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Album of the Week: The Dessoff Choirs, ‘Margaret Bonds: Credo, Simon Bore the Cross’

“Finally!” booms the chorus, in the closing movement of Credo. The word resounds twice more, before the payoff: “Finally, Finally, I believe in Patience.”

W.E.B. Du Bois wrote the text, but it was Margaret Bonds, the composer of Credo, who repeated that “Finally” for emphasis, setting it against a dramatic blare of low brass and kettle drums. Bonds knew a thing or two about patience, but she couldn’t have known how prophetic this declaration would be in relation to her work. She lived to hear only one full orchestral performance of Credo, by the Albert McNeil Jubilee Singers in 1967. Zubin Mehta conducted the Los Angeles Philharmonic in a partial premiere of the piece — in 1972, months after her death at 59.

Bonds would surely have been pleased, and probably surprised, to witness the exalted reputation that Credo now holds within the classical and choral repertory. A proud centerpiece of Opera Philadelphia’s new season, it also now has a sterling performance on record by The Dessoff Choirs, a New York chorus whose previous releases include a world premiere in Margaret Bonds: The Ballad of the Brown King & Selected Songs. Now Margaret Bonds: Credo, Simon Bore the Cross brings new luster, and the utmost care of execution, to not one but two of Bonds’ celebrated late works.

The Dessoff Choirs

Juliana Sohn

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Courtesy of the artist

Under the baton of Malcolm J. Merriweather, The Dessoff Choirs has a profound simpatico with Bonds’ mature compositional style, a glowing synthesis of African American and European concert music. The chorus is also firmly aligned with the composer’s vision, and the way in which its realization today extends a legacy.

This is as true of Simon Bore the Cross, another piece Bonds never lived to see realized in concert, as it is of Credo. “Both texts reflect Bonds’ belief in racial uplift,” notes Dr. Ashley Jackson, the choir’s eminent harpist, in the album liner notes. “By centering black historical figures and setting words by black writers, she honors the accomplishments of her ancestors and contemporaries.”

Chief among those contemporaries was poet Langston Hughes, who became one of Bonds’ creative partners soon after they met in New York during the peak of the Harlem Renaissance. She set much of his writing to music; Simon Bore the Cross, which celebrates the North African man known in scripture as Simon of Cyrene, was a joint creation completed in 1965. The Dessoff Choirs imbue this work with solemn dignity, no less in a movement like “VII. The Crucifixion” than on the annunciatory Prelude. The deft balance of voices, strings and organ in this recording underscores the depth of Bonds’ orchestration, notably on “III. The Trial,” which alchemizes Middle Eastern scales and Negro spirituals, while largely avoiding the pitfalls of Orientalism.

Du Bois’ Credo was first published in The Independent, a New York newspaper, on Oct. 6, 1904. He reprinted it in his 1920 book Darkwater: Voices from Within the Veil, which is where Bonds encountered it.

W.E.B. Du Bois' Credo

W. E. B. Du Bois Papers (MS 312). Special Collections and University Archives, University of Massachusetts Amherst Libraries

‘Credo,’ by William Edward Burghardt Du Bois, published in 1904.

As Bonds scholar John Michael Cooper has observed: “The text is a masterpiece of a strategy of dual-perspective: its verbiage of racial harmony and scriptural imagery of children in green pastures beside still waters — language designed to convince skeptical Whites that Du Bois was committed to a racial harmony founded in the Judeo-Christian institutions that they professed to adhere to — is nestled in a fierce pride of Black lineage and self, condemnation of war, and (most importantly) the overarching thesis that racial equality and justice were not things that were granted by humans (let alone White society) but rather were divinely ordained.”

