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Heather Hambor Photography_Jon Stickley Trio_2017_53.jpeg

Jon Stickley Trio. Photo By Heather Hambor

 

Jon Stickley Trio Releases Maybe Believe on May 12, 2017
Produced by Dave King (The Bad Plus) at Echo Mountain Studios in Asheville NC

Thoughtful & energetic”Bryan Sutton

Watch a behind-the-scenes video from the recording session → www.youtube.com/watch?v=ccQB75r3Vww

ASHEVILLE —  Riding the wave of their critically acclaimed 2015 album, Lost at Last, Jon Stickley Trio independently releases their 3rd full length album, Maybe Believe, on May 12, 2017. Jon Stickley Trio combines Jon Stickley’s rapid-fire flatpicking guitar with the sultry and wild, yet refined, melodies of Lyndsay Pruett on violin set over the deep groove of Patrick Armitage on drums.

“The latest record from the Jon Stickley Trio flexes new and strong muscles, utilizing more progressive structures and deeper pockets than ever before,” says Producer Dave King (Of The Bad Plus). “All the while, the group retains its place as a modern-thinking acoustic ensemble with one foot in tradition and the other in a bluegrass honored future that allows for the avant garde, punk, and be bop to mix in freely and tastefully.”

Greensky Bluegrass’ Anders Beck says of Jon, “Sure, comparisons to previous musicians are a good way to explain a new artist to the masses, but to do so is to cheat Stickley of what he really is: a damn genius, a musical mastermind, and one of the most unique, creative, and inventive guitar players I’ve ever heard…  Stickley’s guitar playing shares as much in common with the flow of the greatest rappers of all time as it does with his flatpicking heroes…”

1-Maybe-Believe-FrontThe album title, Maybe Believe, is a continuation of the theme from Lost at Last. With Lost at Last, the band was stepping away from their collective musical past, into new territory that was somewhat uncomfortable, but also inspiring and free. With Maybe Believe, they have become more comfortable in their own skin yet retain an element of vulnerability while continuing to move into uncharted territory. This album marks the next step in the band’s evolution, and takes the listener to original and unexpected new places that still embody the familiarity of the Jon Stickley Trio’s signature style.

 

Dave says, “I was honored to be a part of this evolution and I think we made a very compelling album for music fans and musicians of all kinds.” This is his second time joining forces with the Trio at Echo Mountain Recording Studio in the band’s hometown of Asheville, NC, once again working with Engineer Julian Dryer. Both were also on board for Lost at Last which garnered praise from The New York Times, NPR’s Heavy Rotation, NPR’s World Cafe, Folk Alley, Premier Guitar Magazine, Acoustic Guitar Magazine, Performer Magazine, and many others.

Stickley says, “We had just gotten to know Dave last time and had such a good time. Bringing him in again takes the whole thing up a notch. It was a completely different experience, after traveling all over the place touring [in 2016 the Trio drove over 50,000 miles], over time we’ve developed a cohesion as a band where we intimately know each other and can feel where each other is wanting to go and respond. It’s developed into a tight musical relationship.”

The album’s opening track, “Jewels,” is a short, mellow, piece which serves as the album’s prologue, setting the tone of the record, quieting the mind of the listener. It’s a cleansing of the palette before the full course, and features the delicate harmonics of Jon and Lyndsay along with and Patrick’s textural brushwork.

Then they go full throttle with “Playpeople,” an eclectic piece that draws inspiration from Green Day, Duran Duran, Grateful Dead, and David Grisman Quintet, but in the end, is ultimately pure Jon Stickley Trio. This track’s title is a gender-neutral term for someone who likes to have a good time, and does so despite all external obstacles and displays the Trio’s fun-loving energy and virtuosity, as well as their controlled intensity.

Almost With You” and “Mt. Sandia Swing” highlight the Jon Stickley Trio’s ability and inclination to play with polyrhythms and layer different grooves on top of each other. Dave King described “Sandia” as “The Violent Femmes… playing Jazz.”

