPrescott Park Arts Festival\, in partnership with Seacoast Jazz Society\, is delighted to present the 43rd Annual Seacoast Jazz Festival featuring a host of local\, regional\, and international talent\, amplifying the different styles of jazz. The festival has a tremendous history on the seacoast. The first festival was held in 1983 under the name\, Portsmouth Jazz Festival. For over 25 years\, it was known as the Tommy Gallant Jazz Festival\, to honor legendary local jazz pianist and composer\, Tommy Gallant. In recent years it has become the Seacoast Jazz Festival in the hopes to expand the jazz festival’s reach in the future as a destination event featuring acclaimed jazz artists from around the globe. The Seacoast Jazz Society was formed in 1990 and its mission is to promote jazz through community outreach and education\, to support local musicians\, and to provide scholarships for young artists. For more information about the Seacoast Jazz Society\, or to donate\, please visit www.seacoastjazz.org. \n43rd Annual Seacoast Jazz Festival \nLine-up: 12pm – 6pm \n12:00-12:50 Yoko Miwa Trio. \n1:15-2:05 Soggy Po’ Boys. \n2:30 – 3:20 Nick Grondin Group. \n3:20-3:50 Salsa Secrets \n3:50-4:40 Kristalis y Las Nenas del Swing \n5:00-6:00 Seacoast Big Band \n* Rain Date: Sunday\, August 23 \nPlease note: the line-up is subject to change in the event of a move to the Rain Date \n\n12:00-12:50 Yoko Miwa Trio\n“Yoko Miwa has been gifted with both extraordinary musical skills and has the pure spirit that is necessary for great art. We love her musical gifts and her beautiful spirit as well.” – Ahmad Jamal\n“Miwa is a virtuoso pianist with dazzling technique always in the service of interaction and exchange of ideas.” – Donald Elfman\, NYC Jazz Record\n“Pianist Yoko Miwa displays unpretentious melodies\, elegant phrasing\, and the lyrical sensibility of a jazz poet.” – Jazziz Magazine\n“She has the enviable ability to play in any context with authenticity\, clarity\, and spontaneity…” – Wilbert Sostre\, JazzTimes\n“I greatly appreciate and respect the clarity and strength in Yoko’s playing\, it is very apparent – the honesty\, care and depth of foundation she touches the piano with.” – Benny Green \n  \n \nInternationally acclaimed pianist/composer Yoko Miwa is one of the most powerful and compelling performers on the scene today. Her trio\, with its remarkable telepathy and infectious energy\, has brought audiences to their feet worldwide. Yoko was named a Rising Star Pianist in the 2022\, 2023\, and 2024 DownBeat Critics Poll. The Yoko Miwa Trio’s 2021 release Songs of Joy received wide acclaim and reached #1 on national jazz radio charts and was voted a best jazz album of 2021 in the DownBeat 86th Annual Readers Poll. Jazziz called it “a radiant new collection.” CD Hotlist said “…yet another triumph from one of America’s finest jazz pianists\, composers\, and bandleaders.” Their 2019 CD\, Keep Talkin’\, showcases Miwa’s fine playing and artful compositions and the trio’s uncanny musical camaraderie. DownBeat gave the recording four stars\, calling it “a beautifully constructed album” and noting “the drive and lyricism of a pianist and composer at home in bebop\, gospel\, pop\, and classical.” JazzTimes also reviewed the album favorably\, praising Miwa’s “jaw-dropping degree of technique.” The album enjoyed seven weeks in the top 10 on Jazz Week’s charts\, much like its predecessor\, Miwa’s 2017 release Pathways\, which also made Jazz Week’s top 10 for several weeks. In a 2017 feature article on Miwa\, DownBeat noted her “impressive technique and a tuneful lyricism that combines an Oscar Peterson-ish hard swing with Bill Evans-like introspection.” \nFor more than a decade Miwa’s trio has played regularly at major jazz clubs in their home city of Boston\, as well as venues around the world. A favorite of Jazz at Lincoln Center\, Miwa was chosen to play on “Marian McPartland & Friends\,” part of the Coca-Cola Generations in Jazz Festival. She was also chosen to perform at Lincoln Center’s annual Jazz and Leadership Workshop for The National Urban League’s Youth Summit. Miwa also appears regularly at New York’s famed Blue Note Jazz Club as well as Birdland and has performed and/or recorded with a wide range of jazz greats including Sheila Jordan\, Slide Hampton\, Arturo Sandoval\, George Garzone\, Jazzmeia Horn\, Jon Faddis\, Jerry Bergonzi\, Esperanza Spalding\, Terri Lyne Carrington\, Peter Washington\, Kevin Mahogany\, John Lockwood\, Dominique Eade\, Calvin Keys\, and Johnathan Blake among others. In 2018 she performed on the main stage at the Atlanta Jazz Festival and the Litchfield Jazz Festival\, where her trio drew the largest audience of any act. She is a Yamaha Pianos Artist\, JVC Victor Entertainment and Ubuntu Music recording artist\, 10X nominated and 2019 Winner in the Boston Music Awards as Jazz Artist of the Year\, and Boston Phoenix Best Music Poll winner.\nMiwa’s story of becoming a jazz musician is full of serendipity and happy twists of fate. In the late 1990s the classically-trained artist auditioned for Berklee College of Music on a lark and ended up winning a full scholarship. She arrived at the school from her homeland of Japan in 1997\, intending to stay for a year. In 2022\, she’s still in Boston\, enriching the city’s musical life and serving as one of the most popular professors in the Berklee piano department. \nAct Naturally\, the Yoko Miwa Trio’s major label debut in Japan\, came out in 2012 on the JVC Victor Entertainment label and the band toured Japan that same year. “She is one of the best jazz pianists in Japan\,” said Yozo Iwanami\, Jazz Hihyo Magazine. \nA native of Kobe\, Japan\, Miwa didn’t pursue an interest in jazz until she met and studied with Minoru Ozone\, a popular television organist and nightclub owner who is the father of pianist Makoto Ozone. Miwa worked at Ozone’s club and as an accompanist and piano instructor at his music school until the great Kobe earthquake of 1995 destroyed both facilities. Then\, while continuing to take private lessons from Minoru Ozone\, she also pursued musical studies at the Koyo Conservatory in Kobe. From there she won first prize in a scholarship competition to attend Berklee. Miwa quickly began playing with a host of talented students and teachers\, and she formed a strong bond with vocal great Kevin Mahogany\, who chose the pianist to serve as accompanist in his classes and on his gigs. \nMiwa has released nine highly acclaimed CDs: In the Mist of Time (Tokuma\, 2000); Fadeless Flower (Polystar\, 2002); Canopy of Stars (Polystar\, 2004); The Day We Said Goodbye\, recorded live at the studios of WGBH-FM (Sunshine Digital\, 2006); Live at Scullers (Jazz Cat Amnesty\, 2011); Act Naturally (JVC Victor Entertainment\, 2012)\, Pathways (2017)\, Keep Talkin’ (2019)\, and Songs of Joy (Ubuntu Music\, 2021). \n \n \n\n1:15-2:05 Soggy Po’ Boys\n“Although New Hampshire isn’t the most obvious home for a group so devoted to the culture of The Big Easy\, the Soggy Po’ Boys seem genuine in their ambition to spread the word about jazz New Orleans style\, and they’re creating an accessible and fun way into this world.”