North Carolina Musicians United for EqualityNC
Stand Against HB2 - North Carolina Musicians United for EqualityNC and QORDS
Sunday, July 31, 2016
Event is from 12PM-11:30PM
Tickets $15 advance, $25 VIP balcony seats (50 max).
Children 12 and under are free!
"On July 31st at the Brooklyn Arts Center at St. Andrews in Wilmington, we're having a great concert. North Carolina musicians will raise their voices against HB2 and in support of EqualityNC. In fact, 100% of ticket sales will go to this important organization to help their fight against this harmful and hateful law."
Irresistible Groove Band
Johnny Folsom 4
Greg Humphreys Electric Trio
**Plus a couple of surprises!BUY TICKETS
Huka Entertainment & 98.3 The Penguin Present:
Friday, August 5, 2016
Doors at 7:00 PM, Show starts at 8PM
This is an all ages event!
Those who’ve followed Keller Williams’ recording career to date know that he has given each of his albums a single-syllable title: FREEK, BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, REX, LIVE, ODD, THIEF, KIDS, BASS, PICK, KEYS and FUNK. Each title serves not only as a concise summation of the concept guiding the particular project but also as another piece of the jigsaw puzzle that is Keller Williams. GRASS, for example, is a bluegrass recording, cut with the husband-wife duo the Keels. STAGE is a live album and DREAM the end product of a wish list: Keller collaborating with some of his greatest musical heroes. THIEF is a set of unexpected cover songs. And KIDS offers up, you guessed it, Williams’ first and possibly only children’s record.
The naming trend has continued with 2012’s BASS and PICK, respectively a set of songs where Keller plays bass and William’s collaboration with royal bluegrass family The Travelin’ McCourys. In 2013 – Keller released FUNK with his newest collaboration – a six-piece funk outfit – More Than a Little. What all of the titles reveal, when taken together, is an artist of great stylistic breadth and infinite imagination, a singer, songwriter and musician, always on a quest for the new. Keller Williams has never followed the prescribed path laid out by the conventional music business, nor has he taken the prescribed meds laid out by his team of conventional doctors. Instead, he has taken the A.D.D. path (Artistic, Determined, Dedication). It’s a path that has served him quite well.
Since he first appeared on the scene in the early ’90s, Williams has defined the term independent artist. And his recordings tell only half the story. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed solo. His stage shows are rooted around Keller singing his compositions and choice cover songs, while accompanying himself on acoustic guitar. With the use of today’s technology, Keller creates samples on the fly in front of the audience, a technique called live phrase sampling or looping, With nothing pre-recorded, the end result often leans toward a hybrid of alternative folk and groovy electronica. A genre Keller jokingly calls “acoustic dance music” or ADM.”
That approach, Williams explains, was derived from “hours of playing solo with just a guitar and a microphone, and then wanting to go down different avenues musically. I couldn’t afford humans and didn’t want to step into the cheesy world of automated sequencers where you hit a button and the whole band starts to play, then you’ve got to solo along or sing on top of it. I wanted something more organic yet with a dance groove that I could create myself.”
Williams’ solo live shows—and his ability to improvise to his determinedly quirky tunes despite the absence of an actual band—quickly became the stuff of legend, and his audience grew exponentially when word spread about this exciting, unpredictable performer. Once he began releasing recordings, starting with 1994’s FREEK, Williams was embraced by an even wider community of music fans, particularly the jam band crowd. While his live gigs have largely been solo affairs, Williams has nearly always used his albums as a forum for collaborations with fellow musicians. An alliance with The String Cheese Incident on 1999’s BREATHE marked Williams’ first release on the band’s label SCI Fidelity Records, an imprint he still partners with today for recordings. DREAM, Keller’s 2007 release, found him in the company of such iconic musicians as the Grateful Dead’s Bob Weir, banjo master Béla Fleck, bass great Victor Wooten, American musician/poet Michael Franti and many others.
“That album took, from start to release time,” says Williams, “about three years. The object was to get people that I admire musically to play my stuff, so when I’m old I can crank this album in my pimped-out golf cart and have something that I’m really proud of. I was going for the historical effect for my own personal listening pleasure.
“Each record,” he continues, “is a little snapshot of history. I like to think of it as a period piece for an artist. Each record is a little bit different but all of them have some kind of common thread, which is my musical ability as far as I can take it. I enjoy making records. In some people’s eyes, they’re a dying breed, but I’m very passionate about it. They document where my head is at that time in my career and where I am in my songwriting.”