Jon Stickley’s music brings forth mental imagery from the soundscapes the band has created in songs like “Slow Burn,” which is a like simmering pot of stew that occasionally boils over, while “Microbruise” embraces the fun-loving nature of Asheville’s beer brewers and drinkers, and “Cecil” is the Trio’s heaviest song yet featuring seamless interplay between guitar and violin with a sludgy, old school, John Bonham style drumbeat.

The aforementioned songs were all penned by Stickley, while Lyndsay Pruett’s hand brings forth a couple of jazzier numbers. A highlight of the record, “The Price of Being Nice” has a quirky, infectious theme that is explored throughout the song with a somewhat deconstructed treatment that allows the Trio to shine. Pruett also wrote “Lady Time,” a short solo song that closes out the album that features her distinctive pizzicato playing and improvisations.

The album contains three covers, “Jerusalem Ridge” (a Bill Monroe tune with a twist that has become a staple at live shows), “Avril 14th’ (a piece by Richard James a.k.a. Aphex Twin), and “Birdland Breakdown” (a tune by mandolinist John Reischman which also appeared on Tony Rice’s jazz-grass album Still Inside).

Jon Stickley Trio On Tour
3/10 Fri – The Grey Eagle – Asheville, NC
3/15 Wed – The Station Inn – Nashville, TN *w/ The Dustbowl Revival
3/16 Thu – The Earl – Atlanta, GA w/ The Dustbowl Revival
3/17-18 Fri-Sat – Anastasia Music Festival @ St. Augustine Amphitheater – St. Augustine, FL
3/21 Tue – Taos Mesa Brewing – El Prado, NM
3/22 Wed – House Concert – Albuquerque, NM
3/23 Thu – Last Exit Live – Phoenix, AZ
3/24 Fri – Coconino Center For The Arts – Flagstaff, AZ
3/25 Sat – Seven Grand – San Diego, CA
3/29 Wed – Throckmorton Theatre – Mill Valley, CA
3/30 Thu – Neck of the Woods – San Francisco, CA
3/31-4/1 Fri-Sat – WinterWonderGrass – North Lake Tahoe, CA
4/6 Thu – The Stage at KDHX – St. Louis, MO
4/7 Fri – Rhythm and Blooms Festival – Knoxville, TN
4/8 Sat – Albino Skunk Festival – Greer, SC
4/12 Wed – Willie’s Locally Known – Lexington, KY
4/13 Thu – The Fire Pit’s Side Bar – Milwaukee, WI
4/14 Fri – Mid West Music Festival – LaCrosse, WI
4/15 Sat – Two Brothers Roundhouse – Aurora, IL
4/29 Sat – WV Craft Brew Fest – Lewisburg, WV
5/12-13 Fri-Sat – LEAF – Black Mountain, NC
5/19 Fri – Lower Town Arts & Music Festival – Paducah, KY
5/20 Sat – Moonshiner’s Ball – Berea, KY
5/26 Fri – Rooster Walk – Martinsville, VA
6/8 Thu – Founders Brewing – Grand Rapids, MI
6/9 Fri – Parliament Room at Otus Supply – Ferndale, MI
6/10-11 Sat-Sun – NorEastr Festival @ County Fairgrounds – Mio, MI
7/15 Sat – Red Wing Roots Music Festival – Mount Solon, VA
7/29-30 Sat-Sun – FloydFest – Floyd, VA
More dates TBA!

Maybe Believe Track Listing*

  1. Jewels 2:03
  2. Playpeople 4:36
  3.  Almost With You 3:39
  4.  Slow Burn 4:47
  5. Jerusalem Ridge (Bill Monroe) 5:36
  6.  Avril 14th (Richard James a.k.a. Aphex Twin) 1:59
  7. Cecil 4:36
  8.  Microbruise 3:19
  9. The Price of Being Nice (Lyndsay Pruett) 3:39
  10.  Mt. Sandia Swing 4:23
  11.  Birdland Breakdown (John Reischman) 3:54
  12. Lady Time (Lyndsay Pruett) 3:44

* All songs written by Jon Stickley unless otherwise noted

For more information and updates from the road, please visit www.jonstickley.com, www.facebook.com/JonStickleyTrio, www.instagram.com/jonstickleytrio, and www.twitter.com/StickleyMusic.