\n-London Jazz News        \nThe Soggy Po Boys\, native to New England\, have quickly become an institution. They are spreading the good news of New Orleans music across the northeast and beyond\, playing at concert halls and street corners; music festivals and burlesque festivals; bars and libraries; wherever the party requires. Part of the beauty of New Orleans music is that it’s celebrated and appreciated wherever it goes\, from the street to the theater.\nThe Po Boys formed in 2012 to shake the walls of a local club on a Fat Tuesday but have honed their sound and become more than a Mardi Gras centerpiece. Exploring the vast musical traditions of New Orleans and expanding their repertoire to look beyond NOLA jazz\, the band includes traditional Caribbean tunes (it’s been said that New Orleans is the northernmost city in the Caribbean)\, as well as Meters funk\, soul\, and brass band / street beat music. \nThere are a myriad of traditions that flow into New Orleans culture just as there are tributaries that feed the Mississippi\, and the Po Boys are eager to explore what makes the music of New Orleans so damn special. You’ll hear the heavy influence of the New Orleans sound across the band and in the stories told by their original tunes. In line with the scope of its sound\, the outfit is eight people and thrives on the interplay and group dynamics that bring this music to life.\nThe Soggy Po Boys are: \nShaina Schwartz : Vocals \nJim Dozet : Vocals + Guitar \nEric Klaxton : Clarinet + Saxophones \nNick Mainella : Tenor Saxophone \nJosh Gagnon : Trombone \nMike Effenberger : Piano \nScott Kiefner : Bass \nBrian Waterhouse : Drums \n \n \n\n\n\n2:30 – 3:20 Nick Grondin Group\n\nNick Grondin – Guitar\n\nGregory Groover – Saxophones \nJason Palmer – Trumpet \nTaylor O’ Donnell – Voice \nMark Shilansky – Keyboards \nFernando Huergo – Bass \n\n\nLee Fish – Drums\n\n\n\nNick Grondin – guitar\n\n\nAn experienced performer and award-winning composer\, guitarist Nick Grondin has presented his music to audiences throughout the U.S. and Europe\, including France\, Italy\, Germany\, and at the Panama Jazz Festival. The Nick Grondin Group which presents his original music as modern musical storytelling—inspired by rock\, folk and contemporary jazz styles.  Their latest album\, A View of Earth\, features producer/pianist Jon Cowherd as well as Grammy-winning vocalist Aubrey Johnson\, and can be heard on streaming platforms. Grondin is an active educator\, Resident Artist in Jazz Guitar at the University of New Hampshire and an Associate Professor of Ear Training at Berklee College of Music in Boston.  His teaching methods focus on building musicianship and applying it to real-world applications such as improvisation\, songwriting and internalizing repertoire\, and developing creativity through shared musical experiences.  Influenced by jazz guitarists such as Wes Montgomery\, Kenny Burrell\, Jim Hall\, Pat Metheny\, Emily Remler\, John Scofield and Bill Frisell—with his guitar\, Grondin illuminates classic jazz standards and jazz-takes on popular and rock songs as well.  Grondin completed a Doctor of Musical Arts degree in Jazz Performance from the New England Conservatory in Boston (NEC)\, where he also received his Master of Music in Jazz Composition. \nGregory Groover – saxophones \nNew York-born and Boston-bred\, emerging saxophonist\, composer\, and educator Gregory Groover Jr has already left an indelible mark in the jazz world\, in a short period. Saxophonist Walter Smith III describes him as  “a thematic musician\, whose playing very much relates to the song. He plays with a lot of energy\, and he leads with that. The heart is the most important thing – the direction and motion of what he plays is where he really feels.” Raised with a devotion to music\, Groover’s artistry seamlessly marries genres as he continues to push the boundaries of jazz while honoring its deep legacy.  Groover’s dedication to his craft and unwavering commitment to excellence have solidified his position as a prominent figure in the contemporary jazz scene. As a bandleader\, Groover has released two albums (Negro Spiritual Songbook\, Vol 1 & 2) and made his Criss Cross Records debut in April 2024 with his record\, Lovabye. In addition to being a bandleader\, Groover is a highly sought-after collaborator\, having performed at music festivals in the United States\, Latin America\, Europe\, and Africa. As an educator\, Gregory has served as the co-chair of music at his alma mater\, the Boston Arts Academy\, where he provided instruction in Jazz studies to the next generation of artists and scholars. Gregory currently serves as the Assistant Chair of Ensemble at the world-renowned Berklee College of Music. His dedication to uplifting the next generation of artists underscores his belief in the transformative power of music. \n  \nJason Palmer – trumpet \nTrumpeter\, Composer\,| Educator Jason Palmer has performed with Roy Haynes\, Wynton\nMarsalis and the Lincoln Center Jazz Orchestra\, Kurt Rosenwinkel\, Ravi Coltrane\, Jeff Ballard\,\nLee Konitz\, Phil Woods\, Common\, Roy Hargrove\, and Lewis Nash. In addition to performing on over forty albums as a sideman\, Jason has recorded 17 albums under his own name on labels Ayva\, Steeplechase\, Newvelle\, and most recently with Giant Step Arts. Four of his recordings were reviewed by Downbeat Magazine\, all receiving 4 stars or better. Jason has toured in over 40 countries with saxophonists Mark Turner\, Greg Osby\, Grace Kelly\, Allison Miller\, and Matana Roberts\, and has been a featured guest artist on multiple projects in Portugal\, Mexico\, Canada\, and Russia. In addition to a heavy performing schedule\, Jason Palmer offers his passion for improvisedmusic