Williams’ story begins in Fredericksburg, Virginia, just south of Washington, D.C. There he was exposed to a wide variety of music at an early age, starting with country and bluegrass and working his way up through hip-hop and go-go, a brand of funk particular to that part of the country. Once he began playing guitar, Williams’ sphere expanded to what he calls “the post-pseudo-skateboarder punk-rock rebellious type of thing, Black Flag and Sex Pistols and Ramones, Dead Kennedys, things like that. That slid into the more melodic college rock, like the Cure and the Cult, the Smiths, R.E.M.’s first five or six records.”
Then came the Grateful Dead, a seminal influence on Williams’ own music. “I studied and learned their music and went to the shows,” he says, adding that the impact of Jerry Garcia on his attitude toward music remains incalculable. Another major influence was Michael Hedges, the late virtuoso acoustic guitarist. “He was really excelling in a whole different world from what I knew,” says Williams.
After relocating to Colorado, further exposure to bluegrass music and progressive acoustic artists such as Béla Fleck and the Flecktones also had a major impression on Williams. As he began to develop his own distinctive compositional and performing style, Williams incorporated all of the lessons he’d learned from the long list of artists who’d found their way into his world, then filtered their music through his own experiences until something wholly unique emerged. The list of artists whose music he has covered either in concert or on his recordings constitutes a mind-blowing spread: songs originally performed by everyone from Pink Floyd and Ozzy Osbourne to Ani DiFranco and old-school rappers the Sugar Hill Gang!
When he first started out, Williams played in regional bands but also performed as a solo artist, “me sitting on a stool playing covers, like a happy hour situation,” he says. “I’d get dinner and maybe tips. There were bands in high school and in college. But it turned out I could get the same money playing solo that I was getting with the band. Around that time I was also doing temporary jobs and I was making the same amount playing music as I was scraping mortar out of the cracks of cinder block walls for eight hours in the summertime at minimum wage. So it seemed like the obvious choice was to play music. I started to work and over the years I incorporated more technology. The looping thing started to happen and tickets were sold and people came to shows, so there wasn’t any reason to fix something that wasn’t broken.”
What Williams calls “the looping thing” is actually a big part of what has made him such a compelling live performer. “Basically, I have these machines that are essentially delay units,” he explains. “What I do is step on a button and sing or play something. Then I step on the same button in time and it repeats what I just played or sang. Once that initial loop is created, I can layer on a bass line or a drum line and then have this layer that I just created in front of an audience that I could sing over and solo over. Nothing is pre-recorded. Everything is created onstage in front of the audience.”
If it sounds complicated, it is: but the basic thrust is that the technology has allowed Williams to go out on tour week after week, year after year, and play music by himself—without limiting his sound to what we most often associate with the solo singer-songwriter: a guy strumming a guitar and singing. With his arsenal of tech toys, Williams can expand his reach onstage by, in essence, jamming with himself.
But he has, on several occasions, also performed with live humans. The summer of 2010 found Keller sharing a bus with two of his biggest heroes, former Grateful Dead drummers Bill Kreutzmann and Mickey Hart, as a member of their powerhouse assemblage the Rhythm Devils. “That was a very surreal experience,” Williams says. “We rehearsed for a few days and then we were on a bus with 12 people, two of them being the original drummers from the Grateful Dead.” On that tour, Williams was put in the enviable position of singing many songs from the Grateful Dead catalog for audiences that loved every minute of it.
Williams has also toured as part of a string trio with singer/guitarist Larry Keel and his wife, singer/bassist Jenny Keel, hitting key stops on the bluegrass festival circuit. And he has a band of his own, with Keller on rhythm guitar and vocals, Jeff Sipe on drums, Keith Moseley on bass and Gibb Droll on lead guitar. They toured throughout the spring of 2007 to the fall of 2008, and subsequently released a double live record with a companion DVD. In true Keller Williams fashion, it’s called Live.