Taking a cue from Du Bois, each of the eight movements in Credo begins with a statement of belief. The foundational opening phrase, “I believe in God,” bursts out of an anticipatory tremolo like the first rays of daybreak over a gray horizon. Bonds keeps her harmonic movement steady and stately, but with a gorgeous lyrical inflection; the gospel-tinged soprano solo in “II. Especially Do I Believe in the Negro Race,” warmly rendered here by Janinah Burnett, is just one case in point.

Bonds composed with an organic sophistication, smoothing over the seams of her many juxtapositions of musical style. Credo further describes an arc that could only have been painstakingly devised. The hints of parallel harmony in “III. I Believe in Pride of Race” provide a natural lead-in to the piece’s starkest flash of modern dissonance, “IV. I Believe in the Devil.” This in turn flows like a waterway into “V. I Believe in the Prince of Peace,” which finds Bonds at her most luxuriously tonal, courting Romanticism — up until the introduction of the phrase “war is murder,” and a breathtaking ensuing passage: “I believe that the wicked conquest / of weaker and darker nations by nations whiter and stronger / but foreshadows the death of that strength.” The storm subsides, and peace comes back into view, attended by an upswell of strings and a woodland drift of flutes.

Just as Bonds’ soprano soloist heralds “the Negro Race,” a baritone — in this case, a surefooted Dashon Burton — gives voice to “VI. I Believe in Liberty.” The shifting harmony in this movement suggests not a trumpeted manifesto but rather the expression of some noble, fragile aspirations. By the time we reach “VII. I Believe in Patience,” Bonds has taken us through an emotional landscape, exceptional in its dynamic nuance and tonal variation. Strikingly, too, the final movement returns to the A minor key and motivic material of the first movement. This cyclical turn emphasizes both the exhortation and the sublimated pain — ”the tardy triumph of Joy and the mad chastening of Sorrow” — in Du Bois’ final line: “Patience with God!”

The Dessoff Choirs will release Margaret Bonds: ‘Credo, Simon Bore the Cross’ on Friday; preorder here.




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Ice Cube, The Game & Cypress Hill Sell Out Melbourne Show; Announce Second Concert | theMusic.com.au

Ice Cube, The Game and Cypress Hill have proven that 90s hip-hop music is alive and well and extremely popular with Melbourne fans, as their show at Rod Laver Arena has sold out almost two months ahead of time. A second show has been added to meet demand.

The additional gig will take place on Wednesday, 22 March, meaning that the tour kicks off on that date with two Melbourne concerts before the iconic lineup hits the Adelaide Entertainment Centre, Qudos Bank Arena in Sydney and Brisbane Entertainment Centre. 

Tickets for Ice Cube’s second Melbourne show go on sale at 11 am local time on Monday, 6 February. Sign up to MJRPresents.com to get tickets as soon as they go on sale.

Born O’Shea Jackson Sr and professionally known as Ice Cube, the American rapper, actor, and filmmaker has enjoyed success and adoration over a 36-year entertainment career. His lyrics on N.W.A‘s 1988 album Straight Outta Compton were crucial in gangsta rap’s widespread popularity. His politically-driven solo records, AmeriKKKa’s Most WantedDeath Certificateand The Predator, are now iconic. Ice Cube was inducted into the Rock & Roll Hall Of Fame in 2016 as a member of N.W.A.

Ice Cube made Australian history in 2018, becoming the first rapper to headline the Sydney Opera House. His return in 2023 marks his first time playing in the country since that show and lines up with the 30th anniversary of his 1993 album, Lethal Injection.

I love performing in Australia. It’s been four long years since my last visit, and I can’t wait to return for a couple of history-making shows in 2023,” Ice Cube revealed.

Cypress Hill are renowned for their epic stage show. The California rap group are genre-shifting chameleons and performed thousands of shows when rappers struggled to get booked and crucially helped pave the way for rappers to use Spanish in their rhymes. 

Cypress Hill has a star on the Hollywood Walk Of Fame, sold over 9 million albums, and received three Grammy nominations. 2023 will be 30 years since the crew released their album, Black Sunday, which features Hits from the Bong and I Ain’t Goin’ Out Like That.

