Tank and the Bangas – The Last Balloon Tour – A Carrboro Juneteenth Celebration
For Tank and the Bangas, music is a vessel for unbridled joy and transcendent connection—forces as integral to their essence as their wildly original sound. On their new album The Last Balloon, the New Orleans-bred outfit channel those impulses into something celebratory yet profoundly human, exploring themes of frustration, resilience, and self-realization with equal parts raw emotionality and playful exuberance. A shapeshifting collective helmed by lead singer Tarriona “Tank” Ball and multi-instrumentalist Norman Spence II, the globally beloved group completed the LP after winning a GRAMMY for 2024’s spoken-word powerhouse The Heart, The Mind, The Soul, moving from incendiary poetry to a euphoric collision of soul and hip-hop and forward-thinking R&B. As the final installment in a trilogy of albums that began with 2019’s Green Balloon (a critical triumph that earned them a GRAMMY nomination for Best New Artist), The Last Balloon ultimately solidifies Tank and the Bangas’ legacy as one of modern music’s most steadfast voices of sublime exhilaration. Executive-produced by their frequent collaborator Austin Brown (Jamila Woods, Masego), The Last Balloon offers up a suite of songs designed to thrive in Tank and the Bangas’ rapturous live set, where unified movement becomes crucial to the show itself. “We’re known for a very interactive experience, so I wanted to get the fans more involved and have even more fun with the crowd,” says Ball. “There’s lots of gang vocals, handclaps, all these intentional moments to let everyone know, ‘This is my part, but your part’s coming up next—so get ready.’” A highly collaborative band whose past work has featured luminaries like Big Freedia, Questlove, and Jill Scott, Tank and the Bangas created The Last Balloon with the help of Iman Omari (a multifaceted musician who’s worked with Kendrick Lamar and Mac Miller), pianist/producer Tane Runo (Brittany Howard, JID), esteemed soul singers Ledisi and Jelly Joseph, and many more. The result: a party-ready extravaganza that provides both ecstatic catharsis and communal elevation. Mainly recorded at The Complex Studios (an iconic L.A. spot once home to Earth, Wind & Fire), The Last Balloon unfolds in a loosely woven storyline charting a journey from self-doubt and erasure to empowered self-reclamation. On “Ain’t That Deep,” Tank and the Bangas deliver a defiant refusal to let negativity penetrate their world, setting Ball’s larger-than-life vocals against a potent backdrop of hypnotic beats and velvety horns. Sprung from a punchy piano riff spontaneously composed by Spence, “No Invite” arrives as a fantastically explosive takedown of industry gatekeeping and shameless clout-chasing. “There’s a lot of parties and award ceremonies we don’t get invited to, even though we do a lot for our community and should really be welcomed into those spaces,” explains Ball, who conceptualized “No Invite” as a rock-trap track. Next, on “Move,” two-time GRAMMY-winning R&B phenomenon Lucky Daye joins in for a pleading but powerful anthem lit up in lush grooves and jangly guitar tones. “I wrote that song about wanting my partner at the time to move to New Orleans to be closer to me, but you could interpret it as motivation to get moving in general,” says Ball. “I’ve been around people who let Monday go into Friday real quick, so ‘Move’ could be a way of telling yourself, ‘Let me get up, get my body moving, start making things happen for myself before it’s too late.’”
Carrboro Bluegrass Festival
Mason ViaLaurie Lewis and The Right Hands Trenton Wagler and Eric BrubakerJon StickleyCody SistersHolland Brothers Carolina Bluegrass Ensemble+ More VIP Festival Patron Pass — $85 Limited to 100 tickets Support the festival and secure the best experience of the day VIP Festival Patron Pass holders receive: Guaranteed early entry — doors open 30 minutes before general admission Reserved seating in the first 10 rows, clearly marked and held exclusively for VIP Limited-edition festival poster, exclusive to VIP ticket holders The peace of mind of knowing your seat is waiting — no lines, no stress VIP tickets are limited to 100 tickets and will not be expanded once sold out. Reserved Seating — $70 Enjoy the festival with the comfort of a guaranteed seat. Reserved Seating tickets include: Reserved seating in the designated section Standard entry at door time Access to all festival performances Ideal for attendees who want a great view without worrying about arrival time. General Admission — $55 Be part of the Carrboro Bluegrass Festival. General Admission tickets include: Access to all performances Entry to the general admission area Seating availability on a first-come, first-served basis
Carrboro Bluegrass Festival
Featuring Jim Lauderdale The Po’ Ramblin Boys Woody Platt & the Bluegrass Gentlemen Bronwyn Keith-Hynes Graham Sharp & FriendsMax Wareham & the National Bluegrass Team The Williamson Brothers Slippery Hill Bluegrass Cat’s Cradle Back Room: Featherpocket Stringband The Carolina Cutups Sugaree String Society The New Carolina Tar Heels Facebook | Instagram
The Connells