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New Truth & Salvage Co. Single “Black Ribbon Highway”
A Family Affair Celebrating Trails Blazed Both Past and Present

First fully independent release from roots rock band with Black Crowes ties; inspired by the history and vast terrain of eastern New Mexico, where T&SCo guitarist’s father (who co-writes) grew up a wildcatter’s son and a “crusty” rancher’s nephew

Truth & Salvage Co. is set to release a new single called “Black Ribbon Highway” on Tuesday, December 2, 2014. Co-written by guitarist/vocalist Scott Kinnebrew and his father Michael Kinnebrew last year, the song was inspired by the elder Kinnebrew’s adventures as a youth splitting time between oil prospecting with his “wildcatter” father across East Texas and being “schooled on the hard-working ranch of a crusty, homesteading, cowboy uncle,” as he describes it, on the plains of eastern New Mexico.

This will be T&SCo’s first release after parting ways with the record label and management they’d been with since their 2008 inception. “It was great working with Pete [Angelus, of Angelus Entertainment],” says Scott Kinnebrew, “he introduced us to the Black Crowes and to Megaforce Records and we had a wild and fun ride with them.” However, after two albums and an EP (including their self-titled debut produced by the Crowes’ Chris Robinson) and five years of steady road work with the Crowes, the Avett Brothers and many others, the band needed to hit the reset button and take a breather.

Now, having toured extensively behind last year’s well-received, self-produced album, Pick Me Up, the band members find themselves “experiencing an enjoyable diaspora,” says Kinnebrew, with drummer/vocalist Bill “Smitty” Smith taking time off in Lafayette, Louisiana, pianist/vocalist Walker Young living in Albuquerque, New Mexico, organist and keys player Adam Grace living in Tupelo, Mississippi, guitarist/vocalist Tim Jones and bassist Dean Moore holding down base camp in Nashville, and Kinnebrew hanging tough in the underbelly of Hollywood, where the band spent their initial phase.

Plans to write, record and resume touring are set for the spring of 2015. In the meantime, the release of “Black Ribbon Highway” is meant to “keep the fire burning with our fans while we’re off the road,” Kinnebrew says, and in a small way to welcome to the world T&SCo’s first “band baby,” Smitty’s daughter with his wife Monti, Charlie Marie.

Says Kinnebrew, “The circumstances of this song are so unique and tied to family that the band felt we’d best serve the song by offering it as a single now, during the holidays, rather than holding the song until another record was ready.”

brh cover cdbaby“Black Ribbon Highway”
— The Backstory

Michael Kinnebrew’s summer months as a pre-teen in the Fifties were spent with his uncle at the Reversed LK Bar ranch in eastern New Mexico. In the non-summer months he’d drive with his dad all around the mammoth state of Texas prospecting for oil. Michael’s father was a “wildcatter,” a “total rambler” who would take young Michael on never-ending backcountry pursuits of land leases that might or might not produce oil. Most often not.

Which meant that those summers at his uncle’s ranch made up Michael’s favorite memories; he could spend his days playing, being a kid and riding horses instead of driving with his dad all around Texas sniffing out oil. The highway sung about in the song is Texas Highway 84, once a trail that made up an early part of the storied Route 66. It was the road Michael rode every summer to get to the Reversed LK. He writes in the lyrics to “Black Ribbon Highway,” “You’re the trail that carried this boy through his life.”

The Writing and Recording of “Black Ribbon Highway”

Scott describes his dad and co-writer as “a new old-timer who recently has been taking to songwriting and guitar-fixing.” A highly accomplished oral surgeon who specialized in repairing cleft palates, Dr. Kinnebrew “just decided he wanted to learn how to fix old jacked-up guitars, so he taught himself and he’s really good at it,” says the younger Kinnebrew. “He had the lyrics to what became ‘Black Ribbon Highway’ when I visited home last. Then we just sat down together with guitars and carved out the music and the melody.”