as Assistant Professor of Ensembles and Brass at Berklee College of Music\, Jazz Trumpet Professor at the New England Conservatory of Music\, and the Ravenscroft visting Jazz Artist at Arizona State University. \n  \nTaylor O’ Donnell ­– vocals \n​Known for her exploratory use of vocal timbre and texture in her musical stylings\, Taylor O’Donnell uses her roots in R&B\, folk\, jazz\, rock\, and classical music training to communicate her musical dialogue. Growing up in Colorado and living all over\, from Florida to Maine\, her performing experience has taken her from playing with her jazz trio on cruise ships and throughout New England to performing with symphony orchestras. Currently\, Taylor serves as the Director of Music for the First Unitarian Universalist Society of Exeter (FUUSE). As an educator and conductor\, she holds the positions of Associate Professor of Voice at Berklee College of Musicvand teaches voice in her private studio and online. Her expertise involves helping others deepen their capacity to listen\, guiding the exploration of one’s voice through somatic awareness\, and inspiring her students and choirs to sing with passion and prowess. Highlights of Taylor’s career have been an appearance on the Oprah Winfrey Show working with producer David Foster\, performing at Carnegie Hall and Lincoln Center in NYC\, working with Grammy award winning producer Rudy Perez\, singing background vocals for singer-songwriter Ben Folds\, and was the 2020 New Year’s Eve Guest Artist with the Portsmouth Symphony. Currently\, Taylor can be seen performing with Vintage Vocal Quartet\, and in duo settings with pianists Jed Wilson and Mike Effenberger. \n  \nMark Shilansky – keyboards \n“Inventive\, modern mainstream jazz pianist” (Jon Garelick\, Boston Globe) Mark Shilansky (Piano) provides melodic improvisation and infectious compositions on his own and to a host of jazz luminaries\, as well as to the classroom\, as a professor at Berklee College of Music and the University of New Hampshire. Shilansky’s six recordings as a leader include 2007’s “Join the Club\,” a mostly Latin Jazz affair featuring David Bowie saxist Donny McCaslin\, and 2013’s “Fugue Mill\,” the eponymous debut of his Jazz/Bluegrass/Celtic project featuring violin phenom Sara Caswell\, and he is featured on over 60 recordings as a keyboardist\, vocalist\, composer/arranger\, or producer\, and in performance as band member for such artists as the New York Voices\, Luciana Souza\, and David Thorne Scott. As an artist he embraces the history of the styles in which he works\, while seeking connections between them as a way of expressing a personal musical vision\, characterized by lush harmonies\, the exploration of the line between composition and improvisation\, and an ever-present sense of humor. His works have been recorded by Robin McKelle\, Kim Nazarian\, and by Jazz All-State and College ensembles around the world. \n  \nFernando Huergo – bass \nFernando Huergo is a bassist\, composer\, and educator from Cordoba\, Argentina\, now based in Boston. He has recorded over 140 albums\, including 11 as a leader. Fernando has toured and given clinics in North\, Central and South America\, Europe and Asia. An active performer on the jazz scene\, he currently plays with Guillermo Klein y Los Guachos\, MOZIK\, Mehmet Sanlikol\, Daniel Ian Smith\, Pablo Ablanedo\, and El Eco\, to name a few. Fernando Huergo has performed with his quintet at the Buenos Aires Jazz Festival\, and Cordoba International Jazz Festival in Argentina\, as well as at Alexanderplatz Jazz Club in Rome\, Italy\, and Sunside Jazz in Paris\, France\, The Regattabar in Cambridge\, MA and Cornelia Street Cafe in NYC\, among others. \n\n\n\n  \n  \n  \n\n\n\nLee Fish – drums \nAcclaimed Boston-born drummer and composer Lee Fish has been part of the thriving Brooklyn music scene since 2018. A fixture at Wally’s Cafe during his student tenure at Berklee — playing with such distinctive leaders as Jason Palmer\, Esperanza Spalding\, Nadia Washington\, and Evgeny Lebedev — Lee became a highly sought collaborator in Boston\, who’s now flexing his breadth as a leader in New York City. Having earned his master’s degree on full scholarship at the Berklee Global Jazz Institute\, Lee received his earliest musical education on the road. Long before he studied under Danilo Pérez\, Terri Lyne Carrington and Joe Lovano\, at age 3\, he would perform with his parents’ band Amante at venues across North America\, from Florida to Quebec. Since then\, he’s performed all over the world on nearly every continent\, appearing on more than 50 recordings\, including Mike Tucker’s 2014 release Live! Featuring Warren Wolf\, and Jason Palmer’s critically acclaimed 2019 release Sweet Love that received four stars from DownBeat Magazine. “Lee Fish is one of my favorites — inventive\, tasteful\, and exciting — a creative force to watch for on the instrument”— Terri Lyne Carrington \n\n\n\n\n\n\n\n\n\n\n\n\n \n \n\n\n\n3:20 – 3:50 Salsa Secrets\n\n\nSalsa Secrets was born out of Piotrek Kowalczyk ‘s love of music and self healing that he experienced through dance. Since 2010\, Piotrek has been sharing The Healing Power of Dance in the Portsmouth NH\, Newburyport MA and Boston MA communities. Salsa Secrets has been dedicated to being part of the dance community in a positive way\, making dance accessible to everyone who desires to experience it. Each year\, Salsa Secrets volunteers time\, workshops and classes to various organizations and causes in order to give back to the communities that have been so welcoming to us. In 2015\, Piotrek and Krystal Couture met and began their journey as partners in life and in dance. Piotrek and Krystal are happy to share the creation of their love and passions with the salsa family. We are honored to dance with you and see your growth in dance and in spirit.\n\n \n\n\n\n\n3:50-4:40 Kristalis y Las Nenas del Swing\n\n\n\n\nKristalis y Las Nenas del Swing is a vibrant Latin music ensemble known for bringing energy\, rhythm\, and passion to every performance. Blending Cuban music with Puerto Rican salsa\, the group celebrates the rich traditions of Caribbean music through dynamic live shows filled with dance\, culture\, and soul. Inspired by legendary artists such as Celia Cruz\, La India\, and many more. The band delivers powerful vocals\, infectious rhythms\, and timeless melodies that connect with audiences of all backgrounds. Led by Kristalis\, the group is recognized for its charismatic stage presence and joyful celebration of Latin music and heritage.