Rounding out the lineup is double-platinum artist The Game. Born Jayceon Terrell Taylor, Game emerged in the early 2000s with one of the rawest voices on the West Coast scene, combining intense autobiographical narratives and a creatively referential approach to hip-hop that has justified his stage name.

ICE CUBE, CYPRESS HILL & THE GAME

AUSTRALIA 2023 TOUR

Wednesday 22 March – Rod Laver Arena, Melbourne (new show)

Thursday 23 March – Rod Laver Arena, Melbourne (sold out)

Saturday 25 March – Adelaide Entertainment Centre, Adelaide

Sunday 26 March – Qudos Bank Arena, Sydney 

 


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Florence & the Machine, Sultans of Ping, and more… 

The Leeside stop of a short-notice Irish excursion for US rock’s underdog heroes takes them upstairs in the South Main Street trad outpost, with Limerick band Cruiser supporting throughout the tour. 

  • Tickets available on Eventbrite.

Carly Rae Jepsen

Saturday February 4 and Sunday February 5; Olympia Theatre, Dublin

Beloved of pop fans and the internet in equal measure, the Canadian phenom behind all-conquering hits like ‘Call Me Maybe’ performs for the weekend at the Olympia, including tunes from 2019 long-player ‘Dedicated’, leaning in a ’70s pop direction – but will her Dublin fans give her a sword? 

Florence and the Machine

Wednesday February 8, 6.30pm; 3Arena, Dublin

 A rescheduled date for the 2000s alt-pop queen for a visit to the Dublin arena, in what ought to be a celebratory experience for fans.

Lloyd John

Thursday February 9, 7pm; Cyprus Avenue, Cork

Alternative-pop wunderkind has powered out of the rural mid-west with a bag of choruses, and found his way to a number of sellout headliners in Limerick and Cork – the latter of which is the base of his first national headlining tour.

The Sultans of Ping

Friday February 10 & Saturday February 11, 8pm; Cork Opera House

To mark the 30th anniversary of the band’s debut album ‘Casual Sex in the Cineplex’, Leeside punk heroes hit the stage of the city’s prestige venue for a two-night stand; The Love Buzz and First Class & Coach open on Friday, with Pretty Happy and A Cow in the Water opening on the Saturday.

  • Remaining tickets on Ticketmaster.

Clannad

Saturday February 18, 6.30pm; 3Arena, Dublin

Rescheduled following the death of founder member and Brennan family uncle Noel Duggan, Donegal-originating folk outfit Clannad’s upcoming 3Arena excursion is billed as their ‘Farewell Dublin show’, as they begin to draw the curtains on a 50-year career.

Lifts

Saturday February 18, 8pm; Whelan’s, Dublin

Dublin art-rockers Lifts made a definite impression on your writer on a recent Cork excursion, mixing earnest, modern alt-rock with pensive, cathartic strings via a pair of live violinists – get in on the ground floor with this crowd.

The Drifters

Sunday February 19, 8pm; Cork Opera House

Original Drifters singer Rick Sheppard leads the group’s current incarnation through 1960s soul hits like ‘Under the Boardwalk’ and ‘Save the Last Dance for Me’.

Lisa O’Neill

Thursday February 23, 8pm; Whelan’s, Dublin

Cavan singer and songwriter launches new album ‘All This is Chance’, her first for UK indie institution Rough Trade.

Marie Keane

Sunday February 26, 8pm; Workman’s Club, Dublin

Singer and songwriter mixes folk, blues and soul with themes ranging from love and heartbreak to environmental protection – here, she launches second studio LP ‘MNÁ’, exploring the feminine, with all that entails.


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Boygenius, LCD Soundsystem, and Steve Lacy to Headline New Re:Set Concert Series

AEG Presents has announced a new outdoor concert series called Re:Set. It takes place in June and features three nightly concerts in three different cities with three different headliners. The headlining artists are Boygenius, LCD Soundsystem, and Steve Lacy, and the artists curated the bills for their respective shows.