Scott had forgotten about the song after a few months, but his dad kept on him about how great it would be if Truth & Salvage recorded it. Scott says, “I kept blowing the idea off, but finally I sat down to listen to the voice memo we made and was surprised by how cool the song turned out. I recorded a demo and sent it to the band and asked them if we could schedule a day off during a run last summer to get into a studio and track it. They love my dad, and they really loved the tune and said ‘Hell yes!’”

Michael met up with Truth & Salvage Co. for two days at Electric Thunder Studio in the heart of Nashville’s “studio city” neighborhood, Berry Hill. ET’s Geoff Piller engineered and provided invaluable insight, while Scott Kinnebrew took his first-ever turn at producing. They spent a short time running over the tune and finalizing the arrangement, and then just dug in and went at it.

“All the parts everybody ended up bringing to the table were perfect,” Scott reflects, “and my dad was a kid in a candy store, never having recorded in a studio before. His energy brought something real special to the table. His harmonica playing set the whole tone for the session! We had a blast recording with him.”

For more information and to stay up to date with Truth & Salvage Co., please visit www.truthandsalvageco.comwww.facebook.com/truthandsalvageco, www.twitter.com/truthandsalvage, www.youtube.com/user/truthandsalvageco.

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Asheville, NC band Stephaniesid return with their sparkling, new pop gem Starfruit, cementing their status as one of the region’s most ambitious, innovative, and influential bands.In the downtime since their last record, lead singer Stephanie Morgan formed a local songwriter’s group to help spur her creativity.

She began recording the songs that emerged from these sessions, and posting them online for fans. This collection of singles formed the nucleus for Starfruit, and the rest of the band joined her over the course of many months to record more material in the home she shares with husband/co-bandleader Chuck Lichtenberg.

As a result, Starfruit has a much looser, more organic feel than the band’s first three full-lengths, while retaining the band’s penchant for intricate arrangements, unusual textures, and virtuosic playing. The sprawling 14-track effort touches on all of the band’s many influences, even including a faithful cover of Dream Academy’s hit “Life In A Northern Town,” and a cheeky reworking of the Laverne & Shirley theme song.

BACKGROUND:
Stephaniesid quickly became a local powerhouse with their debut Spiral In (2005). The band was signed by Nine Mile Records in 2007 and released Grus Americanus, a record that NPR’s Robin Hilton described as “A mesmerizing mix of songs that can be hushed and calm one moment, and then suddenly dark and explosive the next.” Grus also spawned singles which appeared on HBO’s “Nurse Jackie,” the award-winning short film “The Red Helmet,” and numerous compilations.

In 2008, the band performed at Bonnaroo, and was reviewed in The Bonnaroo Beacon: “…a rather transcendent set …the band was different, melodic, quirky, and just plain good…. A sleeper act which hit the mark with an almost Bjork-like panache.”

2009’s Warm People garnered more national attention for the band, with plays on NPR’s “World Cafe” (“Sharp writing!” exclaims David Dye), and glowing reviews in Blurt, Billboard, and Big Takeover. By 2010, Stephaniesid had been named “Best Rock Band” in Asheville in the (weekly paper) Mountain Xpress poll 4 years in a row.

Touring in support of “Starfruit” are Steph (vox, guitar, synth), Chuck (keyboards, vox), Maine-born Tim Haney (drums), and former NYC horn players Justin Ray and Jacob Rodriguez, with Matthew Richmond (vibraphone) and Jonathan Pearlman (guitar) also appearing on shows in the Southeast.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

“This looks happy, but the music hits much deeper. Stephanie Morgan’s vocals [move] delicately between The Sugarcubes and The Sundays, but always with a childlike wink and skip…. Sometimes the band evinces a sadness that lives in the world, but there is always an answer of music and joy to bring light out of every possible shadow.” –Marcel Feldmar, The Big Takeover Magazine

“The songs move from intimate to anthemic… effortlessly poetic letters…acute insights … shimmering synth hooks and smoothly shifting melodic textures… difficult to classify but easy to love.” –Wayne Robins, Billboard Magazine

