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Location: Miramar Cultural Center 2400 Civic Center Place Hollywood, FL. | Start: 5/31/2019 7:30:00 PM End:
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Lead vocalist of Sixpence None The Richer.

Location: The Attic 1510 E 8th Ave Tampa, FL. | Start: 12/7/2018 7:00:00 PM End:
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with Jeremy & The Harlequins Six-piece Detroit-based band that plays what has been described as an energetic and unique brand of rock music infused with elements of garage, disco, punk, new wave, and metal.

Location: The Wilbury 513 West Gaines Street Tallahassee, FL. | Start: 10/11/2018 9:00:00 PM End:
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with Trae Pierce & The T-Stones In making his fourth album Wash It in the Water, Zach Deputy dreamed up a sunny and soulful new sound that fuses hip-hop, funk, and folky pop with the spirited rhythms of soca and calypso. With that sound embodied by the albums brightly melodic and richly textured title track, Wash It in the Water finds the Georgia-based singer/songwriter/multi-instrumentalist mining his Puerto Rican and Cruzan heritage for inspiration. Because of the music I was raised on, Ive always heard rhythm in a very tropical, Latin-esque wayits something that resonates in the deepest parts of me, says Deputy, who grew up in South Carolina. When I was a kid my grandma would play a lot of salsa and soca and make me get up and dance to it, so in a way this is me putting my own spin on all that and bringing those sounds into a whole new era.With Deputy playing every instrument on the album, Wash It in the Water was self-produced in spontaneous sessions that took place in studios and homes and sometimes in Deputys garage. Each time I recorded it was mostly just for fun,he says. I wasnt trying to make anything happen, I was just going with what felt good. As a result, Wash It in the Water bears a warm, natural feel that permeates everything from the intricate guitar work and tender vocals of Jump in the Water (a serenade to Deputys seven-year-old daughter) to the groove-heavy funk of Put It in the Boogie (a celebration of the joyfully chaotic life of a musician) to the piano-driven balladry of Loving You (a powerful meditation on unconditional love). Despite the spur-of-the-moment approach, Wash It in the Water emerges as a gracefully arranged effort that owes much to the musicianship and songcraft Deputys honed since getting his first guitar at age 13. By his mid-teens hed started up a series of garage bands, balancing his own projects with playing in local big bands and soul groups. I was this 16-year-old white kid crushing it in a Motown band, and because of that I got to learn a lot about respecting the composition, Deputy recalls. To me music is a bunch of small pieces fitting together to form this beautiful castle.In his early 20s, Deputy experienced a major turning point that would take his music in an entirely new direction. I was playing in a band but I wasnt inspiredmusic wasnt bringing me the joy that it used to, and I felt like I might be done with it altogether, he says. Along with quitting the band mid-tour, Deputy traded in his electric guitar and amp for a nylon-string acoustic and moved back home to work construction with his dad. At work all day Id have this music in my head, and as soon as I got home Id go straight to the guitar, he says. Serendipitously landing a solo gig by walking into a bar just after that nights featured artist had bailed, Deputy soon introduced the world to the sound hed eventually dub island-infused, drum n bass, gospel-ninja-soul. By 2008 hed released his debut album Out of the Water andthanks to his ingenuity in loopingmade his name as an unforgettable one-man-band live act. In reflecting on his path as a musical artist, Deputy likens that creative awakening to the message at the heart of Wash It in the Water.That songs about cleansing yourself from all the nonsense of the worldstarting fresh, a rebirth of sorts, he says. And whether performing live or creating new music, Deputy aspires to guide listeners toward a renewal of their own. I try to give people a little soul massage, he says. In music you get so raw and make yourself naked to the world, and hopefully people can find themselves in that and realize theyre not alone. For me touching someones life in a positive way is the best thing about making music, and thats whats kept me going with it for all these years.

