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Weekly Newsletter
March 27 – April 2
Armed with a guitar, deadpan humor, killer songs & a voice that makes tough guys cry, Lucy Wainwright Roche, daughter of Loudon Wainwright and Suzzy Roche, has fans across the USA and Europe. This Saturday she’ll play her first solo show at Caffe Lena. With “wry lyrics and gift of mysteriously beautiful vocals, Lucy leaves fans with no doubt that her music is her own, regardless of her family’s legacy.” – Billboard
March 19 – 26
GRAMMY-nominee Bruce Molsky and Scots harpist and composer Maeve Gilchrist (Silk Road Ensemble) create sheer joy when they play together. Molsky, described as an “absolute master” (No Depression), creates intimacy & warmth on fiddle, banjo and guitar. Grounded in the Irish & Scottish tradition, Maeve’s total command of the harp is entrancing . . .
March 6 – 12
Guy Davis, coming Friday night, is a 2-time GRAMMY nominee for Best Traditional Blues album. Whether he’s playing the six or twelve string guitar, the five-string banjo or harmonica, Davis uses music to confront social injustice, historical events and common life struggles with songs that are timeless, and storytelling that’s earthy, warm and bold.
Caffè Lena In the News
LIVE: RICHARD THOMPSON @ CAFFE LENA, 08/31/2022
By Michael Hochanadel for Nippertown — Even after seeing Richard Thompson charm more than 10,000 people on the outdoor Gentilly stage at Jazz Fest in New Orleans and hypnotize smaller crowds in much cozier spaces, the focused force of his music felt astounding at Caffe Lena Wednesday.
In the second of three sold-out solo shows, the singer-songwriter/guitarist played two of my big-three favorites: “1952 Vincent Black Lightning” and “Beeswing,” but not “Ghosts in the Wind.” That’s not a complaint; these two towering tunes did what they always do. “1952” wove a tender noir motorcycle murder-romance and “Beeswing” rued the love-versus-freedom paradox for peak pathos. Trusting the crowd, Thompson introduced several new songs; those worked well, too.
In fact, the show’s only rough spots were old songs whose lyrics he temporarily forgot. But he shrugged this off as confidently as he dismissed the awed applause for his “oh-my-GOD!” solo in the overdrive rocker “Valerie.”
Thompson took the measure of the capacity crowd right out of the box with “Walking on Stony Ground” – he said it was a tale of senior lust, correcting himself to “mature lust.”