If it seems as if this is a man who never stops, that would be about right. Keller released the amusingly titled THIEF—his all-covers project with the Keels—early in 2010, and KIDS, his sixteenth album, in the fall of that same year. A father of two himself, Williams was, of course, inspired by his own offspring but, he says, some of the songs were written before his children were born. “When Not For Kids Only by Jerry Garcia and David Grisman came out, I knew that there was hope for me with kids music,” he says. “I was really attached to that record.” The songwriting for Kids, Keller says, “was not necessarily singing to the kids. A lot of it was me singing from the perspective of the kids. That was my plan, to get on their wavelength, on their level, and be one of them, so it’s kind of like one of their friends singing to them.”
In 2011, BASS found the multi-instrumentalist only playing bass guitar. BASS was also the first album to be recorded with Keller’s live reggae-funk band Kdubalicious, which in addition to Keller on bass and vocals, features Jay Starling on keyboards and Mark D on drums. On the other end of the spectrum – but just as tasty – is Keller’s 2012 release PICK. This collaboration featuring Keller Williams with The Travelin’ McCourys is a classic case of the whole being greater than the sum of its parts—although the parts are rather massive on their own, to be sure. “Performing with The Travelin’ McCourys is one of my favorite things to do in the world,” Keller explains. “This project has struck a special chord with me [pun intended]. It is very addictive.”
Indeed, Keller always enjoys working with a band. For 2013 he steps out with his newest muse…a 6-piece funk band dubbed More Than a Little. Williams draws from the Richmond, VA R&B/gospel scene including a pair of show stealing female singers. FUNK – a sexy live recording that pays deep homage to the genre’s roots, Keller style – hits streets November 2013.
As if all of this doesn’t keep him busy enough, Keller’s thirst for music of all kinds has also led him to the world of radio. For the past several years he has hosted Keller’s Cellar, a weekly syndicated program available on both terrestrial stations and online at www.kellerwilliams.net. Williams describes the show as “a self-indulgent, hour-long narrated mix tape of stuff I’m into. It’s rule-less except for what the FCC says we can’t do. I don’t play contemporary country music. I don’t play contemporary Christian music—however, there is possibly some old gospel. I don’t play opera. Everything else is fair game. World music from all around—African music from all the countries, jazz, funk, reggae, techno, chill, lounge, lounge singers, rub-a-dub, dancehall. I pretty much stay away from smooth jazz. It’s definitely a fun outlet for me. I’m trying to do something different.”
Something different. That, we can assume, is how it will always be with Keller Williams.BUY TICKETS
Hard Working Americans with The Congress
HUKA Entertainment & 98.3 The Penguin Presents:
Hard Working Americans
Wednesday, August 24, 2016
Doors at 7:00 PM, Show starts at 8PM
This is an all ages event!
Opening the show will be The Congress! With the release of their sophomore album, The Game (due September 9, 2016 on American Paradox), The Congress progresses further along a career path that’s taken them from Denver, CO, where they first formed, back to their hometown of Richmond, VA. They’ve followed a circuitous route, one that’s found them touring with high profile bands like Lake Street Dive, the Tedeschi-Trucks Band, and Hard Working Americans, while still remaining focused on their singular sound, a dynamic mix of riveting rock ‘n’ roll, old school soul, classic country, and searing psychedelia.
Ultimately, The Congress is a band that shows reverence for their roots through both cohesion and creativity. “It’s hard to pigeonhole us one way or the other,” says guitarist/vocalist Scott Lane. “We do what comes naturally, with a lot of focus on song and arrangement, and very little on genre. We’re not great at putting ourselves in one box.” That’s borne out on The Game, even on an initial listen. From the mournful sway of “Home Again” and “Farewell,” to the jazzy, soulful sound evident in “When I Got the Time,” it’s clear The Congress is as versatile as it is unpredictable. The slow, steady glide of “Poison and Antidote” and “This Ain’t Livin’” finds a perfect mesh with spry rockers like “Ain’t It Easy,” “September” and the title track, ensuring a subtle change in tone and tempo throughout.
Hard Working Americans is a mission as much as a band. Loose-limbed, freak flag waving specters caper inside this freshly minted but quicksilver evolving unit where the boogie politics of Haight-Ashbury canoodle with southern muscle, blue-collar understanding, and a bold rallying cry for true American individualism, freedom and community.