The Connells, one of North Carolina’s most successful indie rock bands, have new music on the way for the first time since 2001. They’ll break their recording hiatus with “Steadman’s Wake,” a new 11-song album that will be released September 24th, 2021.Beyond the fact that “Steadman’s Wake” is the group’s first new release in over 20 years, it is the first Connells’ album to feature their two newest members, guitarist Mike Ayers and drummer Rob Ladd (who have been in the lineup since 2002 and 2012, respectively), and the band’s first record made up of songs contributed solely by Mike Connell, who happens to take on a more prominent role as vocalist.Additionally, the title track, “Steadman’s Wake,” represents the first time The Connells have ventured into overt politics. Previously, the group tended to let actions and implications do the talking when it came to current events. But taking a more concrete and literal stand was something the times seemed to demand. With references to war, the opioid crisis and the white-supremacist rioting that roiled Charlottesville, Va., in 2017 (and were reprised in the January 6, 2021, assault on the U.S. Capitol in Washington, D.C.), there is no mistaking the message of “Steadman’s Wake.”“We’ve had some oblique socio-political bits here and there over the years,” says Mike Connell. “But never as direct as this. It seems like it’s time. It’s scary, where we still stand in this country with issues of race. Of the 11 songs on the record, the clear consensus within the band was that ‘Steadman’s Wake’ best reflected the band’s take on the temper of the times and best represented the “spirit” of the record.”Off-record and onstage, The Connells have been no strangers to political activism over the years, going back to benefit shows they played for Harvey Gant when he was running against controversial Republican U.S. Sen. Jesse Helms. Nevertheless, taking a musical step into current events was not a decision they made lightly. But as frontman Doug MacMillan concurs, the times are dire enough to demand a response.“Even the least politically minded bands are saying things now because they need to be said,” MacMillan says. “Mike’s never been one for hitting anybody over the head with an agenda, and his lyrics tend to be pretty subtle. But I’m glad we did this. I’ll be interested to see what people think.”Even though it’s been 20 years since their last recording, The Connells never quit playing live, and Mike Connell never quit writing songs. Eventually enough material came together to suggest it was finally time to make another record. “Steadman’s Wake” features eight new songs that have never been released, while three of the album’s songs previously appeared in different versions on 2001’s “Old-School Dropouts” – a collection of demos recorded at the group’s practice space.Website | Facebook | Twitter | Instagram | YouTube | Apple Music
Sing Out NC – A Concert for Reproductive Rights! Hosted by Tift Merritt
On November 6, a collective of Triangle artists will host Sing Out NC, an election-time concert advocating for reproductive rights in North Carolina, outdoors at Cat’s Cradle. All Proceeds Go To Protecting Abortion Access in NC.Hosted by Tift Merritt, guests and performers include Alice Gerrard, HC McEntire, Kamara Thomas, Kate Rhudy, Kym Register, Libby Rodenbough, Rissi Palmer, Shana Tucker, Charly Lowry, Dawn Landes, Florence Dore, Sinclair Palmer & Blair CoppageProduced and performed by people targeted by anti-abortion, anti-choice, and anti-LGBTQIA laws and restrictions and in partnership with reproductive rights and health and social justice organizations, this concert aims to raise awareness of how our rights are being impacted in North Carolina, and how we can collectively build a world that insures reproductive rights for all. Please consider a donation as we raise money for organizations doing critical work to protect abortion access in NC. Benefiting organizations include ProChoice NC; Equality NC, Common Cause NC; Planned Parenthood South Atlantic; ACLU-NC; and El Pueblo.
Southern Culture on the Skids
The Bad Checks afterparty at Cat’s Cradle Back Room is included with this ticket.Southern Culture On The Skids has been consistently recording and touring around the world since 1983. The band (Rick Miller – guitar and vocals, Mary Huff – bass and vocals, Dave Hartman – drums) has been playing together for over 30 years. Their musical journey has taken them from all-night North Carolina house parties to late night TV talk shows (Conan O’Brien, The Tonight Show), from performing at the base of Mt. Fuji in Japan to rockin’ out for the inmates at North Carolina correctional facilities. They’ve shared a stage with many musical luminaries including Link Wray, Loretta Lynn, Hasil Adkins and Patti Smith. Their music has been featured in movies and TV, parodied by Weird Al, and used to sell everything from diamonds to pork sausage. In 2014 the band was honored by the Southern Folklife Collection at the University of North Carolina Chapel Hill with an exhibition featuring their music and cultural contributions. Their legendary live shows are a testament to the therapeutic powers of foot-stomping, butt-shaking rock and roll and what Rolling Stone dubbed “a hell raising rock and roll party.”At Home with Southern Culture on the Skids is the latest full length album from the band and is due to drop into stores on March 12th. The album consists of 11 tracks recorded and mixed in Rick Miller’s living room with some additional tracks recorded at his studio, The Kudzu Ranch.The first radio single off the album is “Run Baby Run”—a rocking number with deep garage roots. SCOTS bassist Mary Huff provides an urgent vocal while the band pulls back the throttle on a full race fuzz fest—cause she’s gotta to go fast! Run Baby Run!The other songs on the album are a combination of the band’s unique mix of musical genres: rock and roll, surf, folk and country—all a bit off-center, what Rick proudly calls “our wobbly Americana”. Rick goes on, “We put a few more acoustic guitars on this one, as you would expect if you recorded in your living room, but it still rocks like SCOTS. So put your headphones on, get in your favorite chair/sofa/recliner, put on “At Home With” and let’s hang out for a while.”The official radio add date for the single and album is March 1st, with the album release on March 12th. Preorders start Feb 12th with “Run Baby Run” and “Call Me” as instant grat tracks.Links: Website | Facebook | Instagram