\n\n\n\n\n\n\nKristalis Sotomayor Matos – flute\, vocals\nRebecca Cline – piano\nIris Gomez – bass\nBarbara Zamora – vocals\nMagaly Nuñez – vocals\nCamila Porto – tenor sax\nJudity Soberanes – congas\nPedro Sanjur – timbales\nJuan Sebastián Ramírez – bongo and campana\n\n\n\n\n \n\n\n5:00-6:00 Seacoast Big Band\n \nThe Seacoast Big Band has entertained audiences in New England for more than 40 years. Based in Durham\, NH\, the band features outstanding performers and educators from up and down the I-95 corridor and regularly performs with internationally recognized guest artists\, including at previous Seacoast Jazz Festivals with artists such as Ed Shaughnessy\, Clark Terry\, Carmen Bradford\, Sharon Jones\, and Alexa Tarantio. Dr. Nathan Jorgensen is the musical director of the longstanding organization and was preceeded in that role by Dave Seiler. \n\n\n\n\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! \n  \n\nPortsmouth Jazz Weekend 2026\n  \n \nThis year the annual Seacoast Jazz Festival will be part of an expanded weekend of jazz in Portsmouth. After the daytime festival in Prescott Park\, the Seacoast Jazz Society will host three additional jazz shows\, and they will be held at The Press Room. It was at the legendary Press Room\, established in 1976\, that a love of jazz emerged in the seacoast—largely due to The Press Room’s regular jazz shows featuring many talented musicians from the region and nationally who came to perform or jam there on a weekly basis. \nIt then became a tradition that following the annual jazz festival\, musicians\, festival goers\, and individuals from surrounding communities would gather at The Press Room to extend their celebration of jazz music. In 1990 the Seacoast Jazz Society was formed to spearhead the festival each year and this is now the festival’s 43rd year. So\, in addition to the daylong festival in Prescott Park\, the Seacoast Jazz Society is bringing back the much-loved tradition of the after-festival show with three events at The Press Room. \nPlan on attending the festival at Prescott Park Arts Festival and the jazz shows at The Press Room.  \nAfter-Festival Shows at The Press Room\n77 Daniel St.\, Portsmouth \nSaturday\, August 22\, 6-8 PM\, (doors 5pm) \nEd Saindon Quartet\n \nSpecial Tribute to Les Harris\, Jr. \n  \n \nEd Saindon (vibraphone\, piano) and the Good Vibes Trio (Billy Novick\, clarinet; Mark Carlsen\, upright bass; and Steve Langone\, drums) will perform a tribute to the late Les Harris Jr. who was a beautiful person\, musician\, educator\, and loved by all. The concert will be a CD release party for their new recording “One For Les” and will showcase originals from the band including “Ballad For Les” by Mark and “One For Les”\, a solo vibraphone piece by Ed. \n  \nSunday\, August 23\, 11 AM-1 PM\, (doors 10am)Artie Bakopolus Quintet \nEnjoy Jazz with Your Brunch! \n \nEnjoy a mix of straight-ahead jazz\, plus the Great American Songbook\, bebop\, ballads\, Latin jazz\, and more with Artie Bakopolus (sax)\, Jon Wheatley (guiitar)\, Russ Hoffmann (piano)\, Bruce Gertz (bass)\, and Jerzy Glod (drums). A brunch/lunch menu will be available for optional purchase. \n  \nSunday\, August 23\, 6:30-8:30 PM\, (doors 5:30pm)\nAnick — Klaxton — Effenberger — Connors \n“From Ellington to the Beatles” \n  \n \nSeacoast Jazz All-Stars Jason Anick (violin) and Chris Klaxton (trumpet) lead a stellar quartet featuring the one and only Mike Effenberger (Hammond B3 Organ) and Mike Connors (drums). The group performs hard-swinging jazz classics from Ellington to Monk with the occasional funk tune and jazzed up Beatles song mixed in. Don’t miss what promises to be a great show by these four outstanding musicians. \n  \nTicket Costs:  \nSeacoast Jazz Festival: optional recommended donation\, no tickets needed. \nWant a spot waiting for you? Make a reservation! \n  \nPress Room shows:  \nFor a ticket to all three shows: $75/person \nFor a ticket to a single show per person: $32 (pre-sale)\, $38 (day of) \n  \nFor More Info and to Reserve Your Seats  \nFor info about the musicians who will perform at The Press Room and to reserve seats for these shows\, go to the Seacoast Jazz Society website at: \nhttps://www.seacoastjazz.org/jazzweekend2026
URL:https://www.prescottpark.org/event/43rd-annual-seacoast-jazz-festival
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/2026/06/SQUARE-Jazz-Fest.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260828T190000
DTEND;TZID=America/New_York:20260828T190000
DTSTAMP:20260710T202745Z
CREATED:20260515T183843Z
LAST-MODIFIED:20260710T202745Z
UID:10001012-1787943600-1787943600@www.prescottpark.org
SUMMARY:Langhorne Slim with Dwayne Haggins
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\nwith Dwayne Haggins\nHe’s been described as “the love child of Hank Williams and Otis Redding.” “The John Legend of rockabilly.” And even\, “the ‘what-took-you-so-long?’ fusion of Elvis Presley and Marvin Gaye.” At every performance\, whether in a venerable metropolitan concert hall or a grimy dive in an anonymous strip mall\, Dwayne Haggins is always at work. Adding new subtleties to an obvious melody line. Reinterpreting a time-worn lyrical cliché to imbue it anew with genuine feeling. Unleashing a gentle cascade of vocal acrobatics when least expected (and hence most effective) — never for show alone\, but always to express a likewise unanticipated nuance of feeling: a whisper of love\, a curse of anger\, a groan of pain\, a whoop of joy that feels\, paradoxically\, both surprising and inevitable at the same moment.\n\nSince early 2017\, Dwayne has been on a quest to make a living playing music\, leaving his mark on dozens of bars\, restaurants and clubs scattered across eastern and central Massachusetts. His distinctive sound\, which delivers a brand new take on the traditional country-blues and soul that he loves\, has generated a rare sense of excitement and possibility throughout the area’s musical community.\n\n \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/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.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260829T190000
DTEND;TZID=America/New_York:20260829T190000
DTSTAMP:20260710T203909Z
CREATED:20260515T185350Z
LAST-MODIFIED:20260710T203909Z
UID:10001013-1788030000-1788030000@www.prescottpark.org