"The description of church I got as a kid – a joyous celebration of life and gratitude - was nothing like the reality of it, and I feel like this band is a spiritual outlet that lives up to the description," says lead singer, professional scallywag and People's Preacher Todd Snider. "I feel like I'm the small part of a bigger thing. I think the deepest thing music does is make people dance and Hard Working Americans is here to make folks move." Formed in late 2013, HWA comprises Snider, bassist Dave Schools (Widespread Panic), guitarist Neal Casal (Chris Robinson Brotherhood), keyboardist Chad Staehly (Great American Taxi), drummer Duane Trucks and guitarist Jesse Aycock.
"We all agree it's our job to challenge people. What've we got to lose? And it's easy with this group of musicians," says Schools. "We have these two young bucks, Jesse Aycock and Duane Trucks, who are just so in love with and dedicated to the craft and eager to try anything. And then you've got guys like Neal, Chad and me who've been through a million situations of varying levels of success, so we've got the point of view that we can get away with whatever we want in this band. Couple that with the enthusiasm of Jesse and Duane and it's this potent creative engine with no boundaries. And Todd is just an overwhelming output of words and ideas. It's a pretty ideal situation."
The group's self-titled debut was released January 2014 and featured 11 inspired, timely compositions by standout but often overlooked composers like Will Kimbrough, Kevn Kinney, The Bottle Rockets, and more. Part of the HWA mission is shining a light on the folks that get missed in the modern shuffle, and the way the guys crawl inside the songs brings each song to vibrant incarnation, a process that only accelerated more intensely once they took this bohemian revival on the road, something happily evident on the upcoming concert film & live album The First Waltz. Directed by Justin Kreutzmann, the film offers an insightful, copacetic-minded snapshot of the beginning chapter of this fertile new collaboration. But the title The First Waltz is telling. As anyone who's seen HWA live, the longer this project percolates the more they discover "gears we didn't know we could use," , as Neal Casal observed after a recent late night festival barn burner.
"From the beginning, we all agreed to serve the songs and not do some rote bar band covers. The idea was to deconstruct the songs down to their essence and then build them up as a group," explains Schools. "We made the first record and it was good but once we brought in Jesse and started tour rehearsals we knew instantly we had lightning in a bottle. The obvious question was, 'What's next?' Prove our mettle with original material."
"The transition to original music has been really easy because of how well and how quickly this band has gelled," says Schools. "We finished the first tour in February and went directly into the studio in Chicago in the dead of winter, which was great because we were trapped in there [laughs]! We just started playing around with some of Todd's ideas and Neal just poured out 20 years worth of riff-rock that he'd kept in some vault he'd forgotten about inside himself. So, it's this sort of psych-rock, riff-rock, garage-y sounding thing with hints of Americana song forms."
The clear flow and friendship in Hard Working Americans is easy to see, and the gravity of what they're doing develops a stronger, more irresistible pull the longer they serve this mission. "When music becomes almost religious it doesn't need to be a show. It can be a real experience, where the gathering before and hang afterwards all matter to the whole thing, " says Snider. "I think it's the highest calling I can put my ability to rhyme orange with door hinge to. I feel like I've been preparing my whole life to rhyme words for Dave Schools."BUY TICKETS
Autism Speaks Gala
Alpha Xi Delta Presents: Autism Speaks Gala
Date: Friday, September 23, 2016
Location: Brooklyn Arts Center - 516 N. 4th St.
Time: 7PM - 11PM
The Alpha Xi Delta sorority - Zeta Chi Chapter at UNCW is excited to announce the first annual Autism Speaks Gala! Join us in Historic Downtown Wilmington at the Brooklyn Arts Center to raise money for Autism Speaks. A DJ, silent auction and photobooth will be taking place. There will also be raffle prizes and cornhole. Hors d'oeuvres will be provided and the BAC cash bar will be open! The dress code is cocktail attire. All proceeds will go to Autism Speaks!
If you purchase your tickets before August 20th, you will receive a $10 discount. After said date, the price will be as follows: $30 for students, $40 for non-students, and $50 at the door. Get your ticket from an Alpha Xi Delta member, or email firstname.lastname@example.org.
Tickets include the hors d'oeuvres, one free ticket into the raffle drawing, and a great time!
Feel free to invite friends and family to this event as well, anyone with a purchased ticket is welcome!
We are grateful for the support and look forward to seeing each one of you!!