The first shows take place on Friday, June 2. That night, LCD Soundsystem will headline a show at Stanford’s Frost Amphitheater; Boygenius will perform at Brookside at the Rose Bowl in Pasadena, California; and Steve Lacy will be playing Thrive Park at Snapdragon Stadium. Check out the full schedule below.

LCD Soundsystem’s openers include Jamie xx, Idles, Big Freedia, L’Rain, and more; Boygenius will go on the tour with Clairo, Dijon, and Bartees Strange; and Steve Lacy is touring with James Blake, Toro y Moi, and Fousheé.

Boygenius recently announced their new LP, The Record. Last year, LCD Soundsystem returned with their first new song in five years, “New Body Rhumba.” And, coming up, on February 5, Steve Lacy is performing at the 2023 Grammy Awards, where he’s nominated for Song of the Year, Record of the Year, and Best Pop Solo Performance for his breakthrough hit, “Bad Habit.”

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Re:Set Concert Series:

LCD Soundsystem:

06-02 Stanford, CA – Frost Amphitheater
06-03 San Diego, CA – Thrive Park at Snapdragon Stadium
06-04 Pasadena, CA – Brookside at the Rose Bowl
06-09 New Orleans, LA – Festival Grounds at City Park
06-10 Atlanta, GA – Central Park
06-11 Grand Prairie, TX – Texas Trust CU Theatre Grounds
06-16 Forest Hills, NY – Forest Hills Stadium
06-17 Boston, MA – The Stage at Suffolk Downs
06-18 Columbia, MD – Merriweather Post Pavilion
06-23 Nashville, TN – The Great Lawn in Centennial Park
06-24 Columbus, OH – Kemba Live! Festival Site
06-25 Chicago, IL – Riis Park

Steve Lacy:

06-02 Pasadena, CA – Brookside at the Rose Bowl
06-03 Stanford, CA – Frost Amphitheater
06-04 San Diego, CA – Thrive Park at Snapdragon Stadium
06-09 Atlanta, GA – Central Park
06-10 Grand Prairie, TX – Texas Trust CU Theatre Grounds
06-11 New Orleans, LA – Festival Grounds at City Park
06-16 Boston, MA – The Stage at Suffolk Downs
06-17 Columbia, MD – Merriweather Post Pavilion
06-18 Forest Hills, NY – Forest Hills Stadium
06-23 Chicago, IL – Riis Park
06-24 Nashville, TN – The Great Lawn in Centennial Park
06-25 Columbus, OH – Kemba Live! Festival Site

Boygenius:

06-02 San Diego, CA – Thrive Park at Snapdragon Stadium
06-03 Pasadena, CA – Brookside at the Rose Bowl
06-04 Stanford, CA – Frost Amphitheater
06-09 Grand Prairie, TX – Texas Trust CU Theatre Grounds
06-10 New Orleans, LA – Festival Grounds at City Park
06-11 Atlanta, GA – Central Park
06-16 Columbia, MD – Merriweather Post Pavilion
06-17 Forest Hills, NY – Forest Hills Stadium
06-18 Boston, MA – The Stage at Suffolk Downs
06-23 Columbus, OH – Kemba Live! Festival Site
06-24 Chicago, IL – Riis Park
06-25 Nashville, TN – The Great Lawn in Centennial Park


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A free Canberra Symphony Orchestra concert is coming to Queanbeyan!

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Get ready Tiny Dancers for a night where live music will flow along the Queanbeyan River with local artists bringing Elton John’s music to life.

The Canberra Symphony Orchestra, alongside Darren Percival & Band, have joined Icon Water and the Queanbeyan-Palerang Regional Council for the seventh edition of Music by the River.