SUMMARY:The Devil Makes Three with The Wolff Sisters
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\nwith The Wolff Sisters\nGritty and raw folk-rock outfit The Wolff Sisters first broke into the Boston music scene as an acoustic trio. With haunting harmonies and songs reminiscent of washed up wanderers on New England’s salty coasts\, Rebecca\, Rachael\, and Kat stole Boston’s heart (yes\, they’re really sisters). Born to a poet and a musician\, they grew up on the heavy realism of Dylan and Springsteen blended with the loose and loud Rolling Stones. Drawing inspiration from blues giants like Howlin’ Wolf and modern storytellers Dawes\, The Wolff Sisters don’t fit into one genre of music. With Rebecca on acoustic guitar\, Rachael on electric guitar\, Kat on keys\, and all three on vocals\, the sisters spent years honing their sound together in an old Victorian house just outside Boston. \nIn 2015\, the trio amplified their performance with the addition of a talented cast of rotating drummers and bass players. The band seeks to bring that loose blues\, roots\, and rock n’ roll sound back into the forefront of the music scene. \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/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-The-Devil-Makes-Three.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T190000
DTEND;TZID=America/New_York:20260905T190000
DTSTAMP:20260728T212728Z
CREATED:20260720T133537Z
LAST-MODIFIED:20260728T212728Z
UID:10001072-1788634800-1788634800@www.prescottpark.org
SUMMARY:Tom Rush accompanied by Brendan Cleary
DESCRIPTION:Tom Rush\n“My husband … didn’t give me a great deal of encouragement regarding my writing. But Tom Rush did. Tom would say\, “Do you have any new songs?” I’d play him a batch and he’d say\, “Any more?” I always held the ones out that I felt were too sensitive\, or too feminine\, and those would always be the ones he chose. Because of Tom\, I began to get noticed.”\n– Joni Mitchell \nTom Rush is a gifted musician and performer\, whose shows offer a musical celebration…a journey into the tradition and spectrum of what music has been\, can be\, and will become. His distinctive guitar style\, wry humor and warm\, expressive voice have made him both a legend and a lure to audiences around the world. His shows are filled with the rib-aching laughter of terrific story-telling\, the sweet melancholy of ballads and the passion of gritty blues. \nRush’s impact on the American music scene has been profound. He helped shape the folk revival in the ’60s and the renaissance of the ’80s and ’90s\, his music having left its stamp on generations of artists. James Taylor told Rolling Stone\, “Tom was not only one of my early heroes\, but also one of my main influences.” Country music star Garth Brooks has credited Rush with being one of his top five musical influences. Rush has long championed emerging artists. His early recordings introduced the world to the work of Joni Mitchell\, Jackson Browne and James Taylor\, and in more recent years his Club 47 concerts have brought artists such as Nanci Griffith and Shawn Colvin to wider audiences when they were just beginning to build their own reputations. \nTom Rush began his musical career in the early ’60s playing the Boston-area clubs while a Harvard student. The Club 47 was the flagship of the coffee house fleet\, and he was soon holding down a weekly spot there\, learning from the legendary artists who came to play\, honing his skills and growing into his talent. He had released two albums by the time he graduated. \nRush displayed then\, as he does today\, an uncanny knack for finding wonderful songs\, and writing his own – many of which have become classics re-interpreted by new generations. (It is testimony to the universality of his appeal that his songs have been folk hits\, country hits\, heavy metal and rap hits.) Signed by Elektra in 1965\, Rush made three albums for them\, culminating in The Circle Game\, which\, according to Rolling Stone\, ushered in the singer/songwriter era. \nIn the early ’70s\, folk turned to folk-rock\, and Rush\, ever adaptable\, saw more room to stretch out. Recording now for Columbia\, he toured tirelessly with a five man band\, playing concerts across the country. Endless promotional tours\, interviews\, television appearances\, and recording sessions added up to five very successful but exhausting years\, after which Tom decided to take a break and “recharge” his creative side at his New Hampshire farm. \nRush returned with a splash in 1981\, selling out Boston’s prestigious Symphony Hall in advance. Time off had not only rekindled Rush’s love of music\, it had re-ignited music audiences’ love of Rush. \nHe instinctively knew that his listeners were interested in both the old and the new\, and set out to create a musical forum like the Club 47 of the early sixties to allow artists and newcomers to share the same stage. In 1982\, he tried it out at Symphony Hall. The show was such a hit it became an annual event\, growing to fill two\, then three nights\, and the Club 47 series was born. Crafting concerts that combined well known artists such as Bonnie Raitt or Emmylou Harris with (then) unknowns like Alison Krauss or Mark O’ Connor\, Rush took the show on the road. From the ’80s to the present day\, Club 47 events have filled the nation’s finest halls to rave reviews\, and have been broadcast as national specials on PBS and NPR. \nIn 1999\, Columbia/Legacy released a Tom Rush retrospective album that covers his recorded musical history from 1962 to the present\, including tracks recorded for Columbia\, Elektra\, Prestige and his independent years. Entitled “The Very Best of Tom Rush: No Regrets”\, the 17-track compilation includes as a bonus a brand new Tom Rush composition\, “River Song\,” which features vocal contributions from Grammy winners Shawn Colvin and Marc Cohn. \nA live CD\, “Trolling for Owls” released in 2003 and published by Tom’s NIGHTLIGHT RECORDINGS\, captures Tom’s complete performance and includes\, for the first time\, some of the spoken stories that have endeared him to audiences. \n“How I Play (some of) My Favorite Songs”\, a DVD released in 2005 by Homespun Tapes. It shows how he plays ten of the memorable songs and guitar arrangements that have long made him one of America’s most beloved performers. \nIn 2009\, Tom recorded his first studio CD in 35 years. Recorded in Nashville\, “What I Know” was produced by Tom’s long-time friend