About the charity: Autism Speaks
"Autism Speaks was founded in February 2005 by Bob and Suzanne Wright, grandparents of a child with autism. Their longtime friend Bernie Marcus donated $25 million to help financially launch the organization. Since then, Autism Speaks has grown into the world's leading autism science and advocacy organization, dedicated to funding research into the causes, prevention, treatments and a cure for autism; increasing awareness of autism spectrum disorders; and advocating for the needs of individuals with autism and their families. We are proud of what we've been able to accomplish and look forward to continued successes in the years ahead."
What is Autism?
Autism spectrum disorder (ASD) and autism are both general terms for a group of complex disorders of brain development. These disorders are characterized, in varying degrees, by difficulties in social interaction, verbal and nonverbal communication and repetitive behaviors. With the May 2013 publication of the DSM-5 diagnostic manual, all autism disorders were merged into one umbrella diagnosis of ASD. Previously, they were recognized as distinct subtypes, including autistic disorder, childhood disintegrative disorder, pervasive developmental disorder-not otherwise specified (PDD-NOS) and Asperger syndrome.
ASD can be associated with intellectual disability, difficulties in motor coordination and attention and physical health issues such as sleep and gastrointestinal disturbances. Some persons with ASD excel in visual skills, music, math and art.
Autism appears to have its roots in very early brain development. However, the most obvious signs of autism and symptoms of autism tend to emerge between 2 and 3 years of age. Autism Speaks continues to fund research on effective methods for earlier diagnosis, as early intervention with proven behavioral therapies can improve outcomes. Increasing autism awareness is a key aspect of this work and one in which our families and volunteers play an invaluable role.BUY TICKETS
The Wood Brothers
Huka Entertainment & 98.3 The Penguin Presents:
The Wood Brothers
Sunday, October 9, 2016
Doors at 6:00 PM, Show starts at 6:30PM
This is an all ages event!
The cover of The Wood Brothers' gorgeous new album, 'Paradise,' is adorned with an illustration of a mule staring at a carrot dangling just inches in front of its mouth. The carrot, though, is hanging from a stick affixed to the mule's own head. "In some ways, he's already got it," explains guitarist Oliver Wood. "And in some ways, he'll never have it."
That paradox is at the core of 'Paradise,' an album about longing and desire and the ways in which the pursuit of fulfillment can keep it perpetually out of our reach. It's a beautiful collection, the band's most sophisticated work to date and also their most rocking, with bassist Chris Wood playing electric on tracks for the first time. Recorded at Dan Auerbach's Easy Eye studio in Nashville, 'Paradise' captures the latest chapter in the ongoing evolution of a band—and a family—navigating the joy and challenges of a life in music.
Dubbed "masters of soulful folk" by Paste, The Wood Brothers released their debut studio album, 'Ways Not To Lose,' on Blue Note in 2006. You'd be forgiven at the time for expecting it to be something of a side project. Chris Wood already had legions of devoted fans for his incomparable work as one-third of Medeski Martin & Wood, while his brother Oliver toured with Tinsley Ellis before releasing a half-dozen albums with his band King Johnson. Almost a decade later and with drummer Jano Rix added as a permanent third member, it's become quite clear that The Wood Brothers is indeed the main act. 'Paradise' follows the band's acclaimed 2013 release 'The Muse,' which was recorded almost entirely live around a tree of microphones in Zac Brown's Southern Ground studio. Hailed previously by the New York Times for their "gripping" vocals and by the LA Times for their "taught musicianship," the brothers found the live setting to be a remarkable showcase for their live chemistry and charismatic magnetism. But when it came time to record 'Paradise,' their fifth studio album, the band knew the music called for a different approach.
"For this album, we wanted to have a more up-close and dry sound," explains Chris. "I worked on another record at Easy Eye and I just loved the room. Dan's studio is cool because it's not old, but it feels that way when you walk into it. It reminds me of Sun Studios. It just has that feeling of a small room with natural compression, and I think you hear that in the sounds on the record." The decision to record in Nashville was no coincidence either, as this marks the first album written with the entire band living in Music City.
"Oliver and I spent a lot of hours just in a room together writing songs," says Chris. "That's really never happened before. All the music in the past was written long distance or over the course of touring. It's definitely the most collaborative album we've ever made." "It was kind of a luxury to be able to play together not just at a soundcheck," adds Jano. "It was a different starting point. Rather than people bringing in compositions that were relatively finished, we were starting from the ground up as a group."