Location: High Dive 210 SW Second Ave Gainesville, FL. | Start: 10/18/2018 9:30:00 PM End:
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For Americana godfather David Bromberg, it all began with the blues.His incredible journey spans five-and-a-half decades, and includes but is not limited to adventures with Bob Dylan, George Harrison, Jerry Garcia, and music and life lessons from seminal blues guitarist Reverend Gary Davis, who claimed the young Bromberg as a son. A musicians musician, Brombergs mastery of several stringed instruments (guitar, fiddle, Dobro, mandolin), and multiple styles is legendary, leading Dr. John to declare him an American icon. In producing John Hartfords hugely influential Aereo-Plain LP, Bromberg even co-invented a genre: Newgrass.Add in a period of self-imposed exile from his passion (1980-2002), during which he became a renowned violin expert, and Wilmington, Delawares cultural ambassador; top that off with a triumphant return to music-making, and you have an amazing tale leading back to one place: the blues.Now, with The Blues, the Whole Blues, and Nothing But the Blues, his first release for Red House Records, Bromberg and multi-Grammy-winning producer/accompanist Larry Campbell (Dylan, Levon Helm, Paul Simon) focus on the music David discovered in high school, when, circa late 50s, he was introduced to a friends dads collection of blues 78s. Hed only just taken up guitar as a means to pass the time while in bed with the measles.I loved those 78s so much, says David, I taped them on a portable reel-to-reel, so I could listen at home and learn.That love is evident in The Blues, the Whole Blues and Nothing But the Blues. The album is both blues primer and an opportunity to witness a master embracing this distinctly American music with passion and grace.Theres a lot of different types of blues on there, Bromberg notes. We decided to start it off with a dyed-in-the-wool blues [Robert Johnsons Walkin Blues], but theres also country blues [Kentucky Blues], and gospel-influenced blues [Yield Not].Bromberg, a onetime sideman himself, is quick to give props to his long-running road-and-studio cohorts: Butch Amiot (bass), Josh Kanusky (drums), Mark Cosgrove (guitar), Nate Grower (fiddle), and Peter Ecklund (cornet). Of producer, arranger, multi-instrumentalist, fellow Reverend Gary Davis acolyte, and old friend Larry Campbell, he says, To use a baseball analogy, Larry is like a star at any position in the infield, because he can play them all.Since meeting in the early 80s, Campbell and Bromberg had crossed paths many times. They finally worked together in Levon Helms studio for Davids 2013 return-to-form Only Slightly Mad. He wanted to do a Chicago blues album then, Larry says. But we decided to remind folks of what he does better than anyone: the whole gamut of Americana, the full Brombergian. And we got some new fans. For this one, we went back to the blues, and made use of Davids great vocabulary in all veins of the genre.Brombergs guitar work remains a marvel; amped electric lead both slide and fretted and delicately powerful acoustic fingerpicking propel these songs with the same force that made him the go-to guy for acts ranging from the Eagles to Link Wray to Phoebe Snow. This is a man who can go full-on Chicago gutbucket with You Dont Have to Go (a Bromberg original), then slay with the jazz inflections of Ray Charles A Fool for You, rendered here intimately solo. Although Bromberg points out hes not the same guitarist he was before his two decades away from performing and recording. I play differently, he says. I cant play as fast, but playing slower gives me more time to think about what Im doing.Hes always able to plug into the emotion of a song, Campbell says. Hes incredibly inventive as a player. Sometimes restrictions can be good.Listeners can actually hear what the years have given Bromberg in the spartan, acoustic Delia. Bromberg originally covered this traditional nugget on his 1972 self-titled debut a live, solo rendition with a spoken-word break. The new version features Campbell and Bromberg in the studio, revisiting Brombergs live arrangement from their occasional duo tours. It is mesmerizing, with gravitas only experience can bring. Larry and I have played Delia a lot, Bromberg says. I love what he does on it.Longtime fans will notice another difference: Brombergs voice; hes really singing. The vocals cover a broad range: impassioned, vibrato-laden testifying; pew-jumping soul shouts; soft, confident, crooning; and, of course, his peerless raconteur chops (particularly in You Been A Good Old Wagon).When I first started, Bromberg says, singing was something I did between guitar solos. But during the period I did so little performing, I took some voice lessons, and now, I know more what Im doing. I love singing now. Love it.Larry Campbell was impressed at the newfound vocal chops, too. He is a better vocalist than ever, he says. Hes strong, and present. None of the songs took more than three takes. And he was able to take the old folk song 900 Miles [a railroad song made famous by Odetta and Woody Guthrie], and turn it into an electric blues thats a real high point of the album for me.Although he remains the proprietor of the beloved David Bromberg Fine Violins in Wilmington, Delaware I love my shop, he says Bromberg makes time to tour with his quintet, and hes already included every song in his live repertoire (save Yield Not, which requires a choir), from The Blues, the Whole Blues and Nothing But the Blues. As ever, he brings his characteristic devotional intensity to the music, invigorating his surprise third act with the same passion he felt as a teen, spinning those blues 78s, just before the road called. We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time. T.S. EliotTheres only two kinds of music the Star Spangled Banner and the blues. Willie Nelson, quoting renowned fiddler Johnny Gimble