Jim Rooney and includes original Tom Rush material\, as well as harmonies by Emmylou Harris\, Bonnie Bramlett and Nanci Griffith. \nToday\, Tom Rush lives in New Hampshire when he’s not touring. His voice has grown even richer and more melodic with training\, and his music\, like a fine wine\, has matured and ripened in the blending of traditional and modern influences. He’s doing what he loves\, and what audiences love him for: writing and playing …passionately\, tenderly…knitting together the musical traditions and talents of our times. \n \n\naccompanied by Brendan Cleary\nBrendan Cleary is a lifelong musician\, guitarist\, vocalist\, and composer with a deep love for American roots music. Born and raised in New Jersey\, his journey with music began at a young age\, playing in every setting he could find and any stage that would have him. He honed his craft through years of hard work and passion which eventually led him to Berklee College of Music\, where he studied songwriting. \nIt was there that Brendan discovered a deep love for creating music that resonates with the American heartland and a connection he’s carried with him ever since. His mentors and instructors at Berklee helped him sharpen his approach to the creative process. But after two years he put his education on hold\, as a new chapter of life opened for him in Music City\, Nashville\, TN. \nSurrounded by a rich history of Country\, Blues and Roots music traditions\, Brendan spent years performing live nearly every day on Nashville’s famed Broadway strip. Long days and nights in honky-tonks and blues bars old and new helped him master his live presence\, and his unique guitar style began to take shape. Personally describing his sound as a mix of acoustic fingerstyle blues and traditional folk\, his right-hand rhythm brings a driving force to his playing\, adding robust layers and textures to every single phrase. \nInfluenced by a diverse range of musicians\, Brendan’s heroes include Tom Waits\, Malcolm Holcombe\, Gillian Welch & David Rawlings\, Keb’ Mo’\, Eric Bibb\, Chris Smither\, and Dr. John. He draws comparisons to artist such as Tom Rush\, Chris Stapleton\, Ryan Adams\, and Jason Isbell\, who have all left an indelible mark on Brendan’s own approach to songwriting and live performance. \nHis voice is a mixture or distinctive tenor overtones with a touch of grit\, that keep pace with his music\, embraced by lyrics that weave stories which resonate deeply with his growing legion of listeners. A back story which includes recovering from alcohol and drug addiction means he has walked in the shoes of a troubled life. His truths are his own and paint pictures of lives that everyone can imagine. Whether it’s the tale of a troubled young man in “Liquor Boy\,” the aching regret of lost love in “Olivia\,” or the open-road spirit of “Soundbox\,” his music captures the deep emotional bonds that tie us to our pasts\, our loves\, and our losses. \nBrendan Cleary’s music is like a warm ray of sunshine on a cold day; comforting\, familiar\, and brimming with soul. Sharing stories and songs that have shaped his life\, he is opening his heart to America’s Northeast and making the darkest of days bright and clear. \nBrendan has had the honor of appearing regularly on the legendary Tom Rush’s “Rockport Sundays” weekly podcast. Brendan’s songs have also earned him a place as a finalist in the NH Music Collective Singer Songwriter Competition 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/tom-rush-2026
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/2026/07/SQUARE-Tom-Rush-with-Brendan-Cleary-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260906T190000
DTEND;TZID=America/New_York:20260906T190000
DTSTAMP:20260624T194952Z
CREATED:20260515T192324Z
LAST-MODIFIED:20260624T194952Z
UID:10001014-1788721200-1788721200@www.prescottpark.org
SUMMARY:Margo Price with Jeremy Ivey
DESCRIPTION:Nearly a decade ago\, Margo Price turned Nashville on its head with her breakthrough\, beloved debut solo album\, Midwest Farmer’s Daughter. Released in the throes of bro-country and before pop stars were crossing over into the genre left and right\, it showcased an artist completely unafraid to double down not only on herself\, but what she’d always loved: classic country songs written from the intellect and the gut\, hell-bent on truth-telling and both timeless and urgent all at once. Respected by her peers\, praised by critics and beloved by her fans\, Price created a lane where independent-minded\, insurgent country music can exist and thrive alongside the mainstream\, and became an ardent fighter for her beliefs in a genre where the norm is to shut up and sing. A trailblazer and a champion for the craft\, Price redefined what it meant to be a modern country artist. \nAnd now she’s back with an exquisite\, truly timeless album that reconnects with her roots and pays tribute to the art of the country song\, inspired in part by the legends whom she now calls colleagues and friends. Hard Headed Woman is both a look forward and a look back: a way to march forward while staying true to yourself when the path of less resistance is right there in front of us\, and short cuts are around every corner. And a way to look back when we need to trim what is no longer working\, and to stay connected with where we’re from. It is a promise and a manifesto\, a love song to both a city and a genre\, and a defiant cry for individuality. \nIn creating Hard Headed Woman\, Price brought all of her power as one of  our most beloved and respected songwriters to craft a deep exploration of love and America in a time of unprecedented uncertainty. Featuring appearances from Tyler Childers\, co-writes with Rodney Crowell and a Waylon Jennings song that his widow\, Jessi Colter\, urged her to sing\, it is country music as only Price can make it: free of rules\, cherishing tradition\, hard headed to the core but with a delicate\, beating heart.  \nSince releasing Midwest Farmer’s Daughter\, Price has barely slowed down. She’s made four records\, played Saturday Night Live\, been nominated for a Grammy\, toured the world alongside artists like Chris Stapleton and Willie Nelson\, released a lauded memoir (Maybe We’ll Make It\, due on paperback September 2nd)\, became an in-demand producer and was appointed as the first female board member of Nelson’s Farm Aid. And she’s been fearless when it came to genre\, venturing into psychedelic rock on her most recent\, Jonathan Wilson-produced record\, Strays. It would have been easiest to just stay that course\, and keep running. But Price doesn’t follow success or comfort. She follows the art. \nIt took a whole lot of hard work and honesty with herself and others to get there\, but that’s never stopped Price before.  “I made the decision that I had to rebuild everything from the ground up\,” Price says. “There’s all this pressure to be pumping out content\, and I felt the opposite in the way I wanted to approach this record and my life in general.” \nPrice had also established herself as one of the most passionate\, vocal artists in country music and beyond when it came to standing up for political and personal causes\, from the presidential election\, to abortion to gun control: happily hard headed when it came to the fight for equality and justice\, especially for the working class and underserved in our society. Price has always brilliantly woven her activism into her songs\, but her role as a spokesperson had started to overtake\, on occasion\, her role as a songwriter. She wanted to focus on using her written word to deliver the most potent punch of all. \n“I always hope to do like Johnny Cash did\,” Price says\, “which is speak up for the common man and woman. But there have been so many threats and anger and vitriol over the years\, when I am only coming from a place of love.” \nPrice realized she just needed a break from everything outside of the bubble of family life and her art. She started spending more time at home\, writing songs alone and with her husband\, Jeremey Ivey. She started popping up in the dive bars and tiny venues around Nashville where she got her start\, sometimes just to play a country cover or two or dance with the crowd. She refused guidance to write for pop stars or compromise her values for a quick buck. Most of all\, she turned the emphasis in her music back to songwriting\, exactly where she began.          \n“So much of Strays was leaning into this psychedelic\, textural territory\,” says Price. The music lent itself to vibrant\, heavy stage jams\, with Price often hopping behind the drumkit and bruising her thigh from a tambourine beat. She found herself longing for the days when it was just her and her guitar\, playing at an East Nashville dive bar. “I always knew\,” she adds\, “I would come back to this more rooted sound.” \nHard Headed Woman is rooted to its core. Rooted in Price’s history and struggle to make it as a musician for so many years in a town that prizes uniformity and the bottom line\, rooted in the country and folk sounds that have become her signature\, rooted in the simplicity of a few key collaborators instead of songs-by-committee. At the heart of Price’s work is her creative partnership with Ivey\, with whom she describes as having a “soul connection.” “I’m a songwriter\,” Price says. “I’m not somebody who goes out and needs five people to craft a song\, and then tack my name on it. That’s never been my style. I have something to say.” \nSomething to say\, nothing to prove. The first song they wrote for the album that would become Hard Headed Woman was “Close to You\,” a simple\, pining call for a lover that is infused with the sounds of the desert. It’s unfettered and truth-telling\, accented by some flamenco guitar and Price’s gorgeous\, urgent vocals. “We played the jukebox while democracy fell\,” Price sings\, never letting her songs fall out of the context in which they exist. It’s the kind of thing that only she could write\, carrying both love and fear in one single line. \nAs more songs started to form\, an early boost of confidence came from her friends Rodney Crowell and Emmylou Harris\, who heard some of the work at a political fundraiser and encouraged Price to keep going.  “I have both of them to thank for building me up and making me believe in the songs I am writing in this season of my life\,” Price says. Crowell remained not only an inspiration and supporter of the album but a contributor: he co-wrote two songs with Price and Ivey. \nThe album that unfolded from there is drenched in Price’s unique story and unshakeable instincts: while Midwest Farmer’s Daughter was about her journey from childhood to Nashville\, Hard Headed Woman is very much her battle since from dive bars to tour buses\, through parenthood and marriage\, through scrutiny and sacrifice all while fighting constantly for what she believes in\, and the music she loves. It begins with a proclamation on the prelude\, which serves as the album’s mission statement: or\, Price puts it\, “a disclaimer and reminder that I don’t owe you fucking shit.” \nSongs like the album’s lead single\, “Don’t Let the Bastards Get you Down\,” speak for the downtrodden and the forgotten\, an “anthem for people who are being overlooked in society and need to be lifted up\,” Price says\, “because we are up against so much right now.” As so many of Price’s songs do\, it speaks both for the personal and the political all at once. Price was inspired by the message Kris Kristofferson whispered to Sinead O’Connor when she was booed on stage at a Bob Dylan 30th Anniversary show\, and even got Kristofferson’s widow’s blessing to include his name on the credits. “I always admired Kris for how he stood by her in that moment\, instead of pulling her off the stage like they told him\,” Price says. It serves as a reminder to anyone who encounters resistance in the face of fighting for justice to keep going\, especially when it would be so much easier to capitulate and cower. \n“The song was originally written for a movie that never happened\, but it feels so timely with everything that’s going on in the world\,” Price explains. “The phrase\, ‘Don’t Let The Bastards Get You Down’ originates from Margaret Atwood’s brilliant 1985 piece of literature\, The Handmaid’s Tale. It’s referred to in Latin and used as a rallying cry for resistance against the oppressive regime that symbolizes resilience and hope in the face of adversity. Nolite te Bastardes Caborundorum.” \nThat spirit resonates all across the songs of Hard Headed Woman. The blistering “Don’t Wake Me Up” was based around some writings that Ivey stumbled upon in one of Price’s notebooks\, inspired in part by her deep readings of Frank Stanford\, one of her favorite poets due to his freewheeling work free of boundaries. They spun it all into song in minutes that chugs with the essence of Dylan’s “Subterranean Homesick Blues”: “The way this world is going\, ain’t where I’m at\,” Price howls in her powerful\, unmistakable voice. “Nowhere is Where\,” turns slow and contemplative\, road-worn but never broken\, the call of someone who has been to the mountain but never forgets the prairie below. And “Losing Streak” whirls in with an organ and out with a weary\, world-worn defiance: our worst times don’t define us\, but they’re always part of who we are. \nThere are songs that go back to the beginning of Price’s early grind\, like the western-tinged “Wild at Heart\,” reflecting on how much her life and the city of Nashville has changed over the years – and how important it is to stay true to exactly who you are despite it all. Another\, called “Red Eye Flight\,” is about both leaving a lover and also leaving her longtime band the Pricetags. “I’ve been with those players for ten\, thirteen years\,” she says. “But I could feel that I needed to make a change\, and to change texturally what’s going on with the band. But it’s a familial bond\, different than a friendship.” \nThere are a few choice covers and cuts\, too: “Love Me Like You Used To Do” is by Price’s friend Steven Knudson\, an unsung Nashville writer on whom she hopes to shine a spotlight (helping to elevate the town’s incredibly talented but buried voices is one of Price’s favorite pastimes). Friend Tyler Childers joins Price on that waltzing country ballad\, while “I Just Don’t Give a Damn” is Price’s “Jolene goes to Memphis” take on the Jimmy Peppers and George Jones classic. And showcasing how Price has been trusted by the greats to lead the next generation of country music renegades\, “Kissin You Goodbye” was given to Price by Jessi Colter\, Waylon Jennings’ widow\, when Price was producing her record. They’re songs chosen to appreciate the past and the present as she sees it – not as Music Row or the algorithm might dictate – and place Price squarely amongst her heroes as a living and breathing part of the new country tradition. \nWhen it came time to record Hard Headed Woman\, it was important for Price to keep that ethos alive\, decamping to Nashville’s RCA Studio A and reuniting with producer Matt Ross-Spang\, with whom she made her first two solo albums. Though she has worked with everyone from Sturgill Simpson to Jonathan Wilson since\, it was Spang’s vocal rebuke of easy studio shortcuts that made her eager to reunite again. “He’s so unpretentious\,” Price says. “He fully believes in me\, he fully believes in my songs. He got us back to feeling it in your gut and not needing everything to be so perfect.” \nIt felt truly significant for Price to make the album in Nashville\, a city where she’s lived for over two decades and played a seminal role in its transformation\, yet somehow never recorded an album in the place she’s called home. The historic RCA Studio A helped connect Price even closer to the legacy of songwriting she holds so dear\, a place where everyone from Dolly Parton to John Prine to Loretta Lynn have made albums. “It felt like there were ghosts and spirits just hanging out\,” Price says. In perfect kismet\, she also launched her own signature Gibson J-45 guitar\, inspired by her 1960’s Gibson she’s had by her side for years as her career took off. It’s all part of the continuity that she wishes to create with her art\, not just with timeless songs but inspiring future generations of women\, mothers and artists in general who don’t want to sacrifice their vision\, moral compass or family life in favor of mainstream success. \nAt its core\, Hard Headed Woman is about that furious instinct to never waver\, especially when ourselves\, our values and our future is so clearly on the line. As she sings on the title track\, “I ain’t ashamed\, I just am what I am.” \n     “I hope this album inspires people to be fearless and take chances and just be unabashedly themselves\,” Price says\, “in a culture that tries as hard as it can to beat us into all being the same.” \n \n\nwith Jeremy Ivey\nNashville-based singer\, songwriter\, and multi-instrumentalist\, Jeremy Ivey first established himself in the early 2010s as a member of the country-soul band Buffalo Clover alongside his wife\, singer/songwriter Margo Price. When Price’s career took off in 2016\, Ivey served as her guitarist and sideman for several years before signing a deal with Anti- and launching a solo career of his own with the albums The Dream and the Dreamer and Waiting Out the Storm. Growing up in a conservative family in Georgia\, Ivey spent a number of years bouncing around the country\, working in kitchens and playing guitar. He eventually ended up in Nashville where he met Price. Creative and romantic partners\, the couple spent some time in Colorado busking and writing songs together before heading back to Music City\, where they eventually married and became active in the local indie scene. After playing a background role in various local bands\, including the Secret Handshake\, Ivey and Price formed Buffalo Clover in 2008. The band’s vintage-inspired country\, rock\, and soul earned them an audience\, and over the next several years\, they released three albums together. When Price released her solo debut\, 2016’s acclaimed Midwest Farmer’s Daughter\, Ivey settled into a sideman role as her musical foil/lead guitarist during the next several years. In 2019\, after many years of working as a collaborator and supporting other artists\, he took his own turn in the spotlight\, signing a deal with Anti- to make an album of his own. Released in September of that year\, Ivey’s debut\, The Dream and the Dreamer\, offered a mix of warm\, guitar-driven country rock and folk with a light touch of psychedelia. Proving himself to be a quick worker\, he went right back into the studio to record 2020’s musically similar\, though more overtly political Waiting Out the Storm which\, like its predecessor\, was produced by Price. Then came 2022’s Invisible Pictures with its complicated core progressions and lush arrangements (produced by Andrija Tokic) and early this year he released his fourth full length album that he recorded himself at his house on an old tape machine. Ivey doesn’t seem to be slowing down anytime soon. He was recently nominated for a Grammy for the writing of Margo‘s Hard Headed Woman LP. \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/margo-price
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-Margo-Price.jpg
END:VEVENT
END:VCALENDAR