You will be able to feel the love on Saturday 4 February, as you settle in with a picnic blanket on the bank of the Queanbeyan River and be swept away in the world of Elton John’s hits.

Head on down from 3 pm to secure your prime position (blankets and pillows are a must) and enjoy entertainment from local Canberra groups Harmony Chorus, Duralla Street Dudes and Woodface before the main act hits the stage at 7 pm.

Don’t want to pack a picnic? You better believe that the local food stalls will keep you ticking along.

“We’ll see a range of local talent while enjoying gelato, fresh coffee, cannoli, burgers and local wines from a variety of stallholders and food vans,” says Queanbeyan-Palerang Mayor Kenrick Winchester.

However, you can also never go wrong with taking some Jatz, cabanossi, and cubed cheese to snack on throughout the night.

Want to have a priority seat along the concrete steps? Book a ticket for $12—as this is a first-in, first-served arrangement so if you want a front-row seat it will be better to head down earlier rather than later.

Not as fussed about where you sit? Book a free ticket for the banks of the river.

Make sure you slap some sunscreen on before you head down as the sun will still have some bite to it at 3 pm but also chuck some warmer layers in your bag as the sun sets over the course of the performance.

Saturday night’s alright for fighting listening to free live music in Queanbeyan.

THE ESSENTIALS

What: Music by the River
When: 3 pm – 9 pm Saturday 4 February
Where: Queen Elizabeth II Park, 55 Collett St, Queanbeyan
Tickets and more information: eventbrite.com




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Upcoming concerts in Maine in early February

Music writer Aimsel Ponti has recommendations from Brownfield to Rockland.

PORTLAND, Maine — Here is a list of shows music writer Aimsel Ponti has her eye on for the next few weeks:

WHEN & WHERE: Saturday, Feb. 4 at the Stone Mountain Arts Center in Brownfield.

TICKETS: Tickets are $20. Click here for more ticket information.

INFO: Kris Delmhorst is a wonderful singer-songwriter and she’s been releasing albums since the late 90s. Her most recent album is the stellar “Long Day in the Milky Way.” Great voice, great songwriting!

SHOW: Griffin William Sherry with Dominic Lavoie

WHEN & WHERE: Friday, Feb. 10 at the Waldo Theatre in Waldoboro.

TICKETS: Tickets are $25 in advance or $30 the day of the show. Click here for more information.

INFO: Of course, he’s known as one of the singers from The Ghost of Paul Revere, but since the band has broken up it should come as no surprise that Griffin William Sherry is forging ahead with a solo career. 

SHOW: Gina and the Red Eye Flight Crew Presents: Breakup Before You Make Up: AN Anti-Valentine’s Day Ball

WHEN & WHERE: Monday, Feb. 13 at the Portland House of Music.

TICKETS: Tickets are $20. You can find more ticket information here.

INFO: This show is being described as an epic night of breakup songs from all decades and genres. What else do you need to know? 

SHOW: On A Winter’s Night with Cliff Eberhardt, John Gorka, Lucy Kaplansky, Patty Larkin

WHEN & WHERE:  Wednesday, Feb. 15 at The Strand Theatre in Rockland.

TICKETS: Tickets are $35 in advance and $40 the day of the show. Click here for more ticket information.

INFO: Four absolutely tremendous singer-songwriters all on the same stage! And it’s great that Patty Larkin is back on stage. She took a terrible fall last summer, hurting her neck and damaging her spinal cord. Surgery and ten weeks of rehab happened.

More 207 stories

https://www.youtube.com/watch?v=videoseries

For the latest breaking news, weather, and traffic alerts, download the NEWS CENTER Maine mobile app.


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Lil Wayne returning to Alabama on ‘Welcome to Tha Carter Tour’: How to get tickets

Lil Wayne will return to Alabama in 2023 on his “Welcome to Tha Carter Tour,” playing a show on April 24 at Birmingham’s Iron City.