“This is world-class music, period. No labels necessary.” –Fred Mills, Blurt Magazine

ARTIST: Stephaniesid
TITLE: Starfruit
CATALOG NUMBER: NMR 0123
RELEASE DATE: October 18, 2011
FOCUS TRACKS: #1 Closer, #4 I Like It,
#5 Cinematic, #7 Life In A Northern Town
BEST MARKETS: Asheville, NC, Charlotte, NC,
Atlanta, GA, Cincinnati, OH, Greenville, SC

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Ukuleles aren’t just for luaus anymore!!! The Mad Tea Party headlines Hub City Ukefest 9/24! Read more about it in this great interview with Matt Wake from the Greenville Metromix! Also find out more about their NEW Halloween EP, “ROCK-N-ROLL GHOUL” at this previous post.

In October, the band will release its “Rock ‘n’ Roll Ghoul” four-song Halloween EP via seven-inch vinyl and digital download. The set includes detours into doo-wop and psychedelia. (Credit: Jonathan Welch)

Ukuleles aren’t just for luaus anymore

Hub City Ukefest boasts three bands, instrument-maker

By Matt Wake, Metromix

The ukulele Ami Worthen plays in Asheville indie duo Mad Tea Party is hot-rodded, both visually and sonically.  Berkley, Calif., luthier Peter Hurney built Worthen a uke with a black-with-flames paintjob (a la ’50s dragster) and she plugs the axe into a guitar amp. And distortion pedal.

“I’m really into the ukulele as a rhythm instrument and the percussive sound of it,” Worthen, 29, says. “The way I play it is almost like a snare drum. That’s the thing I really dig about it: Its ability to provide an exciting groove.”
She first heard the ukulele on an old-time album from Brad Leftwich and Linda Higginbotham. Worthen took up the instrument about five years ago.

On Sept. 24 Mad Tea Party—which includes guitarist/drummer Jason Krekel and draws from influences including Bo Diddley—will headline the Hub City Ukefest. The show also features Greenville’s Lil’ Junior, who cover Ry Cooder and Velvet Underground tracks, and Spartanburg combo Snidely Sidewinder & The Unrepentant Uke Boys.

READ THE FULL ARTICLE HERE: http://greenville.metromix.com/music/article/ukuleles-aren-t-just/2192390/content

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The Mountain Xpress in Asheville printed some wonderful coverage of this years Lexington Ave Arts and Fun Festival (LAAFF).  I am going to post some exceprts from each with inks to the full articles and intermingle a few of my shots from the fest… Check it out.

Great article on the LAAFF Music, the Asheville Music Scene, and the evolution thereof:

Rockin’ in the freak world

This year’s LAAFF music lineup is more indie than ever

by Alli Marshall in Vol. 17 / Iss. 06 on 08/31/2010

Molly Kummerle of Paper Tiger

Browsing old Xpress coverage of the inaugural LAAFF turned up this walk down memory lane: “More than 25 local acts [are] scheduled to appear on two stages. Highlights include Devilish Mary (all-girl string band with Cary Fridley, performing at noon); The Oxymorons Comedy Troupe; rising rock stars Drug Money; West African drum-and-dance group Ballet Warraba; and celebrated burlesque troupe The Rebelles.”

Yes, it was just as eclectic seven years ago as it will be this year, only this year there are almost twice as many acts and six stages. And, there’s another notable difference: This year’s LAAFF takes on an indie-rock flavor that it’s never had before.

“We try not to have repeats from year to year,” explains festival organizer Erin Scholze. “We sift through the genres. It seems like this year there are just a lot more successful indie bands.”

Here’s what that evolution looks like: Toubab Krewe headlined in 2005 (along with Strut, stephaniesid, the Great Slide, Cabo Verde, Fifth House, Mad Tea Party, the Buckerettes, Aaron Price and Christina Aurea).