Location: The Funky Biscuit 303 Southeast Mizner Boulevard Boca Raton, FL. | Start: 2/1/2019 9:00:00 PM End:
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Location: The Venue at UCF 12777 Gemini Boulevard North Orlando, FL. | Start: 11/11/2018 1:00:00 PM End:
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Hunky Naked Magicians Let It All Hang Out The Naked Magicians provide exactly what they you'd expect: a scintillating evening of magic, jokes and plenty of skin. Following sold-out shows and rave reviews in this country and around the globe, the world's cheekiest magic show comes to the Coral Springs Center for the Arts, where the pair of illusionists bare it all (everything but the tricks of the trade, that is). The Aussie fellas showcase illusions, outrageous humor and a touch of mayhem in this adults-only show, bringing a whole new meaning to the phrase "now you see it." They say good magicians don't need sleeves ... these guys prove that great magicians don't need any clothing at all.

Location: Coral Springs Center for the Arts 2855 Coral Springs Drive Coral Springs, FL. | Start: 10/12/2018 7:30:00 PM End:
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Location: Coral Springs Center for the Arts 2855 Coral Springs Drive Coral Springs, FL. | Start: 11/3/2018 8:00:00 PM End:
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The great American statesman and inventor Benjamin Franklin once said, "When you're finished changing, you're finished." And it's true: the one constant in life is the fact that nothing is constant. One of the roles we play as human beings -- and for many of us, one of our biggest challenges -- is to learn to accept and even thrive on life's never-ending parade of transformations.The year 2016 was one of large-scale and unexpected change for Tampa Bay area blues and soul vocalist Lauren Mitchell. During a tumultuous time in both her personal and professional life, she was given the opportunity to rise from the challenges she was facing and make the album of her career with producer Tony Braunagel. Mitchell took the leap of faith because she is a true student of the blues, a music that's all about finding a way to transform difficult experiences into something cathartic. The timing was perfect. She had an album to record.Another artist might have withered in the face of such complete and simultaneous changes in her professional and personal life. But Mitchell is a student of the blues, a music that at its core is about taking difficult experiences and finding a way to transform them into something cathartic, about finding deep truths in a sea of raw-nerve emotion. She had an album to record.That album, Desire, is the most fully realized musical tatement she's made to date. Through a bold mix of her own original material, songs she hand-picked from the repertoires of her friends, and select covers of tunes first performed by Etta James, Bettye Lavette, Diana Ross, Aretha Franklin and Betty Davis, Mitchell tells a blues story that's been a lifetime in the making. It's a stylistically varied, musically rich set of 13 songs expertly recorded by drummer and Grammy-winning producer Tony Braunagel, whose work with Bonnie Raitt, Taj Mahal and Robert Cray have made him one of today's most in-demand blues industry professionals. Recorded during a ten-day trip to Los Angeles, Braunagel brought out the best in Mitchell, highlighting every nuance in her powerful vocals and helping her craft an emotionally resonant album that's destined to go down as one of the highlights of 2017. Besides Braunagel, the band features guitarists Johnny Lee Schell and Josh Sklair. keyboardist Jim Pugh, bassist Reggie McBride, sax player Joe Sublett, and percussionist Lenny Castro.Desire kicks off with a fiery reading of "I Don't Need Nobody (To Tell Me How To Treat My Man)," an uptempo rarity from Etta James' 1960s Chess Records catalog that Braunagel unearthed for Mitchell. James was Mitchell's musical idol, and she tackles another of the famed vocalist's recordings elsewhere on the album: the sassy, swaggering "Jump Into My Fire," which appeared on James' 1988 release "Seven Year Itch." From the catalog of Bettye Lavette, she uncovers a soulful 1965 single titled "Stand Up Like a Man" that finds Mitchell asking her romantic partner to exhibit the same fearlessness that she herself brings to the table -- the same determination she again sings about on "I Aint Been (Licked Yet)," a feisty Ashford & Simpson composition first recorded by Diana Ross in 1979. "Good to Me as I Am to You," from Aretha Franklin's classic 1968 album Lady Soul, is here in a deeply felt interpretation. And rounding out the older material on Desire is Betty Davis' 1973 masterpiece of funk, "Anti-Love Song," a tune Mitchell says she selected for the forthright way it deals with physical desire. "I'm almost 6 feet tall, and I'm sexy, and I'm not afraid to talk about it," says the Florida-based singer.

Location: The Funky Biscuit 303 Southeast Mizner Boulevard Boca Raton, FL. | Start: 10/5/2018 9:00:00 PM End:
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Location: House of Blues - Orlando 1490 East Buena Vista Drive Orlando, FL. | Start: 11/20/2018 8:00:00 PM End:
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