Tickets for the 8 p.m. concert go on sale Friday, Feb. 3, at 10 a.m. CT via Ticketmaster. (A pre-sale starts on Tuesday at noon, according to the Ticketmaster website.) Tickets are priced at $79.95 for general admission, according to promoter Live Nation/Red Mountain Entertainment. The Iron City website lists prices as $77.50-$348, with the upper level presumably for VIP tickets.

The April show at Iron City, 513 22nd St. South, gives fans a chance to get up close and personal with the hip-hop star, known for his top-selling albums, hit singles, collaborations with other artists and flamboyant stage presence.

Iron City, with a capacity of about 1,300 in its main concert space, is much smaller than venues Lil Wayne has played previously in the Birmingham area. In July 2013, for example, the hip-hop star performed at Oak Mountain Amphitheatre in Pelham, which holds about 10,500 people, on his “America’s Most Wanted” tour with T.I.

Lil Wayne, 40, born Dwayne Michael Carter Jr., is one of the most recognizable figures in the hip-hop world, forging a reputation as a rapper, songwriter, producer and the founder of Young Money Entertainment. He has several awards to his credit, including five Grammys. His platinum-selling record series, “Tha Carter,” has spawned hits such as “Lollipop,” “A Milli,” “She Will,” “6 Foot 7 Foot,” “Got Money,” “Don’t Cry” and more.

Five volumes of “Tha Carter” (2004-2018) have been major spurs to his fame, and Lil Wayne has said “Tha Carter VI” is in the works, along with a new installment in his “I Am Not a Human Being” record series.

Lil Wayne has collaborated with many artists over the years, including Drake, Machine Gun Kelly, T-Pain, 2 Chainz, Usher, Doja Cat, Chris Brown and more. His business ventures include a cannabis brand, GKUA Ultra Premium, and a sports agency, Young Money APAA Sports.

Lil Wayne has made TV and movie appearances, and competed on “The Masked Singer” in 2020 as the Robot. He was eliminated on the first episode of Season 3, after singing “Are You Gonna Go My Way” by Lenny Kravitz in costume.

The Birmingham concert is among 28 spring tour dates announced Tuesday for Lil Wayne, and the only show thus far in Alabama. Here’s the full list of stops for his “Welcome to Tha Carter Tour,” including several shows at House of Blues venues and locations of The Fillmore. Lil Wayne also has a concert scheduled at the Apollo Theater in New York.

  • Tuesday, April 4, Minneapolis, MN, The Fillmore Minneapolis
  • Thursday, April 6, Fargo, ND, Scheels Arena
  • Friday, April 7, Omaha, NE, Baxter Arena
  • Saturday, April 8, Madison, WI, The Sylvee
  • Sunday April 9, Chicago, IL, Radius
  • Tuesday, April 11, Detroit, MI, The Fillmore Detroit
  • Wednesday April 12, Toronto, ON, HISTORY
  • Thursday April 13, Boston, MA, House of Blues
  • Sunday April 16, New York, NY, Apollo Theater
  • Monday April 17, Philadelphia, PA, The Fillmore Philadelphia
  • Tuesday April 18, Silver Spring, MD, The Fillmore Silver Spring
  • Thursday April 20, Charlotte, NC, The Fillmore Charlotte
  • Friday April 21, Raleigh, NC, The Ritz
  • Saturday April 22, Atlanta, GA, Tabernacle
  • Monday April 24, Birmingham, AL, Iron City
  • Wednesday April 26, St. Louis, MO, The Factory
  • Thursday, April 27, Nashville, TN, Marathon Music Works
  • Friday, April 28, Cleveland, OH, House of Blues
  • Sunday April 30, Lexington, KY, Rupp Arena
  • Tuesday, May 2, Houston, TX, House of Blues
  • Wed May 3 — Dallas, TX — House of Blues
  • Thu May 4 — Austin, TX — Stubbs Waller Creek Amphitheater
  • Sat May 6 — Salt Lake City, UT — The Complex
  • Sun May 7 — Denver, CO — Fillmore Auditorium
  • Tue May 9 — Phoenix, AZ — The Van Buren
  • Wed May 10 — San Diego, CA — SOMA
  • Fri May 12 — San Francisco, CA — The Masonic
  • Sat May 13 — Los Angeles, CA — The Wiltern