LAAFF Electric Stage 2010

In 2006, Jeremy Long (then-percussionist with Avec La Force Percussion and Dance Initiative) told Xpress, “The planning committee decided LAAFF needed to be more diverse this year.” Enter Flamenco Saltado, Soora Gameela, Baraka Mundi, Banana da Terra, the Shining Rock Reggae Band and Nbale (Newborn Ancient Love Ensemble) with Biko Casini of Strut on West African balaphone — a group formed just for LAAFF.

LAAFF circa 2007 hinted at indie rock — the Sophisticated Chimps fit that bill, along with Speedsquare and Nevada. But the balance was jam, experimental and world music.

“Do everything faster”

… … … … …Check out this portion of the inter view with Kovacs and the Polar Bear here.

Just for LAAFF

Take Nbale. That band formed for LAAFF four years ago after Scholze noticed a number of players (Nbale included Casini, Ryan Reardon, Simon Tisman & Sage Sansome) from various bands waiting out a rainstorm together in a College St. storefront and suggested they try playing together. Another mashup was Sons of a Keeled Over Snake with members of Sons of Ralph, Larry Keel & Natural Bridge and Snake Oil Medicine Show.

“We’ve always called it a showcase event,” Scholze says of LAAFF. “You walk up the street and you are going to hear something you never would have heard. It’s a way for the musicians to intermingle with each other as well.”

Asheville Horns LAAFF 2010

Asheville Horns was also born of an opportune moment: A group of local brass players were tapped to record with Laura Reed and Deep Pocket. “Someone said ‘You should become a horn-rental section,’” recalls trombonist Derrick Johnson, whose main gig is with Yo Mama’s Big Fat Booty Band. They did, and putting a bunch of horn players together “gave us a chance to play different types of funk,” says Johnson. Soon, Asheville Horns wasn’t just a brass section for hire, but a band with its own shows.

Johnson, a fan of collaborations, co-created the local Funk Jam (held every Tuesday at the Emerald Lounge) when friends from a Long Beach, Ca.-based funk band were visiting Asheville and looking for a place to jam. Musician/soundman/promoter Frank Bloom offered up Emerald Lounge, and what was meant to be a one-off evolved, over the last two years, into a full-on scene. That scene attracts not just local performers, but touring musicians from bands like Dirty Dozen Brass Band, Galactic and Phish. For new-to-town musicians, “It gave people a chance to get established in the scene,” says Johnson. “People started getting different phone calls for different gigs. It was a card-swapping music exchange.” … Networking for funk players.

A festival that helped build the musical landscape

Dj Candice B at LAAFF 2010

Those kinds of opportunities to meet and mix have changed the sonic topography of Asheville in recent years. When LAAFF started, “People didn’t know each other,” Scholze says. “As the years have gone on, they started doing the funk jam and that brought in people like Vertigo Jazz Band and Matt Williams. That [created] the soul-jazz thing and now they’re cultivating that.” Scenes have formed around common interests, and each scene (jazz, jam, funk, etc.) has its own following. “But I think the next step is for the [various] scenes to start connecting and opening up, maybe connecting the soul-jazz people to the orchestra-jazz people; maybe connecting some of the singer/songwriters to the funk jam,” says Scholze.

So, will next year bring a more decisive move toward indie-rock? Or perhaps an indie/world fusion? Will The Archrivals battle Nataraj? Will Woody Pines bring a DJ on stage? Will Sky Lake add a balaphone to its lineup? Whatever the next LAAFF brings — or this one, for that matter — it’s sure to be a surprise.

READ THE FULL ARTICLE HERE: http://www.mountainx.com/ae/2010/090110rockin-in-the-freak-world

Great writeup on the happenings other than the music at LAAFF. This article also gave a round up of all the LAAFFter parties:

LAAFF: More than music

Vol. 17 / Iss. 06 on 08/31/2010

Interactive

Tall Bike Freak Michael Mooney

• Bike Jousting: Though Michael Mooney’s tall bike will not return to LAAFF this year, his bicycle jousting — a game that Mooney developed specifically for LAAFF — will. Contestants gear up in foam armor, sit astride a bike with a banana saddle and elliptical wheels, and try to dismount their opponent with a boxing glove at the end of a long pole. Fun for kids and adults.
• Big Wheels for Big Kids: This new-to-LAAFF sport was also invented by Mooney and his friends. Adults board low-rider tricycle-like vehicles and race a track made of tires.
• Miss Kitty’s Interactive Arts Area: Made for adults and kids, the arts area features many performers from the ongoing Pritchard Park Cultural Arts Program. Asheville Hoops will be on hand, along with Stina Andersen’s Tunnel of LAAFFs, which gives participants a chance to note what they love about the festival on a CD that is then woven into a bamboo tunnel. Melissa Glaze of the Asheville Mural Project does live painting, Our VOICE organizes a hand-print project and a hope box for survivors of sexual violence. Check out a preview of the upcoming Freaks of Asheville Calendar and hang out in the sideshow world created by Royal Peasantry.
…and more…

Arts

This year, 82 arts and crafts vendors will sell their wares along Lexington Ave. Since the festival’s inception this number has grown along with the square footage of LAAFF itself, which now extends all the way to BoBo Gallery. The number of arts vendors this year exceeds the number represented in this year’s Arts Park at Bele Chere.

Theatre

Catch two very different theatre shows on the LaZoom Bus Traveling Stage: Asheville Playback Theatre…The Feral Chihuahuas…Unifire Theatre…Asheville Vaudeville…Street performers

Dance

There’s more than just music at LAAFF; there’s dance, too. Local movement artists show their stuff — many of these performers also teach classes…Belle Afrique…Asheville Dance Revolution…Asheville Hoops Troupe…Lisa Zahiya hip-hop and bhangra…
READ THE FULL ARTICLE with performer descriptions HERE: http://www.mountainx.com/ae/2010/090110laaff

Wonderful Local Food at LAAFF:

Festival of Flavor

LAAFF has eats and drinks to keep you dancing

by Mackensy Lunsford in Vol. 17 / Iss. 06 on 08/31/2010

The Hop Ice Cream serving it up

What’s a street festival without food? A grouchy group of drunken zombies, that’s what. Fortunately, for festival-goers, there are plenty of local restaurants available to help soothe the blood-sugar woes at LAAFF. Just what can revelers expect to see and taste?Several Lexington Avenue merchants will be represented at the LAAFF food court, and it’s only fitting — local is what this block party is all about. Look for local buffalo short ribs from the Lexington Avenue Brewery, for example. Want something a bit more exotic? Visit Mela’s booth for a taste of Indian cuisine on the streets of Asheville.

… … …

Plenty of local beer will be available at LAAFF, which should come as no surprise. Should you be teetotalling, however, there are options for you, too. Buchi will be pedaling their special brand of local kombucha, and two lemonade stands will be on hand to slake your thirst sans alcohol.

Enjoy the party — and don’t forget to bring your appetite.

READ THE FULL ARTICLE HERE: http://www.mountainx.com/ae/2010/090110festival-of-flavor

LAAFF stage schedules were laid out here http://www.mountainx.com/ae/2010/090110laaff-schedules

Full descriptions of the interactivities at 2009 LAAFF. Asheville Hoops, Stina Andersons-The Tunnel of LAAFFs, Melissa Glaze of Asheville Mural Project: Live painter, Freaks of Asheville Calendar Preview, Royal Peasantry and more are all laid out here in the MX  Interactive Arts area Performer Descriptions


LAAFF for the Kids:

Edgy Mama: LAAFFing with kids

by Anne Fitten Glenn on 08/29/2010

Related topics: parenting, Edgy Mama, LAAFF
It’s time again for that funkiest and most family-friendly of Asheville street fests: the Lexington Avenue Arts & Fun Festival, coming to that once raffish downtown area often referred to as Lex this Sunday, Sept. 5.There again will be a multi-tented kids’ area based in the parking lot between Downtown Books & News and Heiwa Japanese Restaurant. For the first time this year, Kids Universe, as it’s been dubbed, is being organized and run by the Asheville-based Earth Fare supermarkets.

READ THE FULL POST HERE: http://www.mountainx.com/ae/2010/edgy_mama_laaffing_with_kids

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