The album opens with "Singing To Strangers," which sets the tone for what's to come both musically and thematically. "Singing to strangers is something we do every night," explains Oliver, "and there's some satisfaction about singing to strangers. It's this weird thing that I think we get addicted to. It's not that we need attention as much as we need connection. On a good night, when we're singing to strangers, everybody in the room bonds, and you have this amazing sense of connection."
That desire for connection permeates the album, from "Touch Of Your Hand"—a song about what Chris describes as "the most basic human need that there is"—to "Two Places"—a track about longing for home and family while on the road—to "Never And Always," which examines the fundamental emotional experiences of loneliness and belonging. "Snake Eyes" and "American Heartache" both explore the dark side of longing, how the constant need for more in our consumer culture can engender a perpetual dissatisfaction with never having enough, while on "Without Desire," they find the beauty and the magic that the titular emotion can bring into our lives.
"Desire gets a bad rap sometimes," explains Chris, "and people think it's the root of all of our problems. We wanted a song that said, 'Maybe it's not, maybe we need it.' What would it be like if we didn't desire all those good things in life?" In addition to Chris's electric bass, which appears on two tracks, the album also showcases Jano's "shuitar," a portmanteau for "shitty guitar." The name belies the instrument's complexity, though. It's actually an acoustic guitar that Jano has rigged up with noisemakers to function as an easy-to-travel-with drum kit.
"I made one in The Wood Brothers because we needed a portable drum set we could take to play on sessions and on the radio," he explains, "but then we've been using it so much live, we started writing for it and not wanting it to even sound like a drum set anymore. We wanted to let it be its own thing." It turns up prominently on "Heartbreak Lullaby," which also features guitar playing from Oliver inspired by field recordings of African folk musicians. There's more to Jano than percussion, though, as he sits down at the piano on several tracks on 'Paradise,' including album closer "River Of Sin."
"That song imagines how when people get baptized in a river, it's supposed to wash away their sins," explains Chris. "But what happens to the water? Where do the sins go? And what if you live downstream from all that baptizing?"
It's a fitting, lovely, gospel-tinged ending to an album that traces both the darkness and the beauty in our nature, the perpetual hope and the futility of it all. The quest for the carrot often blinds us to the fact that we already possess it, and that's the irony of desire. "He who is not contented with what he has would not be contented with what he would like to have." Socrates said that. "I can't live without desire / If I didn't want anything / Why would I rise? / Why would I sing?" The Wood Brothers said that.BUY TICKETS
American Songwriter Presents:
Tuesday, November 8, 2016
Doors at 7:00 PM, Show starts at 8PM
This is an all ages event!
Anderson East learned to sing and play guitar at 11 years old. He is the grandson of a southern Baptist preacher, while his mother played piano in the church. After spending much of his time touring and engineering records, he was discovered by Dave Cobb at Nashville's Bluebird Café.
His debut album on Low Country Sound / Elektra, entitled 'Delilah,' was released on July 10th, 2015. Before the release East started touring nationally in January 2015 as direct support for Sturgill Simpson. In addition to his own sold-out headline shows, he has toured with Brandi Carlile, The Lone Bellow, Jason Isbell, and John Butler Trio. "Satisfy Me" was the first single released off the record. It instantly went top 10 viral on Spotify and received regular radio airplay. NPR music called 'Delilah' an "eclectic, fully formed debut album." Daytrotter wrote, "It's one of those 10-song records that's damned near perfect, traveling through the old, smoky bars of older days and down the twisted back roads of love." On July 15th, 2015 East made his television debut on "Late Night with Seth Meyers," and also appeared on "CBS This Morning Saturday" in support of his album.BUY TICKETS
Concerts & Events
Brooklyn Arts Center is the most stunning and spectacular small-market, multi-use event venue in the region. We host weddings, concerts, fundraisers, art shows, upscale vintage flea markets, and other community-driven events.
There is abundant free parking in our neighborhood on North 4th Street or you can park in Historic Downtown Wilmington, two minutes away, and take the free trolley, which stops on North 4th Street in front of the church.
BAC is available to outside promoters. We offer state-of-the-art house sound and lighting systems and the finest event support service in the Southeast. If you'd like to bring an event to the Brooklyn Arts Center, contact Executive Director Richard Leder at email@example.com.
Unless otherwise stated, BAC is a standing-room-only venue. For some concerts, there is limited, first-come/first-served seating on the balcony, with the purchase of a balcony ticket.
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