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Colorado bill fights bots buying tickets

Colorado state Sen. Robert Rodriguez wants people to feel the music — and not fight robots, navigate pre-sale scalpers or worry about hidden fees when they do it.

The Democrat from Denver said his newly introduced bill, SB23-060, intends to promote transparency and “consumer-friendly” practices for event-goers.

As written, the bill expands the definition of deceptive trade practices to include the use of automation to buy tickets or circumvent limits, selling tickets without being upfront about all the fees, and increasing ticket prices once they have been selected.

The ban on automation would be staking a line in the sand saying it’s not allowed and potentially giving venues a way of going after it. Enforcement would fall to district attorneys and the Colorado Attorney General’s Office, though Rodriguez noted that bot farms are an international phenomenon.

“I’m just about trying to help people that want to go to a concert to go to a concert,” Rodriguez said.

The bill is still being worked on, he said, but has so far garnered some early support from Denver Arts and Venues, which operates Red Rocks Amphitheatre and other city-owned venues, and promoter Live Nation, according to lobbying records.

Brian Kitts, a spokesperson for Denver Arts and Venues, said its staff has been helping craft the bill and “supports the legislation as it benefits fans at all city-owned venues including Red Rocks Amphitheatre.”

Rodriguez said he hopes to address issues with resellers falsely advertising their wares, including speculative ticketing — or selling tickets the reseller hasn’t actually acquired yet. He said he’s personally paid for tickets that he didn’t receive.

But one advocacy group worries the bill as written would end up giving ticket sellers like Ticketmaster too much power.

Brian Hess, executive director of the Sports Fans Coalition and part of the Break-Up Ticketmaster Coalition, said the bill as written could give Ticketmaster unilateral power to undo third-party sales by labeling them deceptive.

Hess called third-party resales “the cornerstone to any pro-fan ticketing policy.” Colorado’s current regulations are a gold standard that he encourages other states to adopt, Hess said.

This proposal makes businesses like Ticketmaster “judge, jury and executioner of all tickets,” he said.

Rodriguez said he intends for those ticket issues to be enforced by the venues. When it comes to live events, “there are so many hands in this cookie jar,” Rodriguez said, that he just wants to see more transparency for consumers. He plans more stakeholder meetings to smooth out that intent.

Hess isn’t all-out opposed, though he worries harm to third-party markets could overshadow other good it does. He supports the bill’s price transparency on fees. It helps consumers to cross-compare tickets on resale markets — many of which use things like timers to add pressure to buy — and is just more upfront, he said.

“If this bill was just all-in pricing, we’d have no qualms,” Hess said. “But if this bill passes as it’s being proposed, any good that’s in this bill will be undone by giving Ticketmaster more power.”

He said he hopes to work with Rodriguez on the provision.

Ticketmaster is the world’s largest ticket seller, according to the Associated Press. It processes more than 500 million tickets annually in more than 30 countries. It sells about 70% of tickets for major concert venues in the United States, according to data in a federal lawsuit filed last year and cited by the AP.

Ticketmaster merged with Live Nation in 2010. Live Nation supports the bill. Spokesperson Ashley Jones said in a statement the bill “will deliver much-needed ticketing reforms for artists and fans.” Jones cited its provisions for transparent pricing, a ban on speculative ticketing and deceptive websites, anti-bot rules and protections for charitable and ADA tickets.

“Anyone opposing these simple reforms has an agenda to keep tickets flowing to scalpers and the secondary market,” Jones said in the statement.

The bill also arises as federal lawmakers hold hearings into Ticketmaster and the debacle around the sale of tickets to pop star Taylor Swift’s upcoming tour. Rodriguez said it’s not aimed at that breakdown specifically, though it brings extra attention to event ticketing processes. Some of those issues may need to be looked at federally, he said.

“I do know a lot of people that got messed up on (Taylor Swift tickets),” Rodriguez said. “My bill is more about transparency and consumer protections.”

Stay up-to-date with Colorado Politics by signing up for our weekly newsletter, The Spot.


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The Waldo Theatre presents Griffin William Sherry w/Dominic Lamoie opening concert on Friday, Feb 10 at 8:00 pm

Presented with State Theatre Presents/Crobo LLC and Rising Sun presents: Griffin William Sherry, with Dominic Lavoie in concert, Friday Feb 10th at 8:00pm at The Waldo Theatre. 

Living somewhere in-between modern catharsis and American myth, Griffin William Sherry’s roots continue to grow strong in the ever-evolving genres of Folk, Americana and Rock & Roll. Griffin’s music is inspired by his New England rural roots. As such, he cobbles together an inimitable signature style, visceral and heartfelt, loud and passionate, each song taking on a voice of its own. 

In 2011, He co-founded the independent band The Ghost of Paul Revere, capturing the hearts and minds of countless fans with a series of acclaimed releases and sold-out shows everywhere. He helped establish his own music festival, performed on national television, and garnered millions of streams. In 2019, his song The Ballad of the 20th Maine became the official Maine State Ballad, securing The Ghost of Paul Revere’s place in Maine music history. In 2022, after writing music for seventeen years, Griffin’s begun work on his first solo record, taking a defiant step in a new direction. Griffin will also be joined on stage by Spencer Albee, McCrae Hathaway and Chuck Gagne.

Dominic Lavoie is a songwriter, musician and producer who uses music to stay as true to himself and the creative spirit as possible. Ethereal dreams to jarringly clear human experiences dance in his songs; and become real both on stage and through his albums. He’s shared the stage with Rayland Baxter, Los Lobos, Dr Dog and Guster; and Lavoie is as comfortable on stage as he is in the studio, having released 7 full lengths, 2 EPs and a self-directed music. Dominic Lavoie will open at 8:00pm, and Griffin Sherry will perform at 9:00pm.

General admission tickets are available for $25 in advance, $30 the day of the event at: https://waldotheatreinc.thundertix.com/events/206488. If this show has not sold out, a limited number of tickets may be available at the box office for starting at 7:00pm. Doors open at 7:00pm, and concessions will be available for purchase.

Free parking is available on Main St. and School St.


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Robert Plant and Alison Krauss set Woodlands concert date

Robert Plant, left and Alison Krauss

Photo: David McClister

Robert Plant and Alison Krauss are heading back to the Houston area.

RODEOHOUSTON 2023: Machine Gun Kelly, Walker Hayes, NKOTB, Bun B’s Southern Takeover

The longtime duo performs April 26 at the Woodlands Pavilion. Tickets are $55-$175 and go on sale at 10 a.m. Friday through LiveNation. There will be no lawn seating at this show.

Krauss and Robert Plant released the collaborative “Raising Sand” album in 2007. It won five Grammys, including album and record of the year. A second album, “Raise the Roof,” followed in 2021.





  • Joey Guerra

    Joey Guerra is the music critic for the Houston Chronicle. He also covers various aspects of pop culture. He has reviewed hundreds of concerts and interviewed hundreds of celebrities, from Justin Bieber to Dolly Parton to Beyonce. He’s appeared as a regular correspondent on Fox26 and was head judge and director of the Pride Superstar singing competition for a decade. He has been named journalist of the year multiple times by both OutSmart Magazine and the FACE Awards. He also covers various aspects of pop culture, including the local drag scene and “RuPaul’s Drag Race.”


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